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The Patron Saint of Superheroes

Chris Gavaler Explores the Multiverse of Comics, Pop Culture, and Politics

Monthly Archives: November 2023

While working on a close visual analysis of a 1919 Krazy Kat comic, I noticed an unexpected juxtaposition as Ignatz Mouse exits the bottom right frame:

According to the ad, Stearns’ Electric Paste also kills “WATER BUGS, RATS and MICE.” I think it’s safe to assume that George Herriman had no awareness, let alone control, of the San Francisco Examiner‘s page layout that or any other week. And yet while I would say that original context is at most secondary, it’s still worthwhile to see Krazy Kat in its intended environment. Later reprints of course only include Herriman’s artwork, eliminating even the typeset title banner that originally appeared above them.

That’s why I appreciate Joel Franusic‘s online archive. His scans include full newspaper pages:

While the textual juxtapositions are intriguing (there was more light verse printed in early twentieth-century newspapers than you might think), I’m most engaged by the pictorial pairings. From the 1916-1919 range I’ve been browsing, they almost inevitably involve advertisements, AKA “Business Notices.”

Some are one-offs, such as the anti-balding treatment endorsed “By an Eminent European Specialist”:

But I was more surprised by the repetition of two products. The first is “Gets-It,” a corn-removal treatment:

The first four ads above include lone figures, usually female, while the next two show couples, one of them dancing. Though not as pleasantly discordant as an anti-mouse product, the happy couples do juxtapose the absurdist romance of Krazy Kat and Ignatz.

And those last two are the most odd. Why invert the figure in a reflecting pool while cropping out most of the body above it? And those giant polka dots on the dress — are they associative representations of the corns? The last is just interesting for its algebraic simplicity.

The final two corn-removal ads depart in two ways: by emphasizing the pain of the corn (rather than the pleasure or ease of its removal), and (in the very last ad) by departing from the naturalistic drawing rules governing all of the other images.

That last one I’d place in what Joseph Witek helpfully identifies as the “cartoon mode,” in contrast to the “naturalistic mode” of the others. The juxtaposition is revealing since Herriman also worked in the cartoon mode, which means the comic’s original pictorial pairings usually produced stylistic contrast.

The art of the comic and the art of the advertisements were rendered according to different visual norms, which in turn created the impression of different visual worlds. When a viewer’s eye crossed the boundary framing Krazy Kat, the leap was conceptually wider than the width of the line.

That contrast effect is even stronger with the second set of ads.

The above two soap ads include black areas, the first for a pair of silhouettes, the second for a seemingly three-dimensional object produced by “white” lines where the newspaper page is visible in thin negative strips and letters.

The soap’s other images are more interesting because they are instead contour drawings that leave most of the page surface visible in internal negative spaces.

The style again contrasts Herriman’s, though the naturalism is relative since the images are highly simplified by not exaggerated — a combination that lacks a consistent term (which is why I refer to it descriptively as “unexaggerated simplification” in The Comics Form).

Visual analysis aside, I’m also really intrigued that the product was advertised to both women and men — specifically to men in the context of the Great War.

Since Cuticura cures dandruff, pimples, cuts, bruises, and gray hair, it might belong in Herriman’s absurdist world of Krazy Kat.

Finally, I’m reprising my favorite ad image for last.

The stylistic flourishes of the background pattern both evoke and contrast Herriman’s abstract backgrounds, revealing a final level of contextual contrast.

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Very happy to report that Nathaniel Goldberg’s and my next book, Revising Reality, will be released on May 30, 2024!

We just got our cover too:

Plus part of the back cover:

Bloomsbury is still revising the font color. The title is supposed to be, and often is, white, but sometimes it’s red, we think either because of differences in Bloomsbury’s nation-based websites (US, UK, AUS) or between hardcover and paperback, which then feed into other websites. So at Amazon it’s (currently) red:

While the white/red variation is accidental, the hardcover/paperback variation is happily intentional. My last book, The Comics Form, was originally released in hardcover, before it earned a paperback printing (currently available as a January pre-order). Revising Reality is being released in both formats simultaneously — plus an ebook.

Nathaniel’s name vacillates too. I’m one of the very people who calls Nathaniel “Nathaniel” (the name he used when first introducing himself to me), but future readers will know him as “Nat” (the name most people use). Though now “Nat” on this cover, he’s “Nathaniel” on all of his previous book covers and currently in his book cover bio.

Revising Reality includes a chapter called “Naming Change,” which is about various reasons people revise their names (marriage, religious conversion, gender identity, etc.) and their implications: some name changes are retroactive, revealing what we call a Mandatory Character Trait. Nathaniel’s is probably only a forward-moving sequel — unless my co-author’s name was always “Nat” and the new cover reveals that pre-existing but misunderstood fact, and then it’s a retcon.

Revising Reality keeps revising its categories too. The Bloomsbury website started by listing it this way:

That’s probably because I’m a comics scholar who has published more than one book with Bloomsbury under “Comics and Graphic Novels,” even though Revising Reality is not one of them. That’s going to be revised to “Literature and Philosophy.” And yet the Amazon listing instead says this:

It’s a little mysterious why Amazon slotted it there — especially since it’s correct. Revising Reality does address both politics and social sciences. One of the categorical challenges of the book is its multi-disciplinary scope.

One of our external reviewers wrote last summer: “An accessible and engaging exploration of how storytelling frames our engagement with history and current events, through a lens that seamlessly combines literary theory, media studies, metaphysics, and historiography.”

Another said: “No one will be an expert in each of the topics addressed, so any reader is sure to come away with an improved knowledge of one of science, law, fiction, pop culture, and so on.”

And my favorite: “This really is quite an original book, which means that it competes in its own kind of field.”

Not surprisingly, the Amazon algorithm doesn’t include that category.

Nathaniel (AKA, “Nat”) and I just finished reviewing the page proofs, which go to an indexer next. We also just contacted a publicist. Revising Reality is a sequel to our Revising Fiction, Fact, and Faith: A Philosophical Account, presenting similar concepts to (we hope) a general interest audience.

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Some Americans may have forgotten, but there was once a Republican Speaker of the House named Kevin McCarthy who a pair of political cartoonists likened to a ventriloquist dummy operated by a MAGA extremist drinking Kool-Aid.

If you forgot McCarthy opened a Biden impeachment inquiry, I amassed that cartoon history in a September post. Though House Republicans have since changed the name of their Speaker, little else has changed, including visual metaphors. Since Mike Johnson took the gavel, the presence of ventriloquist dummies in political cartoons has tripled:

While I’m not impressed by political cartoonists recycling even their best jokes, I’m significantly less impressed by politicians recycling their worst positions — many of which Speaker Johnson champions.

A few things to know about Johnson:

He is a 2020 election denier who argued in court to overthrow results in four key states. He’s a climate-change denier financed by oil and gas companies. Though he’s not a member of the House Freedom Caucus, members Matt Gaetz and Andy Biggs nominated him. And he’s most vocal about abortion and LGBTQ issues.

On abortion, Johnson:

  • supports a national ban criminalizing all abortions
  • co-sponsored a bill establishing that “the right to life guaranteed by the Constitution” is present from the moment of fertilization
  • threatened “hard labor” for doctors who perform abortions
  • blamed abortion rights, the sexual revolution, and radical feminism for school shootings
  • is a former attorney and spokesman for Alliance Defending Freedom, the legal group behind states’ strict anti-abortion legislation
  • earned an “A+” rating from Pro-Life America

On LGBTQ rights, Johnson:

  • called homosexuality an “inherently unnatural” and “dangerous lifestyle” that would lead to legalized pedophilia and people marrying their pets.
  • wrote amicus briefs backing the right of individual states to criminalize gay sex
  • said that “homosexual marriage is the dark harbinger of chaos and sexual anarchy that could doom even the strongest republic.”
  • proposed the Marriage and Conscience Act to protect people who discriminate against same-sex couples
  • defended Louisiana’s same-sex marriage ban before the Supreme Court in 2004 and 2014
  • led a hearing on limiting gender-affirming care, arguing that “homosexuality and cross-dressing are things you do… we don’t give special protections for every person’s bizarre choices.”
  • believes LGBTQ teens are victims of coercion: “Today, nearly one in four high school students identifies as LGBTQ. Whether it’s by scalpel or by social coercion from teachers, professors, administrators and left-wing media, it’s an attempt to transition the young people of our country.”

This is the dummy the GOP unanimously perched on their highest seat.

Johnson may also oversee another government shutdown either at the end of this week or in January — another recycled political joke from the cartoon world of MAGA extremism.

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Open letter to the Lexington City School Board about removing the graphic novel One Fine Summer from the middle school library.

First, I want to thank the entire board for responding to these book concerns thoughtfully and carefully. I’m also grateful for having had the opportunity to speak at the last board meeting. I limited my two minutes to Kiss Number 8. I would like to expand those comments in response to a “Request for Reconsideration” of another graphic novel, This One Summer.

The complaint includes the following:

According to the definition of “sexually explicit” presented at the school board meeting, this novel is not sexually explicit. It also does not meet the definition of “R-rated.” It does not include any representations, visual or textual, of sex acts. It only briefly represents individuals talking about sex acts. The complaint also takes those statements out of context, failing to note that they are spoken by antagonist characters and that the statements do not reflect the attitudes of the main characters and therefore presumably the authors.

Using the film industry rating system, this might fall under PG-13: “A PG-13 motion picture may go beyond the PG rating in theme, violence, nudity, sensuality, language, adult activities or other elements, but does not reach the restricted R category” (filmratings.com).

However, since the novel does not include any nudity or directly represented adult activities, it might fit a PG rating: “A PG-rated motion picture should be investigated by parents before they let their younger children attend. The PG rating indicates, in the view of the Rating Board, that parents may consider some material unsuitable for their children, and parents should make that decision. The more mature themes in some PG-rated motion pictures may call for parental guidance. There may be some profanity and some depictions of violence or brief nudity. But these elements are not deemed so intense as to require that parents be strongly cautioned beyond the suggestion of parental guidance. There is no drug use content in a PG-rated motion picture.”

An R-rated film typically includes “sexually-oriented nudity,” which this novel does not.

The misleading use of the term “sexually explicit” is not limited to the individual who wrote the complaint. This One Summer is listed under “Sexually Explicit Materials” in a school document:

Though I’m not sure what definition the school is using for “mature content,” I personally believe that This One Summer would fall under that label. It does not, however, belong on any “Sexually Explicit list” – at least not according to the definition of “sexually explicit” provided to the public at the last board meeting or to any other definition that I’ve encountered.

The phrase “sexually explicit” was also used in text messages between the principal and superintendent:

This, I believe, was in regard to the novel Kiss Number 8, but as with One Fine Summer, the use of the phrase “sexually explicit” is false. More concerning, the principal and superintendent do not appear to have read the novel they decided to remove. The statement “based on these two pages alone” indicates that they accepted the out-of-context excerpts of the person who made the complaint, and, more strangely, assume that the rest of the novel includes similar material. This is a disturbingly ignorant process for judging the appropriateness of any material.

While I’m writing specifically about One Fine Summer, the “Request for Reconsideration,” the school’s “Sexually Explicit Materials” list, and the messages between administrators further demonstrate the need for objectively verifiable definitions that do not allow subjective attitudes to enter into any decision process.

Thank you again for your time and attention.

I apologize if I’m giving too much feedback, but in case it’s helpful, I’ve looked over the material on the school website and have some further thoughts. 

According to a revision of the draft policy, the school “prohibits selecting and maintaining materials considered to be sexually explicit by the definition provided.” The draft, however, does not provide a definition; it only references 2.2-2827 of the Virginia Code. For clarity, please quote the relevant language from 2.2-2827.

Once included, the Code’s definition still requires further clarification.

The phrase “sexually explicit” means words or images depicting any of five things. The first and last on the list seem unproblematically straightforward (“sexual bestiality” and “sadomasochistic abuse”), but the middle three may leave room for uncertainty.

Fortunately, the Code provides unambiguous definitions in the related section 18.2-390, which I urge be included in the policy too:

A “lewd exhibition of nudity” must depict the “nudity” of “genitals, pubic area or buttocks” or “the female breast.” (The Code does not define “lewd,” but multiple dictionaries indicate a specifically sexual meaning.)

“Sexual excitement” must depict “genitals when in a state of sexual stimulation or arousal.”

And “sexual conduct” must depict “masturbation, sexual intercourse, or physical contact in an act of apparent sexual stimulation or gratification with a person’s clothed or unclothed genitals, pubic area, buttocks, or, if such be female, breast.”

There is very little room for subjective disagreement about any of these terms. These are the kind of unambiguous definitions that the policy should have when defining a potentially subjective term such as “sexually explicit.” 

When these unambiguous definitions are applied to Kiss Number 8 and This One Summer, the graphic novels are not sexually explicit. That is, they do not depict any nudity, including of any genitals, stimulated or unstimulated; and they do not depict any sexual acts.

And yet the novels were listed as “sexually explicit.”

The draft policy also indicates that the principal must “review the instructional materials in question.” I hope the board will further clarify the definition of “review.”

 It seems that the decision to remove a novel was made after administrators reviewed only one and a half of its pages, less than 1% of its total contents. I would have assumed that administrators would review an entire novel as the first step in an evaluation process. Since there is evidence that this most basic first step did not happen in the case of Kiss Number 8, the policy needs to make the requirement explicit.

[The draft policy and revision are here.]

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