3135 Calhoun St. and the A.D. cosmic connection

A.D., Geek, Plug

Crescent City Comics has just opened a second location, moving its flagship store to 3135 Calhoun Street, near Tulane University in New Orleans. (There’s a nice little article about the new store here, which features a time-lapse video of their logo being painted in giant scale on their ceiling.) That address, 3135 Calhoun, is the center of an A.D.: New Orleans After the Deluge vortex. Let me explain…

One of the main “characters” in A.D. is Leo McGovern, currently the manager of Crescent City Comics. This is what Leo looked like in the book:

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(Leo once told me that his fondest desire was to be “one of those sweaty guys in a comic book.” Wish granted!)

But what’s so remarkable about Crescent City Comics’ new location is that 3135 Calhoun Street is the former location of the Calhoun Superette! For many years, the Calhoun Superette was owned by Hamid Mohammadi, another main “character” in A.D. (His name was Hamid in the original webcomic, then changed to “Abbas”—with a mustache added to his face—for the book. When I talked to him last year for a Hurricane Katrina 10-year anniversary comic, he allowed me to use his real name again.) Here’s how Hamid looked in A.D.:

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Hamid and his wife opened the Calhoun Superette in 1996 and kept it open for 16 years, through thick and thin. A lot of scenes in A.D. take place at the store. (I wasn’t able to visit the store in person when I was doing my initial research and reporting, so Leo, as a comics fan knowing what kind of reference I would need, kindly offered to drive over to the store, introduce himself to Hamid, and take a ton of photos for me. That was back in 2007, the first time the two long-time New Orleanians met each other—brought together by A.D. “Of all the gin joints in all the towns in all the world…”)

Here are some scenes from A.D. of the store… from right before the storm:

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To when part of the sign got blown off during the hurricane:

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To the first hint of flooding:

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To when the water had gotten waist-deep:

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To when the water was so deep the only thing to do was “abandon ship”:

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NOT wimpy! And here’s a scene from period of 16 months Hamid spent gutting the store and rebuilding it after Katrina:

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Hamid re-opened the store in 2007 (thank you, Google Street View):

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And this is how it looked in 2009 (the sign was finally fixed!):

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But sadly Hamid was forced to close the Superette in the summer of 2012. Here’s what he had to say about it:

Hamid-bitter

Forstall Art Supplies moved in to the space soon after (they used be located next door):

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But Forstall closed in the summer of 2015, opening the door for Crescent City Comics—they kept Forstall’s potted plants:

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Here’s Leo and CCC owner Les Arceneaux posing with other staff members (photo courtesy Bleeding Cool):

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After all the things Hamid went through, I was really bummed to hear that he had to close his deli. But I’m so glad its former location is back in the A.D. “family.”

Did I mention Crescent City Comics hosted a party for the paperback release of A.D. in 2010? That was a good time. They’re a great store. Go visit the next time you’re in NOLA, and pick up a copy of A.D. from one of the characters in the book… in the place where a lot of the book’s action happens!

Crescent City Comics
3135 Calhoun
New Orleans, LA  70125
(504) 891-3796
CrescentCityComics.com

The VAGABONDS #5 debuts at MoCCA Fest 2016

Comics, Work

The Vagabonds #5This coming weekend is MoCCA Fest 2016, being held for the first time at Metropolitan West (near the Intrepid Sea, Air & Space Museum). I’ll be there with my Hang Dai Editions colleagues Dean Haspiel and Gregory Benton. And I’ll have a couple of brand new books for sale: FLASHed: Sudden Stories in Comics and Prose and THE VAGABONDS #5! We’ll be at table A112 on the first floor.

Here’s what’s featured in this issue of THE VAGABONDS: Last August was the tenth anniversary of Hurricane Katrina’s assault on the Gulf Coast and the subsequent devastation of New Orleans. In this issue, I catch up with four of the main characters from my book A.D.: New Orleans After the Deluge. Leo, Hamid, Kwame, and the Doctor have a lot to say about the state of the Crescent City and their own lives.

Another longer piece from this issue is “Fare Game,” a follow-up to Terms of Service: Understanding Our Role in the World of Big Data, the 2014 “graphic novella” I did in partnership with Al Jazeera America and reporter Michael Keller. “Fare Game” (again done with Michael Keller and AJAM), takes a look at ride-sharing services like Uber and Lyft, and the implications of a society where we’re all rating each other based on everyday transactions.

This issue features two collaborations with writer Adam Bessie, who is bravely living with a cancer diagnosis. In these stories, Adam and I explore the ways technology filters the experience of living with an illness. Other pieces in this issue include a rundown of the origins and meanings of emojis, a humorous take on steroids in Major League Baseball, the changing nature of Brooklyn, and a selection of one-page comics. THE VAGABONDS #5 is 24 page, full-color, for the low price of $5.

I’ve really enjoyed teaming up with Hang Dai Editions—putting out THE VAGABONDS again, rejoining the comics festival circuit, and reconnecting with readers. I look forward to seeing you at MoCCA Fest and handing you an autographed copy of THE VAGABONDS #5.

Here are all the details for MoCCA and where to find me:

MoCCA Fest 2016
April 2-3, 2016, 11am – 6pm both days
Metropolitan West, table A112
639 W. 46th St.
New York NY 10036

Don Brown's DROWNED CITY

A.D., Plug

There’s an old saying that journalism is the first draft of history. I was thinking of that recently when I presented A.D.: New Orleans After the Deluge to students & teachers at Ben Davis High School in Indianapolis. Pretty much the entire 10th-grade there had read A.D. in their English classes, so I spent a full day at the school, bringing the story behind A.D. to the more than 1,000 kids from that grade (and a selection of 11th-graders who had read the book last year). It’s crazy to think that those students were around four years old back in 2005 when Hurricane Katrina hit the Gulf Coast and nearly destroyed New Orleans. So to them my book is not a journalistic perspective on the disaster, but rather (ancient) history.

(One positive about that is in regards to the section of A.D. that deals with Denise’s experiences at the New Orleans convention center—without the burden of the false rumors about gang violence, rapes, dead bodies in freezers, etc. that flew around the media at the time, the kids will have a fresher understanding of at what actually went down at the convention center…)

I write at the end of A.D. that

… there are many, many stories about Katrina and its aftermath. Those of the seven people in A.D. are quite particular and highly personal, but my hope is that they provide a window into a larger world, one that few of us understand and that we’ll be trying to make sense of for a long time.

And I always paraphrase that sentiment when I discuss A.D.—that my book is merely one document of many about the storm and its aftermath. And I make sure to mention some of the other great narratives about Katrina/New Orleans (a few of which are much more expansive in scope). Documentaries like Spike Lee’s When the Levees Broke or Tia Lessin and Carl Deal’s Trouble the Water. Books like Douglas Brinkley’s The Great Deluge, or Chris Rose’s 1 Dead in Attic, or Dave Eggers’ Zeitoun, or Dan Baum’s Nine Lives. Or more recent works like Roberta Brandes Gratz’s We’re Still Here Ya Bastards, and Please Forward, edited by Cynthia Joyce. And even fictional works like HBO’s solid series Treme.

DrownedCityWell, now there’s another “graphic narrative” to add to that list: Don Brown’s Drowned City: Hurricane Katrina & New Orleans (Houghton Mifflin Harcourt). Published last summer on the 10th anniversary of the storm, it’s the only other comic book format history of Katrina that I know of. (And I only just found out about it, though apparently it’s been very well received…)

Definitely for a younger audience than A.D., Drowned City takes the reader through the breadth of the Katrina story, from the storm’s formation as “a swirl of unremarkable wind” in Africa to its building in the Gulf of Mexico and finally sweeping into Mississippi, Alabama, and Louisiana. The book shows New Orleans preparing for the storm and the city’s belated & haphazard attempts to evacuate. It shows the breaching of the levees, the people trapped in their attics, and the drowned bodies. The book details how helpless/useless the authorities in New Orleans were to deal with the flooding and the aftermath, and how thousands of people were abandoned at the so-called “shelters of last resort,” the Superdome and the Convention Center. Drowned City shows the chaos that settled over the city, how people were forced to help themselves to much-need supplies—and the instances of looting—and how some brave groups and individuals performed heroic rescues. The book spares no blows in its depiction of the ineptitude and infighting of officials like FEMA head Michael Brown, Louisiana governor Kathleen Blanco, and President George W. Bush. The book ends in October 2005 with the city finally dry, but totally devastated. It talks about New Orleans’ subsequent depopulation, particularly the decline of the city’s poorest (mostly African-American) populations. Nevertheless, the book ends on a tentative note of hopefulness.

Drowned City is gorgeously illustrated, mostly in large panels of pen & ink and watercolor. And it is meticulously researched & documented, with a full source list/bibliography at the back.

I often speak of A.D. as a “people’s history” of Hurricane Katrina. Don Brown‘s Drowned City takes more of a holistic perspective, and in that way is a perfect complement to A.D. I highly recommend you check it out.

The Solstice Program and getting your MFA in comics

Comics, Publicity, Work

Solstice-banner-adThe Solstice Low-Residency MFA in Creative Writing Program at Pine Manor College is starting a graphic narratives concentration—and I’ve been hired as the first faculty member/mentor. I officially start this July.

Comics are now being taught at almost every college and university in the country, and there are even a few other MFA programs out there. But Solstice is one of the first low-residency programs to offer an MFA in—pick your favorite term—cartooning/comics/graphic narratives/sequential art.

Here’s how Solstice describes the low-residency component:

Students are in residence on campus for ten days, twice a year, for a total of five residencies over two years. During the 10-day residencies, students and faculty gather on Pine Manor College’s lovely, wooded campus—a mere five miles from downtown Boston—and attend workshops, classes, panel discussions, and readings. At the end of the residency, each student is matched with a faculty mentor with whom he or she will work individually during the six-month semester to follow.

During that six-month semester, students study independently, sending “packets” of work to their mentor every month. The Pine Manor campus really is beautiful, and the program—run by Meg Kearney and Tanya Whiton—is both serious and welcoming. And the other faculty members are an impressive group.

I’m excited to help craft Solstice’s graphic narratives concentration. It’s ironic, because I personally have no degrees in comics or cartooning—only 25+ years of professional experience. When I was becoming a cartoonist there were no programs out there to guide me; my own development was intuitive, and heavily influenced by my favorite comics: Hergé’s Tintin and American superhero comics. Eventually, I came across a copy of Will Eisner’s Comics & Sequential Art, which was the first text I encountered that discussed the form of comics as a subject worthy of study. Later, I was heavily inspired by Scott McCloud’s seminal work, Understanding Comics. But as I evolved, a lot of what I had to do was un-learn a lot of bad habits I had picked up during my youth as an aspiring superhero artist: melodramatic facial expressions, distracting page layouts, and the like.

The most important skill I have developed in my adult years is writing for comics. Growing up, in my mind I artificially segmented the practice of comics into different jobs: writer, penciler, inker, letterer, etc.—because this assembly line system had been institutionalized by the big publishers to meet their monthly deadlines. Discovering the world of “alternative” and literary comics made me appreciate the role of CARTOONIST—a jack-of-all trades in the comics world. This is what I aspired to be as I learned to write—first with memoir and auto-bio comics and now with journalistic stories. (I continue to collaborate with writers on occasion, but that’s because I really enjoy the back-and-forth “mind-meld” that a good comics collaboration produces.) Yes, comics are an amalgam of words & pictures, but I firmly believe a good comic/graphic novel starts with a good story. In the end, the art serves the story.

So as developer of the Solstice graphic narratives concentration, and chief mentor to the students, I will stress writing as the foundation of our practice.

And at this point, my own teaching experience is fairly extensive. I was an Atlantic Center for the Arts Master Artist, where I worked with eight mid-career cartoonists on their nonfiction graphic novel projects. For a number of years I’ve taught week-long comics workshops at the Fine Arts Work Center summer program. And I’ve taught day-long comics workshops at universities, and for students in the U.S. and abroad (including my many foreign trips as a “comics cultural ambassador” for the U.S. State Dept.’s Speaker/Specialist program). I’ve taught comics workshops at the Society of Illustrators, and I’ve served as a thesis advisor for students at the Center for Cartoon Studies and Hunter College.

As part of the first residency, I’ll teach a single two-hour CCT (Craft, Criticism, and Theory) class, as well as lead daily three-hour workshops. As a teacher/mentor, what I most enjoy is helping cartoonists find their voice, identifying their strengths as writer/artists. Over the course of the two-year program, I’ll work closely with my students on their individual projects: a complete comics manuscript—and, of course, an MFA!

These will be the foundational texts of the graphic narratives concentration:

  • Scott McCloud, Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels (William Morrow, 2006)
  • Scott McCloud, Understanding Comics: The Invisible Art (William Morrow, 1994)
  • Jessica Abel & Matt Madden, Drawing Words & Writing Pictures (First Second, 2008)
  • Will Eisner, Comics & Sequential Art (Poorhouse Press, 1985)
  • Ivan Brunetti, Cartooning: Philosophy & Practice (Yale University Press, 2011)

I’m really looking forward to getting this exciting new degree program off the ground. The growth I’ve seen—just over the course of my own career—in the appreciation of the comics form is truly astounding, and I’m excited to support the next great group of cartoonists in reaching their goals. The low-residency format is a great option for motivated, independent creators who can devote a few weeks a year to gathering together in bucolic Chestnut Hill, Massachusetts.

Check out the Solstice website for further details, including an interview with me about what’s in store. (Here’s an article about my coming on board with Solstice.)

If you’re a cartoonist aspiring to take your work to the next level, or know someone who would be interested, please think about applying. The application deadline for the summer 2016 residency/fall semester is April 15, 2016. I welcome cartoonists working in the realm of fiction or nonfiction—and everything in-between.

Tom Hart's ROSALIE LIGHTNING

Comics, Plug, Tribute

RosalieLightningI just read Tom Hart‘s new book ROSALIE LIGHTNING (St. Martin’s Press), and I was blown away. What is it about? It’s about My Neighbor Totoro, and Ponyo, and EC Comics, and Metaphrog, and James Bond, and Kurosawa movies, and Thich Nhat Hanh, and “O Superman,” and Jeff Mason. And it’s about real estate, and bike rides, and corn mazes, and getting your car stuck in the snow, and being adrift on a raft, and big moons in the sky, and dreams, and trees, and acorns, and about the “capacious hole in your heart” when your child dies.

I’ve known Tom and his fellow cartoonist wife, Leela Corman, (who’s basically the co-star of this book) for a really long time, as fellow travelers on the road of alternative comics—Sari & I were guests at their wedding—but I hadn’t seen much of them in the last 10 years, particularly after they left Brooklyn and moved to Gainesville, Florida. I only met their daughter Rosalie once, probably around 2010, shortly before they left town. I was in Chicago when I heard the horrible, terrible, tragic news of Rosalie’s death—I even wrote a short post about it back then. And the next time I saw Tom & Leela was the fall of 2014 (when I visited them at their school The Sequential Artists Workshop), when they had the gift of Rosalie’s little sister Molly Rose. This book fills in all that missing time.

Tom is a master storyteller and cartoonist, and if he never did anything else the world would always have his creation Hutch Owen. (Where would Bernie Sanders be without Hutch Owen?!) But for Rosalie Lightning he has created a new art style—malleable, scratchy and impressionistic (when needed), and deliriously vibrant, even though it’s “limited” to half-tones. It’s an incredible, gripping book, which I stayed up late into the night reading all the way through. It’s destined to become a classic.

When was the last time a book made you cry? For me, it had been a long time. As a father myself, unable to even imagine the pain Tom & Leela have been through, it was often tortuous to read, and I dried my eyes a number of times. But I’m so grateful for the experience. (I even forgive the book’s “hate letter” to New York, because I feel like that sometimes too.) Thank you, Tom, for this brave, and ultimately triumphant work. Your daughter couldn’t have a better memorial.

"A Scanner Constantly," my new collaboration with Adam Bessie

Comics, Work

scanner01-teaserThere’s a new piece out this week that I haven’t had a chance to write about: “A Scanner Constantly,” my new collaboration with writer Adam Bessie. He and I have worked on a couple of prior pieces, but this one is the most involved and the one closest to my heart.

Adam is bravely living with a brain tumor, all the while remaining a devoted husband and dad, and a university professor. And a prolific comics writer—check out all the pieces he’s done over the last few years…

“A Scanner Constantly” explores what it feels like—what it means—to undergo a constant regimen of scanning—MRI’s, X-rays—and the way that forces you to look at yourself. It’s also about the way others look at you. And it gets into some fascinating existential stuff, thanks to “guest stars” like author Philip K. Dick and Italian artist (and crowd-sourcer) Salvatore Iaconesi.

I feel that the piece asks some important questions—not only about one’s sense of self, but also concerns we all have about our increasing techno-security state…

The excellent journal Pacific Standard has published the piece; why don’t you check it out?

This Summer in P-town: Josh & Sari Week-long Memoir Comics Workshop

Plug, Publicity

SariFAWX Summer Workshops 2016 and I are proud to announce that this summer we’ll be co-teaching a week-long comics-making memoir workshop at the Fine Arts Work Center in Provincetown, MA.

This marks the third time we’ll be doing a comics workshop with FAWC and it’s always been a really rewarding experience—for us and for our students. We learned that nothing makes a better combination than writing and art… or summer and beautiful P-town… or Sari and Josh! (*wink*) So that’s why we’ll be teaching the class again this summer, during the week of July 31–August 5.

Here’s the course description for our Memoir Comics Workshop:

Comics use words and pictures together to form powerful narratives. In this workshop, you will use material from your own life to create an original minicomic. It can be about last night’s dinner, or a moment that changed you forever—as long as it fits into a booklet of 8-12 pages. At the end of the week, we’ll reproduce and swap our minis, and set up an open studio to share our work.

We’ll examine some basic principles of visual storytelling. We’ll also do writing, brainstorming, and collaborative exercises we’ve found useful in producing strong comics work. There will be group feedback to hone our stories, find the narrative “beats,” and help each other discover our “true” story. We’ll generate ideas for solving storytelling problems—and look at how other cartoonists have grappled with them.

You’ll have time to work on your projects in class each day, but you will also probably do some drawing on your own. One of the key features of comics is that they are printed and reproduced. You’ll also design and produce a small edition of your minicomic to share with the other workshop members and for open studio. You’ll come out of this workshop with a tool set for taking your work to another level.

Please email a short description of the autobiographical story you’re going to work on and two character sketches (yourself and another character) to workshops@fawc.org by July 10. This prior work will help you—and us—jump into this intensive project.

Click this link to find out more about the program and how to register. And please spread the word about the week-long workshop, and encourage people to sign up soon. Classes fill up quickly.

I "lettered" Didier Kassaï's TEMPETE SUR BANGUI

Comics, Plug, Work

TempeteSurBangui-coverThe French publisher of A.D. used my “JoshComix” font to letter Tempête sur Bangui, by Central African Republic cartoonist Didier Kassaï. The book is an autobiographical account of life in the CAR’s capital Bangui during the ongoing civil war. Published by La Boîte à Bulles with the cooperation of Amnesty International, Tempête sur Bangui is an assured work of cartooning, gorgeously tinted in watercolor.

American readers may well be put off by the… distinctive way Kassaï draws himself and his fellow Africans. It’s more than reminiscent of Sambo caricatures from the bad old days. But I have been repeatedly assured that Kassaï’s renditions of himself and his countrymen is not considered offensive back home. (I have to say it still troubles me…) Nonetheless, Kassaï is a major talent: if he lived in Europe or the U.S. he would be a big star.

This is the first time I’ve “licensed” my font to someone else, and I almost didn’t recognize my own lettering—Tempête sur Bangui  was lettered in all caps, whereas I almost exclusively letter upper-and-lowercase style (in the manner of Tintin, my reference-point for almost everything).

I am a huge proponent of hand-lettering, and the vast majority of my work has been physically lettered by me. (I particularly hate fonts that obviously look typeset or “computer-y,” because most of the time that kind lettering contrasts with the accompanying art and creates a real eyesore.) All the same, over the years I have found myself forced by time constraints to use a font to letter my work. The only thing that made any sense was to create a font based on my own lettering style, which is why I went to Fontifier some years back and did just that. And for only 9 bucks! And when A.D. came out in French, I adapted and made a new font that incorporated French diacritical marks. That’s the font they used to letter Tempête sur Bangui.

Tempête sur Bangui recently debuted at the Angoulême International Comics Festival and has been getting a lot of press in the francophone media. I’m proud to be associated with it, even in this minimal way.

My intro to CREATING COMICS as Journalism, Memoir & Nonfiction

Plug, Work

CreatingComicsThere’s a new book out, by three college professors, called CREATING COMICS as Journalism, Memoir & Nonfiction (Routledge), and I wrote the foreword. I’ve known authors  Randy Duncan, Michael Ray Taylor, and David Stoddard for some years now; I’ve even made guest appearances at their annual workshops for the College Media Association; but I was still extremely surprised and flattered when they asked me to write the foreword to their forthcoming book.

The book is chock-full of useful info: the history of the genre, approaches to finding stories, tips on tools & techniques, getting published, and a discussion of legal and ethical considerations. As far as I know, this is the first “instructional manual” on comics journalism, so I am very excited for it to come out, for my own use as well as others. After all, I’m no expert on the field—I’m just a practitioner.

When it came to the intro, I wasn’t sure what I had to offer to the discussion. In the end, I decided maybe the best thing would be to recap how I got here: the signposts along the way that led me to this very moment—not only in my own career, but to this extremely vibrant period of comics journalism. So, without further ado, here’s what I wrote. (And look for the book in all the usual outlets…)

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