Go read about - Bill Mantlo...

Bill Coffin writes an impassioned article on Bill Mantlo, who was a prolific writer for Marvel Comics in the 70s and 80s. Following a tragic accident, Mantlo lost most of his motor functions and suffered at the hands of a deeply flawed health insurance industry. I found it a really moving piece.

Read the entire story here.

Orgone Accumulation – The Elijah J. Brubaker interview

Elijah J. Brubaker is a talented cartoonist who first came to my attention via the ever reliable Sparkplug Comics. To date, Sparkplug have published eight issues of his biographical series 'Reich', which follows the life and work of the radical psychiatrist and psychoanalyst Wilhelm Reich, as depicted by Brubaker's spare, elegant artwork.

Reich's scope spans both decades and continents; from pre war German liberalism to the post war conformity of Eisenhower’s America; following Reich’s controversial work within its strictures. It's a gripping comic that deserves a wider readership. Elijah kindly took the time to answer some questions about himself and his work, revealing a great deal about both in the process.

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Exquisite Things: How long have you been working as a cartoonist?

Elijah: Like most cartoonists, I've been doing it my whole life. It's hard to define a place when you jump from someone who likes to write and draw in your sketchbook to that of a working cartoonist. The job generally pays about the same either way, so you can't use that as a marker.

I guess I've gone through steps as a cartoonist, and they're slow steps too. When I bought my first hardbound sketchbook, that was one step as a cartoonist. Hell, switching from crayon to pen was a step. There are so many steps that lead you to what you are. I think the sketchbook thing was my first real conscious effort to become a cartoonist: that was somewhere around 1992. A few years later my sister helped me print a huge print-run of an embarrassing comic. It was awful, but I was so proud at the time.

It really wasn't until recently though, that I think my skill and my ambition are creeping close enough that I can call myself a cartoonist. I have no education at all so it's taken me a long time to hone my skills, even to the rough level they are now. I'm sure in another twenty years I'll produce a good comic. Right now though, it's all study and practice.

Exquisite Things: How did you first become interested in comics? Was it something you had always wanted to pursue?

Elijah: Yes, always. Kids draw comics naturally. It's just an efficient way of communicating. If you don't know a word for something, you can draw a picture of it. If you draw a picture of a cat and no one knows what it is, you put a label on it that reads "cat." Growing up though, you realize that Marshal McLuhan was wrong and the medium isn't the message. You begin to look for stories to tell with your chosen form. Like most American kids my age, I read superhero books. For a time I imitated the stories I was reading and I thought I could draw superheroes and action/adventure.

I read underground stuff too because my mom was a hippy and there was always some “Freak Brothers” laying around. I was too young to get the jokes but I liked the drawings. So my earliest stories were a bizarre amalgam of underground and mainstream comics. Eventually I became interested in drugs and girls so my comics meandered firmly over to the underground camp and pitched a tent there for years.

Exquisite Things: What other comics/stories have you produced besides 'Reich'?

Elijah: I did a few zines and minicomics in small runs before I started drawing 'Reich'. I was part of a group of cartoonists in Seattle that put out an anthology called “Moxie” for a couple of issues. I had a piece in Robyn Chapman and Kelli Nelson's true porn anthology. It was all good practice but looking back at that stuff makes me cringe.

Around the same time Sparkplug picked up 'Reich', I was contacted by Greg Means of Tugboat press and offered a spot in the “Papercutter” anthology. I had twenty-something pages in “Papercutter” #3. That and 'Reich' are the two stories I can point to and say "look, I'm a cartoonist". Since then I've put short work in a few places like Portland's “Stumptown Underground” zine and I've been putting out issues of my minicomic “Blue Moon”. I just printed issue 5 after a few years away from it.

Exquisite Things: Why a biographical comic about Wilhelm Reich? What was it that drew you to Reich as a topic?

Elijah: I had this ridiculous notion that doing a biography would be easier in some way. I'm generally more confident with my writing than my drawing ability, so I wanted to constrain my writing to non-fiction so I could focus on the drawing more. I chose Reich as a subject because he was semi-obscure.

There was enough written about him in English that I could do the research but most people haven't heard of the guy. I didn't want to cover a subject that was well-trod. It always bothers me when comics are used as a gimmick to get stupid people to read. "Look kids, a biography of President Taft, but it's a comic so you don't have to think as much." I felt like my book might fall into that trap if I covered a more well-known figure. And of course, the most important criteria I had was, the story had to be interesting. I'm one of those jerks that thinks everyone's lives are interesting in some way but I really wanted a subject with some meat on it. Reich's story has all these twists and turns and intrigue and madness and science and hokum, all the stuff I love.


I've been interested in Reich since I was a kid but it was a pretty superficial interest. I read something by William Burroughs where he spoke of the Orgone accumulator. Burroughs had a knack for writing about everything with the same acid-tongue prose, it's difficult to parse the truth from fantasy. At first I assumed that a mad scientist creating an "orgasm machine" was something Burroughs had created from his subconscious. I did a little more research, learned the cursory story of Reich and left it at that.

It's a romantic notion that a man can be so sexually liberated that he winds up in jail for it. It's the kind of story that is good to have in your mind as a teenager. The story of Reich kicked around in my brain alongside Jean Genet, De Sade, Henry Miller, Anne Sexton, Kathy Acker etc. Yeah, that's the kind of kid I was. Eventually I began to read more and more about Reich and the less romanticized parts of his story began to hold sway with me. I began to see Reich as a person and less a set of ideals.


Exquisite Things: How much time did you spend doing background research? Having attempted to find information about Wilhelm and Peter Reich myself, I know it's a somewhat daunting task. Were there any significant barriers to finding what you needed?

Elijah: I've read most of the material on Reich available in English. The biggest barrier I had in my research was the language barrier. I know a little German and Google translator helps sometimes but there's a lot of Reich's untranslated writing I haven't read.

I did read through Reich's entire FBI file which was pretty much a wash. It's no longer available through fbi.gov but I think you can find it elsewhere. I've read every article and book I could dig up about Reich or his work within his lifetime. I have very little interest in the people that are continuing his work. There are a lot of Reichians out there and their work is interesting, but my focus is Reich as a person, and current Reichian techniques don't help me understand that part of him.

You mention Peter Reich, whose book “A Book of Dreams” is probably the most emotionally wrenching account of the Reich story. It's the only book in my research that I would recommend to a casual reader. I've tried to learn more about Peter Reich but there's very little information available on the internet about him.


Exquisite Things: Were there any particular biographical comics that you looked to for inspiration?

Elijah: I credit Chester Brown's 'Louis Riel' book in the first issue of 'Reich' but I really regret doing so. Not that the book wasn't an inspiration to me, but I don't think the two books have very much in common. I read a recent review of 'Reich' and the critic said something about how Brown's influence is still evident. It's a small thing and I should take the comparison as a compliment but 'Reich' is absolutely nothing like 'Louis Riel'.

They are both biographies with notation, I use a six panel grid in some of the book and my issues are 24 pages long, those are the things our books have in common. This is off topic but I sort of regret putting the notes in the back too. I sometimes hear 'Reich' referred to as historical fiction because of the way I diverge from the accepted facts but most people wouldn't see that divergence if I hadn't put those notes in the back, pointing it out. Anyway, that's my rant against lazy critics not my answer to your question.


The other, obvious influence on 'Reich' is 'Epileptic' and 'Babel' by David B. Again, the books are very different in most ways but his enthusiasm for drawing really took hold of me and influenced certain ways I told the story. There are some panels in Reich, especially early on, where the drawings closely resemble David B. I will probably be redrawing those panels if and when the book is collected. There are a few panels where I appropriate another artist’s work to make a point and I felt the David B panels were in that vein but now, I think it was a mistake.

Not really a biography and not obvious at all as an influence was 'Boulevard of Broken Dreams' by Kim Deitch. That book is amazing and really under-appreciated, I think. Everything Deitch does is reallygood, he's a master.

Exquisite Things: What advantages do you feel the comics medium offers over a normal prose biography in telling Reich's life story?

Elijah: I don’t think comics are better or worse suited to telling the type of story I have to tell. I don't play with the medium in any formal way. Comics are just my chosen form of expression usually. Whenever I write anything, a story, a blog post, a grocery list, I always think "this would be better as a comic."

I'm not sure why I feel that way. Comics just seem more rich and fruitful to me. I do think my book has an advantage as a biography because it's a novelty still, in comics to do something like that. It's also a novelty in that, if I wrote a prose biography of Reich, it would be lost pretty easily among the other books about him.

Originally I thought Reich's story would be perfect for comics because there are so many aspects to his life that would just be a blast to draw. There's post Weimar era Germany and Nazis and sex and riots. Sigmund Freud is a great image all by himself. There's space-guns and flying saucers and atom bombs and all this great shit. Eventually though, I kind of scaled it all back in order to keep the story even-keeled. I didn't want the character of Reich to get lost in all the wild imagery. Even when I get to draw UFOs, I'm pretty reserved about it.


Exquisite Things: What has pleased you most about the comic so far? And what do you hope to achieve with the issues that remain?

Elijah: I'm generally very happy with the way the book has come out. I'm sure there are Reichians out there that would disagree, but I think I show a pretty even-handed view of Reich's life. In upcoming issues where I deal with some of the more controversial aspects of his work I think I maintain a sympathetic approach to Reich. On a personal level this book has taught me so much.

I think I'm a better cartoonist now than when I began. I have a more nuanced and thorough understanding of certain areas of history. The creation of this book has been a huge learning process. What I hope to achieve with the rest of the issues is just to tell the story in a fulfilling way. I hope the people that have been along for the ride won't be disappointed. Anyone out there can find out the events of Reich's life by reading a wikipedia article but I hope the way I tell Reich's story has more meat to it. I hope people can connect to it and to Reich on some emotional level.

We’ll see.

Interview by Kevin McCaighy.

Quick Links:

Elijah J. Brubaker's Blog
Sparkplug Comics

Romance is Dead - Chester Brown's 'Paying for it'

Chester Brown’s latest graphic memoir ‘Paying for it’ was originally meant to be titled ‘I pay for sex’. A blunt declaration of intent if there ever was one, and whilst I understand the business sense in softening the title somewhat; I think the original does a far better job of conveying the confessional nature of the book. Sure, it might have offended a small minority of the book buying public, but it would have better prepared them for the unflinchingly honest account of paying for sex that lies within.

The opening pages set the scene, with Brown and his long term girlfriend Sook-Yin cordially ending their relationship. Seemingly unfazed by the arrival of her new boyfriend, Brown continues to live in their shared flat. He overhears the new couple having sex, listens in on their petty arguments, but feels not a twinge of jealously. Upon discussing the situation with friends, he concludes that he’s far happier being friends with Sook-Yin than he ever was when they were lovers. Applying this same logic to his past relationships he postulates that romantic love brings out the worst in people, commenting to an ex-girlfriend that she’d seen him at his “meanest and pettiest” when they were dating.


And so, it’s with a strange emotional detachment that Brown decides he’s had enough of romantic love. He rationally dismisses the concept as a socially enforced norm that does more harm than good. Upon reflection, he finds that the only thing he misses about having a girlfriend is sex. As time passes, Brown wrestles with two competing desires; the desire to have sex versus the desire to not have a girlfriend. The unfortunate truth of the matter is that he lacks the social skills to pick up girls for casual sex. His timid, thoughtful persona does not lend itself well to trawling clubs for sexual partners. With limited options, and an unshakable aversion to romantic love, Brown decides the only feasible way to satisfy his sexual needs is to pay for sex.

After two years of conflicted internal debate he finally takes the plunge and goes in search of his first ‘paid for’ sexual experience. Hereafter, the book unfolds like a diary; with one chapter dedicated to each prostitute Brown sees between 1999 and 2010. What may come as a surprise to most readers is that there’s nothing remotely erotic about 'Paying for it'. Right from the go get, it’s clear that Brown intends to engage your brain, not your nether regions. By keeping his art detailed yet cartoonish, he achieves a degree of objective distance. This in turn gives the impression that you’re viewing some kind of elaborate social experiment, as seen through the framed windows of the artist’s panels. 'Paying for it' can seem cold and distant at times, but it's a necessary evil in order to maintain the level of anonymity required by Brown's sexual partners.


In many ways, 'Paying for it' bears an uncanny resemblance to Brown’s earlier comic memoir ‘The Playboy’, which examined similar themes of sexual desire. The big difference is that Brown is no longer dabbling in adolescent obsessions with porn magazines. Unlike ‘The Playboy’ there’s no guilt or awkwardness, but rather a mature realisation that he’s grappling with significantly larger social issues. It’s a big jump, and a very brave one at that, especially given the strength of opinion around his chosen subject matter. To see it depicted in such frank and open terms is disarming, educational and on occasion even amusing.

What really caught me off guard was Brown’s thoughtful and considerate nature. Despite his coldly logical rants and wholesale dismissal of romantic love, there’s a sensitive side to his character that comes through in his actions. This is exemplified by the level of respect he shows the girls he sees, making excuses when he can’t go through with sex in order to avoid denting their confidence. Each prostitute sets clear boundaries, which he adheres to stringently. These may seem like small concessions, but they do much to reveal a kinder, more complex sexual interplay that's all but ignored by the media.

One thing ‘Paying for it’ does exceedingly well is dispel the clichéd image of prostitution peddled by the gutter press and the Christian right. Being privy to the little details makes all the difference, especially the transitory yet affectionate friendships that unfold between Brown and his partners. His memoirs put a human face on things, and the picture that begins to emerge is of a cross section of women who have chosen their profession, who are well paid and respect themselves. It also becomes increasingly apparent that the average ‘john’ isn’t the misogynistic drunk we might think him to be. From these experiences Brown begins to form a well reasoned pro-decriminalisation stance that develops alongside his radical re-definition of sexual relations.


Much of the debate for and against prostitution takes place between Brown and his close friends, Joe Matt and Seth. Their informal chats form the stage upon which many of the book’s more salient points are made. What I found particularly amusingly was Joe Matt’s indignation and disgust at Brown seeing prostitutes. For those of you who haven’t read Joe Matt’s equally self-effacing comics, it's worth noting that he spends much of his time obsessing over porn films. Double standards? Oh yes, absolutely, but it’s all fuel for the fire. Even though the three friends rarely seem to agree on anything, they do provide the perfect sounding board for Brown to voice his opinions in detail.

In renouncing the shackles of romantic love, Brown argues that paying for sex is essentially no different to the emotional ownership and trade-offs that occur in a romantic relationship. In a further refinement of his argument, he clarifies that he’s against what he terms 'possessive monogamy'. As the book draws to a close, Brown finds himself in an ongoing 'relationship' with just one woman. They don’t see other people but cash still changes hands for sex. A financial transaction still takes place, but it’s a transaction they’re both comfortable with. For Brown, their relationship avoids the all the pitfalls of romantic love; there's no implied ownership, instead a clear cut economic arrangement. Brown's overbearing ideal of romantic love is left out in the cold, but to the keen observer it’s obvious that their relationship skirts dangerously close to the very conventions he's trying so hard to escape.


Even if you don’t particularly agree with the viewpoints laid out in ‘Paying for it’, it still makes for fascinating reading. Those with a bone to pick can always refer to the exhaustive appendices at the back of the book, which cover practically every conceivable angle and counter argument you might care to come up with.

Even if the sexual exploits of a balding forty-something cartoonist aren’t high on your 'to read' list, I’d none the less urge you to take a look at this engaging discourse on romantic love vs. prostitution. ‘Paying for it’ is an eye opening tell all with very little held back. Regardless of where you stand on prostitution, you’ll be left with plenty to chew on by the time you’re done reading this.

Review by Matthew Dick.

Quick Links:

Drawn & Quarterly's Chester Brown page

RIP Dylan Williams

I'm deeply saddened this morning to learn that Dylan Williams has passed away after his battle with cancer. I didn't know Dylan personally, but through his work as an independent comics publisher and cartoonist.

And what beautiful work it was... a world of urgent, honest art given a voice thanks to what Dylan achieved with Sparkplug Comics. His DIY attitude and selfless approach to publishing was inspiring and his generosity was instrumental in getting Exquisite Things off the ground. He sent us package after package stuffed with the most amazing comics, and never asked for a thing in return.

My thoughts go out to his close friends and family. He will be sorely missed.

Dylan Williams of Sparkplug Comics needs your support!

As many of you may already be aware, Dylan Williams who runs Sparkplug Comics has fallen quite seriously ill. Unlike the UK, where we have a free state provided health care system, Dylan is based in the USA and will have to pay medical bills. He's but a humble cartoonist and underground comics publisher, and could really use your support. Lucky for you, you can do this by buying comics directly from Sparkplug.

Why should you care? Well, Sparkplug are one of the finest examples of an underground publisher doing what they do for all the right reasons. Dylan isn't out to make buckets of cash, or publish fancy tomes for your coffee table; he's far more concerned with publishing comics that push honest self expression. If ever there was someone doing it out of pure love of the medium, it's Dylan.

I'd like to urge you to please go buy some comics from Sparkplug, even if you buy just one thing it'll be a massive help. I've made a quick 'Top 5 personal favourites' list with links to reviews of the books we've featured. All of the below are absolutely essential for any discerning comic book fan and can be purchased from Sparkplug Comics here.

1. Inkweed by Chris Wright

What we said: "Haunting multi-layered stories, laced with gothic overtones and visual symbolism".

2. Eschew (1-2) by Robert Sergel

What we said: "The beauty of Sergel's work lies in its careful use of layout and timing; in its formalisation of the everyday, transforming the mundane into a series of taught parallel lines and carefully crafted geometric forms".

3. The Heavy Hand by Chris C Cilla

What we said: "The Heavy Hand embraces a skewed feverish dream logic, spewing forth puzzle pieces that point towards some unfathomable truth just beyond the reader's grasp".

4. Reich (1-8) by Elijah Brubaker

What we said: "Elijah J. Brubaker’s elegant and investigative biography of the notorious Austrian psychoanalyst Wilhelm Reich".

5. Asthma by John Hanckiewicz

What we said: Well, not an awful lot, but the buzz around this book has been incredible. I'm off to pick up a copy myself. Right now...