‘Maus’ author visits Puyallup

SPIEGELMAN

Editor’s note: On Thursday, March 4, Art Spiegelman made a special appearance at the Liberty Theater in Puyallup as part of Pierce College Puyallup’s Student Programs, and with him brought an entertainingly educational lecture regarding the history of comics, and where he felt they were going in the future. Tacoma Weekly staff writer Dawn Quinn had the opportunity to sit down the prolific graphic novelist to ask him a few questions before his lecture.

Dawn Quinn: Hello Mr. Spiegelman. Thank you so much for taking the time to speak to me.

Art Spiegelman: Hello Dawn, and you’re welcome!

DQ: I’ll just get started on my questions before you head to speak. What are your feelings about how comics are perceived and readily accepted and celebrated today versus the way they were shunned in the past, when you first began drawing them?

AS: I’m going to cover that in my talk, [Writer’s note: Mr. Spiegelman later said the following in the talk regarding comics and their acceptance today: “For the first time ever, comics have a history, and graphic novels too. You have set of ‘Complete Peanuts’ and ‘Little Orphan Annie’ coming out. Artists have a sense of what came before now, and can build on that history. Artists are working off their precursors. Also, while the internet is not replacing print, it’s still allowing beautiful covers and books to be made. Comics require physicality, they are a physical object and people are aware of it. Most people on the web are trying to pretend to work in paper to monetize. What parts will be important in 20 years in terms of what’s related to comics will be built on the achievements of those who keep reinventing.”] I came out just for this occasion to talk. I do it about six times a year and it has to do with my needing to get out of the house.

DQ: You’ve taught at the University of California, Santa Cruz and the School of Visual Arts in New York, correct?

AS: Yes, and Columbia. The thing about it is teaching is so consuming, that I just can’t do that and do comics.

DQ: Were you surprised by the recent surge in the popularity of comics, or did you know that it was only a matter of time until they were revered this way?

AS: It’s a “be careful what you wish for” situation. I think that’s how it happened. And now there’s so much out there I can’t keep up with it.

DQ: What do you feel was the impetus or cause of the tipping point in favor of comics?

AS: I’m going to feel stupid for saying this, but I think it’s me. There are certain things I didn’t expect. “Maus” winning a Pulitzer Prize helped, it was kind of like a crossover hit…even 10 years ago, despite Maus’ success this didn’t seem like a given. It used to be that comics weren’t accepted, but now things have turned so that in a bookstore bibles are in the red zone, and comics are in the blue zone.

DQ: Who are some of your favorite comic artists out right now? You’ve made mention of how you’re a fan of Seth and Chris Ware in previous interviews, but I’m wondering who else you’re reading.

AS: Dan Clowes, these aren’t by age but are artists, Charles Burns, Lynda Barry, Kim Deitch, Jason. It’s like I’m looking at them through the lens of a maker. He (Jason) has an approach all his own and is so deadpan. I’ve also recently read “Asterios Polyp” and love Robert Crumb, that guy is going places, (laughs). Rotu Modan, there’s a lot, so much going on. It’s mushroomed to the point where I can’t keep up. Oh, Joe Sacco’s newest book “Footnotes in Gaza” was great. He nailed it, and really got it right.

DQ: Can you sum up the thesis of your talk tonight, for someone who’s not here? And also discuss what you feel is the future of comics?

AS: This is the golden age of the graphic novel and of comics reprinting. I think a way to sum it up is “the future is in the past.” Reprinting of Walt Kelly’s work, Fletcher Hanks and more is what’s happening now. We used to go to flea markets and the comics would be all whacked up but it was exciting. But now, you want it, and it’s there. The problem with it is, as Frank Young said, “If you don’t fight for it, you don’t appreciate it.” It’s different when you fight to find it. It’s like there’s a comics ADD going on. It’s a ritual to devote yourself to the task of hunting down comics and trading with friends.

DQ: What is your next project or projects that you’re currently working on?

AS: Well, I’m not working on another long graphic novel. Marketing and audience have been a reinforcement but great novels take 5-10 years, and it’s not easy. The alternative is a few, small stories and I’d much rather have eight good pages than 150 bad. So I’m working on a bunch of short stories. I’m also working with Pilobolus, an avant garde dance company in New York with shadows, and the dancers climb on each other, in obscene ways, (laughs). We’re making a 25-30 minute piece using drawing and animation, and it will be done and out in July. I’m also working on “Meta Maus,” a celebration of the 25th anniversary of the first printing of “Maus.” It should be out in 2011. My wife Francoise and I are working on a publication called Toon Books. We never did it to create a goldmine, but we’re using comics to teach kids to read…One of the books has already received a Theodor Seuss Geisel Honor Book Award, and the others have won awards as well. And I’m also helping to write an essay for a collection of an old woodcut comic artist from the 1920s and ‘30s, Lynd Ward, being put out as the first collection of a picture book/graphic novel by the Library of America.

DQ: You’re definitely up to a lot these days, which is wonderful to hear. Good luck, and thank you again for your time.

AS: Thank you.

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