So long as we’re on the subject of disillusionment and satire, I bring to your attention an upcoming event at Columbia University: a celebration of the great comic book Weirdo, published by Last Gasp Comics from 1981 to 1993 and created by Robert Crumb. Crumb and his co-editors Aline Kominsky-Crumb and Peter Bagge, along with long-time Weirdo contributor Drew Friedman (who drew the book’s cover art and wrote its foreword), will join Jon B. Cooke, the editor of The Book of Weirdo, at Columbia’s Butler Library on Monday, October 28, at 6:00 p.m. for a panel discussion and reception. You can register for the event here.
Along with Art Spiegelman and Francoise Mouly’s more high-toned and expensive Raw (in which early chapters of Spiegelman’s Maus first appeared), Weirdo constituted something of a high point in alternative comics. Unlike Raw, however, which in many ways considered the magazine itself an art object, Weirdo was unashamedly outsider — a rougher, more scurrilous, grown-up version of MAD magazine in more ways than one. Drawing its contributor base from both long-established and new underground comics artists, Weirdo resembled neither Raw nor Crumb’s earlier Zap Comix comics publication as much as it did the MAD of the Harvey Kurtzman era. Its glossy covers featured the only color in the otherwise black-and-white and grayscale production, and even its trim size resembled MAD‘s more than Raw or Zap (slightly larger than the DC and Marvel comic books, not nearly as large as the tabloid-sized Raw). Weirdo was the scabrous, downtown punk to Raw‘s cooler, uptown MoMA gentility; Crumb was also responsible for disseminating the revolutionary comics work of women like Kominsky-Crumb, Dori Seda, and Julie Doucet, themselves outsiders from the outsider-comix scene.
Mark Twain and other Southwestern humorists like Petroleum V. Nasby subverted the popular culture vehicles of the newspaper column and the novel to their own satiric ends; Weirdo and MAD did the same for the popular culture vehicles of the comic book and comic strip. Most of the Weirdo artists expressed a seething Swiftian anger and contempt towards the America of the Reagan era, as Twain did for the America of the post-Civil War era, and the best of this work shades into a comic (in both senses of the word) misanthropy, the deliberate artfulness (and, in some cases, artlessness) of the work paradoxically exhibiting the joy of unbridled, uncensored personal expression.
I understand that the Columbia University event is currently overbooked, but a waiting list has been started. With luck (your luck, not mine; I’ve already confirmed), I’ll see you there. In the meantime, The Book of Weirdo is now available from Last Gasp Comics. Crumb’s own contributions to the magazine have been collected in a separate volume, The Weirdo Years: 1981-’93.