Yvan Alagbé's Nègres jaunes - Coda

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1. The page layout as a meaningful device: the triadic rhythm in Jacques Tardi's C'était la guerre des tranchées refers to the French flag (as exemplified here by page 48 in Casterman's graphic novel, 1993);

2. in Jacques Tardi's latest book about WWI (Putain de guerre - fucking war -, Volume 1, Casterman, 2008; with Jean-Pierre Verney) he repeats the same mechanism, but... since Tardi also focuses on foreign soldiers (no problem when representing the Germans because their flag is also tricolor) it doesn't work when he depicts the Brits (the Union Jack isn't); in this particular page (8) soldiers are compared to sheep heading to a slaughterhouse: "Human meat was needed to satisfy the insatiable appetite of our masters! / Meat was needed to feed those who were going to die disemboweled, with their bellies still full of the beasts' smelly warm meat! / Meat was needed, it was unavoidable, because they turned us into slaughterhouse sheep!" - the tone of the text has a Celinian touch (my translation);
3. the series of drawn blank pages in The Cage by Martin Vaughn-James to which the previous double-page spread belongs: as published in La Cage, Les impressions nouvelles, 2006 (unpaginated); translation by Marc Avelot;

4. Yvan Alagbé changes his drawing style abrubtly in the last panel of page 26 of "Nègres jaunes"' second episode (Amok, Le cheval sans tête # 4, January, 1995);

5. Comparing these two panels (the first one published in the serialized version of "Nègres jaunes" - Le cheval sans tête # 5, May, 1995: 38) it's safe to conclude, I guess, that Yvan Alagbé created the subjective, racist, representation of Alain when he decided to redraw the whole story (the second panel was published in the graphic novel of the same title: Amok, 1995); note also how Yvan Alagbé simplified the panel;
6. Claire is "color blind" only when Alain says that he doesn't want to marry her just to get a green card (Le cheval sans tête # 5, Amok, May, 1995: 39);

7. Mario's mother mumbles something unintelligible, but looking at how she obliterates Alain's face, we know what she's saying: Nègres jaunes, Amok, 1995;
8. Mario rambles about how the world should be organized in order to function properly ("[...]each in their place, it all works better like that..." - translation by Ellen Lindner and Stephen Betts); looking at the second panel we have no doubts about Martine's place (Nègres jaunes, Amok, 1995).

Nègres jaunes is unpaginated.

PS I read in a couple of www pages some "outraged" comments (the word is too strong, hence the quotation marks) because I said that "Chris Ware's comics in The ACME Novelty Library # 18 are not mass art." I will not deny that I tend to prefer what's usually not considered mass art, but, in this case, if I remember correctly, I was just underlining the story's focalization in the main character's subjectivism, the story's lack of spectacular actions and Chris Ware's assertive layout style. There's absolutely no value judgment attached whatsoever...

Yvan Alagbé's Nègres jaunes

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I read a lot of essays, reviews, articles about comics over the years... Sadly these still form most of my "to read" pile (I say "sadly" because, time not being stretchable and all... comics criticism expelled poetry, for instance, from my reading habits; yes Lídia, if you're still there, this still happens!). Comics scholars come from a few different fields and I enjoy every approach, but my favorite one is the formalist with a link to content (i. e.: someone who discovers a clever formal device with a communicative purpose that I, in my absent minded reading - or, some would argue, if they cared, my I. Q. impaired condition -, had not noticed).
From the top of my head I remember a few essays of the aforementioned kind by: Jan Baetens (about Hergé's Le secret de la Licorne - The Secret of the Unicorn), Pascal Lefèvre (about Kiriko Nananan's "Kisses"), Thierry Gröensteen (in his book The System of Comics), Joseph Witek (about Dean Haspiel's "91101" and a Brian Biggs' untitled short 9/11 story - even if I don't buy his essentialism entirely), Bruno Lecigne (about "La bascule à Charlot" - the guillotine - by Jacques Tardi, for instance), Pedro Moura (about Dominique Goblet's Souvenir d'une journée parfaite - remembrance of a perfect day)... you know?, the heavy weights!... but also by others that are more obscure critics (like Sylvianne Rémi-Giraud about Fabrice Neaud's Journal). Even so there were three occasions in which I said to myself: wow!, that's impressive! I mean:
1) Jacques Samson, "Stratégies modernes d'énonciation picturale en bande dessinée" (modern strategies of pictorial enunciation in comics) in Bande dessinée récit et modernité (comics, narrative and modernity), Futuropolis, 1988: 117 - 138; in which the author discovers a triadic rhythm in Jacques Tardi's C'etait la Guerre des tranchées ("It Was the War of the Trenches", published in English by Drawn & Quarterly - in Drawn & Quarterly Vol. 2, # 1 - 3, Autumn, 1994 - May, 1995; translation by Kate Sibbald; originally published as a graphic novel by Casterman, 1993, after prepublication in (A Suivre) magazine (to be continued - # 50, 53, 54, 58, 1983, # 181, 185, 189, 1993, and Le trou d'obus - the shell hole - Images d'Epinal, 1984); most of C'était la guerre des tranchées' pages are composed of three equal strips as wide as the hyperframe; Jacques Samson links this layout (and other triadic instances) with the French flag, the tricolor, which symbolizes the values of the French bourgeois revolution (liberty, equality, fraternity): grand words totally subverted in this absurd war (WWI); in the end what really happens in most wars is that poor people die to defend rich peoples' interests (soldiers die to defend the right of their people to be exploited by someone talking their own language?);
2) Marc Avelot, "L'encre blanche" (the white ink) in Bande dessinée récit et modernité (157 - 173) in which the author does a close reading of a blank double-page spread (!) in Martin Vaughn-James' The Cage (Coach House Press, 1975); in a book about how ephemeral and inadequate our communicating devices are, how can the writer/artist be self-referential about the book and the page?; as Marc Avelot pointed out in the aforementioned essay it can be read as a real page - in Saussurian terms a signifier - that's also a fictitious page - a signified); the thing signifies (it stands for) itself: Vaughn-James managed to write with no ink, hence "the white ink" of the essay's title; brilliant!;
3) and more recent: Hugo Frey, ""For All To See": Yvan Alagbé's Nègres jaunes and the Representation of the Contemporary Social Crisis in the Banlieue" in Yale French Studies number 114: Writing and the Image Today, 2008: 116 - 129. Hugo Frey comments that the black people's faces in the book are depicted by thick black brushstrokes when they're with white people (the gaze of the racist who's obsessed by color) and they're just outlined when they're among each other. (I will refine his thought saying that there are degrees of racism and "color blindness" in the book: Mario's mother is the worst racist and Claire - a revealing name -, Alain's girlfriend, is the least racist; even if she dates a black man she's not totally oblivious of his skin color...)
"Nègres jaunes"' (yellow black people) first version was published in Amok's Le cheval sans tête magazine (the headless horse) # 3 - 5 (October, 1994 - May, 1995). It was considerably altered by Yvan Alagbé for the definitive album edition (Amok, October, 1995).
The characters are all a bit lost in Nègres jaunes because they have to adjust to an hostile new culture. Mario is an ex-harki, an Algerian who sided with the French during the Algerian War (1954 - 1962). He's also a very lonely old man who is in denial of his latent homosexual desire for Alain. The latter belongs to a Beninese family who suffer because of a racist society and because they've lost their roots (Sam, the draughtsman, an Alagbé's alter ego?, we don't know that well; he's a very private person, lost among his drawings, lost in his own fantasies). I may be wrong (if one can be wrong when interpreting a polysemic text), but that's how I decode the title: African immigrants living in Europe didn't turn white, but they're not entirely brown anymore, they've been a bit bleached, they're "yellow." No one in the book is more "yellow" than Mario though... He wants desperately to reconnect with Africa, but he can't... Like Adam expelled from paradise after the original sin, Mario can't be a true African again after being a traitor. Traitors, as Dante reminded us, were put on the ninth and last circle of hell... their sin, like Judas Iscariot's, the worst traitor of them all, can't be redeemed... Despised by both sides their exile is absolute because it is an exile from the human race...

Images:
1. Jacques Tardi's "C'était la guerre des tranchées" as the cover of (A Suivre) # 185, June, 1993;
2. Martin Vaughn-James explains in this drawing how to link a The Cage blank double-page spread with the next one in order to interpret the former as a page that signifies itself because it turns out to be an extreme close up of one in a series of drawn pages: Bande dessinée récit et modernité, Futuropolis, 1988: 172.
3. Nègres jaunes' cover: Amok, October 1995; Alain is torn because Claire is his sun, but she's a cold sun ("he dreams of women with wide hips" - translation indicated bellow; all other translations are mine except for Hergé's book title, "It Was the War of the Trenches," "The System of Comics.")

PS Ellen Lindner and Stephen Betts translated Nègres jaunes:

http://comixinflux.com/influx/show/4.pdf

Carlos Roume

The Crib is one year old, but, unfortunately, I'm not in the mood to celebrate because, according to Mariano Chinelli at the Eternautas discussion list, Carlos Roume passed away last week. I'm very sorry because another of the greats has disappeared. I love his work (I think that he's highly underrated - almost no one cared enough to talk about his passing), but I never met him... Now I never will...

Images:
Another great comics artist (a writer: Héctor Germán Oesterheld, I bet...) says goodbye to Carlos Roume when he left Argentina to work for Fleetway in England (Frontera Extra # 11, September, 1959). He says, among other things: "He's going away, but "his" Old Homeland [Oesterheld plays with the title of one of their series: "Patria Vieja"] goes with him. He wants to turn our gaucho themes famous in Europe. We are sure that he will succeed. He has more than enough talent to do it."

It seems to me that Oesterheld was wrong though: as far as I know Carlos Roume never found another writer like him. As many others during most of the 20th century he may very well have wasted his talent doing mediocre genre comics for children...
A more recent portrait of the maestro, found here: http://tinyurl.com/yb96z8b (photo by Rubén Pinella, Tandil, October, 2007).

Rius' Las historietas (Los Agachados # 66) - Coda

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1. Las historietas starts with an highly flawed history of the medium; in this first image Rius almost falls into the temptation of what I call the nationalistic fallacy (he says that the first comic was created in Mexico: it's the codex Borgia: http://tinyurl.com/y8dse9n)...

2. ...but he refrains himself saying that the first comic was published in Germany by Wilhelm Busch: Bilder zur Jobsiade (pictures to illustrate the saga of [Hieronymus] Jobs; my flawed, I'm sure, translation); not only did Rius say that the book was published in 1860 (predating Max und Moritz - 1865; Bilder zur Jobsiade was published in 1872), he also ignored Rodolphe Töpffer (and I must add the disclaimer that I don't believe that Töpffer did the first comic); other names were ignored and facts mistaken;

3. even if Rius liked some American comics (Prince Valiant, for instance) he had a strong dislike of the superhero genre: "With Superman comics began to "degenerate." They became the herald of violence; of collective (and productive) stupidity" / "Be tough with him: he's a poor pinko!!" (my translation as in 4., 5., 6.);

4. "After the superheroes came the supercowboys, the superdetectives, the super-secret agents, the supermonsters... All perfectly and cinematically executed.. In a veiled or openly biased intention against Blacks, Latinos, Yellow or Red people." / "We White people are the only goodies!" / "In all American comics the hero is always white.. and the baddies are always Blacks, Mexicans, Chinese, Russians, Cubans [are these red?, ed.], or Redskins.. (When they're not baddies they're idiots or lazy)."

5. I'm no expert in comics from the former communist countries, but we seem to have to believe Rius' word when he sez that great comics were produced in Czechoslovakia, Poland, et al!... I agree with more than one of his criticisms (as you can guess reading The Crib), but this manichean belief that everything was bad in Capitalist countries (and Rius doesn't say that, mind... as I said before he states his fondness for a few American comic strip series) and everything was great in the so-called communist countries is far from an intelligent and critical position...
6. Rius also wrote in Las historietas about Mexican comics; he's critical of them because either they're imported from Gringo country or they're done in Mexico copying Gringo's ways; "In the same way as fumettis [telenovelas] Mexican comics serve the publishers' only interest" / "To sell." / "And what sells? What's gruesome, vulgar, what gives people violence, sadism, "love," false values, fantastic adventures, in a word..As Mr. Bertrand Russell (R.I.P.) put it: Opium of the best quality!"

Rius' Las historietas (Los Agachados # 66)

Eduardo del Rio (aka Rius) is a left wing Mexican political cartoonist who edited two comic book series: Los supermachos [the supermachos - one hundred issues: 1964 - 1967 - in Spanish: http://supermachos.toliro.com/] and Los agachados [the stooped ones - two hundred and ninety two issues: 1968 - 1977: Bob Agnew's translation, here: http://tinyurl.com/p2dsh8 (I also saw this title translated as "the underdogs")].

"Las historietas: El método más barato para embrutecerse... (o cultivarse... según...)" [comics: the cheapest way to stultify oneself... (or to cultivate oneself... it depends...) - my translation] is issue # 66 of Rius' Los agachados. It was published on april, 4, 1971, by Editorial Posada. In the first page of the comic book Rius wrote: "Historieta hecha por la tribú Rius © 1969." This suggests that Rius wasn't the only person involved in the creation of this essay in comics form.

Cultural studies is a discipline that started in England by the hand of Richard Hoggart during the fifties. Even if it mostly relies on almost the opposite view now (mainly because of theories developed around Bowling Green University in the United States), Hoggart "lament[ed] the loss of an authentic popular culture and [...] denounc[ed] the imposition of mass culture by the culture industries." (As we can read in his wiki entry: http://en.wikipedia.org/wiki/Richard_Hoggart). The previous decade Dwight MacDonald expressed the same ideas in his mag Politics (there's also the Frankfurt School, Max Horkheimer and Theodor Adorno: http://tinyurl.com/oqxtqk). Rius follows these views, but he was a comics artist so, he has to see some good in comics too (ditto Umberto Eco, more or less around the same time). What he denounces are the violence and stupidity of some comics made in U.S.A. (superhero comics, mainly; in France he denounces the cheap use of sexploitation), the greediness of publishers and the stupidity of the audiences: "Mientras peor es la pelicula. Más larga es la cola..." (the worst the film is, the longer the line to attend it - my translation).

Anne Rubenstein's Bad language, naked ladies, and other threats to the nation [about Mexican comics]: http://tinyurl.com/qb4ft8

Image:

Los Agachados # 66 (cover, April, 4, 1971). Alley Oop, a caveman (!), is at the helm of the comics ship.

PS The Crib is on a hiatus, but I hope to return to work in September (in almost a year I did only half of what I intend to do with it).

Martin Vaughn-James

This is the stuff life is made of, I guess... I'm sometimes happy at The Crib for receiving a brilliant original page (like that Carlos Roume one, just the other day)... sometimes, like today, I'm very sad because another artist in my canon passed away. Tom Spurgeon at The Comics Reporter announced the passing of Martin Vaughn-James: http://www.comicsreporter.com/index.php/martin_vaughn_james_1943_2009/
This is a text that I wrote for the Summer, 2004, issue of Indy Magazine online (by the way: many thanks to Bill Kartalopoulos for being such a great editor at a time in which I had a bit of a writer's block): http://www.indyworld.com/indy/summer_2004/isabelinho_cage/
What can I say more, but thanks Martin?!... I'll never forget you!...

Images:
Martin Vaughn-James' The Cage's cover (Coach House Press, 1975; a little strip is missing at the bottom); Martin's inscription in my copy of The Cage: For Domingos, in Lisbon, city of dreams..

Repros - Coda

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1. a Prince Valiant (by Hal Foster) panel as published in a Portuguese edition (Príncipe Valente, volume 1, Editorial Presença [presence publishing house], 1972); what a mess!... (and, yes, in case you're wondering: the panel was published crooked as shown);

2. when I first saw my good friend Manuel Caldas' Príncipe Valente edition (Livros de Papel [paper books], 2005) I thought: I've been disrespected by publishers who were selling comics in about the same way as they very well could be selling potatoes (and they would sell rotten potatoes if people were dumb enough to buy them: are comics readers somewhat less bright than potato buyers?, I guess so...); if you like Hal Foster's art (or Warren Tufts') do yourself a favor and buy Manuel's editions in Spanish and Portuguese (http://www.manuelcaldas.com/) or in English (http://tinyurl.com/l8qcxr; http://tinyurl.com/l252ck: scroll down a bit, please...); these are labors of love; (only now, after all these years, did I notice that Hal Foster used aerial perspective in this spectacular image!, thanks Manel!);

3. a Winsor McCay self-portrait as published in Winsor McCay Early Works Volume VIII (Checker Books, 2006); nothing excuses such bad resolution and such bad design and production values!;

4. the same drawing as published in John Canemaker's Winsor McCay His life and Art (Abbeville Press, 1987); it's not Manuel Caldas repro quality, but, at least, it's a decent one;

5. this is a messy edition of Héctor Germán Oesterherld's and Alberto Breccia's Mort Cinder (Colihue, 1997); the repro quality is not the only problem: notice how a balloon content mysteriously disappeared in panel four;

6. the same page as in # 5. above as published in the excellent Italian edition: Mort Cinder, Sacrificio alla luna, L. F. Bona Editori, 1977; the repro is so good that it maintains an original art feel;

7. the last panel of an absolute comics masterpiece: "Un tenente tedesco" [A German Lieutenant] by Héctor Germán Oesterheld and Hugo Pratt (Mondadori, 1976 - one of two pirate editions; the other one was by Ivaldi); not only was the panel published crooked as shown, it also lost almost all the washes (the lines aren't that greatly reproduced either);

8. the same panel as originally published in Hora Cero (monthly) # 3 (July, 1957); no comments needed... (the original title of the story is "Un teniente alemán..."; as an aside: I can't understand why the Laconia became the Lacinia either?, it's not even a case of laconism...);

9. people blame technology sometimes (or the lack of it) for bad repro, but how can a body explain this superlative color edition of Flash Gordon done back in 1980!?, Flash Gordon, Le peuple de la mer (Slatkine B. D.); the only thing that I know is that the book was printed in Switzerland; if anyone can give me more details I will be much obliged...