Anke Feuchtenberger's Somnambule

Anke Feuchtenberger is a German graphic designer and comics artist. In a recent interview by Mark Nevins (European Comic Art, Volume 2, # 1, Liverpool University Press: 65 - 82) she talked about her influences (67, 68): "Well, I grew up in East Berlin, in a house full of art books. My father was a graphic designer, and my mother was an art teacher. So rather than children's books, I spent a lot of time looking at art books. These were strange books for a five-year-old girl, things like the posters of John Heartfield, books about Käthe Kollwitz and Rodolphe Töpffer, and collections of paintings from the Italian Renaissance. My father had a lot of catalogues from the 'Poster Biennales' in Warsaw and Finland, and I loved to look at those posters. I also really liked the work of some of the Renaissance painters, especially Matthias Gruenewald [sic] and Hieronymus Bosch. Those images filled my imagination every day. [...] One of my early very serious experiences with art came when I was 15 years old. I got up all my courage and visited a female painter I adored, and I showed her my drawings. Her name is Nuria Quevedo [http://www.galerie-berliner-graphikpresse.de/?page_id=153]. She's Spanish, and was in exile in East Germany." Anke Feuchtenberger also says, in the same interview, that she doesn't like Picasso's work. That's strange though: Nuria Quevedo's influence is easily traceable in Feuchtenberger's style, and Picasso's influence is also easily traceable in Quevedo's paintings. Quevedo did serious caricatures like, for instance, Chago Armada. I wonder if that's one of the usual features in Second World graphic artists. Maybe José Alaniz's book on Komics (comics from Russia: http://www.upress.state.ms.us/books/1199) will talk a bit about the subject. I also wonder who started doing that? My bet is Pablo Picasso, but I could be wrong (George Grosz and Saul Steinberg are other possibilities and Paul Klee and William Steig come to mind... but maybe Gus Bofa is the real name to cite here; I guess that an historical investigation is in order...). Anyway... there's a thin line between caricature and expressionism... It would be very difficult to determine which expressionist drawing is no longer expressionist, but a "serious" caricature and vice-versa... Besides, who can say for sure if William Steig's lonely ones (Duell, Sloan & Pearce, 1942: http://tinyurl.com/ygcwhln ), for instance, are funny or "serious," or both?...
Talking about one of her most famous books, with Katrin de Vries (Die Hure H, Jochen Enterprises, 1996; W the Whore, Bries, 2001), Anke Feuchtenberger seems to confirm the idea that her work may be labeled "feminist" (ditto: 81): "Her name [Die Hure H] should create fantasies about danger, pleasure, sexuality, and so on. We used the character as a door which opens up wide possibilities for thinking about the female body, the history of the female body, and the opportunities for a woman in society [...]."

The "message" in "Die see jungfrau" (the young woman from the sea, according to my translation: published in Die kleine Dame - the little lady -, Jochen Enterprises, 1997), a story also written by Katrin de Vries (and inspired by Hans Christian Andersen's "Den lille havfrue," the little mermaid, published in Eventyr, fortalte for Børn, fairy tales told for children: C. A. Reitzel, 1837), focuses on the politics of the female body. Unfortunately I don't speak German, but it seems to me that the young woman from the sea refuses her identity and wants to be a normal (or should I say: standardized) woman. In order to become one she doesn't hesitate to bleed to death because she cuts her fish tail in two.
Anke Feuchtenberger's Somnambule (an almost wordless book, by the way; Jochen Enterprises, 1998) goes the other way around destroying the simplistic feminist labeling... Here we can find one of Feuchtenberger's more recognizable visual metonymies: the detached (flying) head (strangely enough this is the second time that this metonymy appears at The Crib: the first one it belonged to - with some differences nonetheless - Edmond Baudoin). In "Gewächs haus," the greenhouse (a story inspired by Katrin de Vries), a man is the victim because, even if he tries to fly away using his propeller head, he can't do it. Two women keep him captive shaping him in their way, planting him, really (hence the title).

These stories are about power and domination, about killing what one loves (it's the mystery of the vowels again: another link to Edmond Baudoin: cf. my post about him). To confirm everything that I said so far you may read/see "Blind Schleich song," something like "blind creep song," acording to an internet translator (a story that's part of Somnambule), here: http://www.feuchtenbergerowa.de/gal.htm (a male human caterpillar tries to flee using his head propeller, but the human female bunny character doesn't let it; the caterpillar's head detaches itself from the body functioning as the moon, or a night light; in order to read this story you just have to think about the caterpillar as a stage before a metamorphosis occurs - the body turns into a butterfly - and a head detaching from the body as a sign that the latter can be imprisoned - in this case: prevented from growing up -, but our imagination can't be contained; even so, the head loves the bunny because it stays with it nonetheless).

It downs on me now that this post should have been called something like: Anke Feuchtenberger's and Katrin de Vries' beautiful stories... The latter isn't really the author of Somnambule, but she greatly influenced Anke Feuchtenberger's work during the mid to late nineties.

She also deserves to be in The Crib's canon.

Anke Feuchtenberger's site: http://www.feuchtenbergerowa.de/

Anke Feuchtenberger's and Stefano Ricci's boutique publishing house: http://www.mamiverlag.de/

A bio: http://www.goethe.de/kue/lit/prj/com/cav/cpf/enindex.htm

Images:

Somnambule's wraparound cover cut in two halves like the see jungfrau's tail (Jochen Enterprises, 1998): our old selves are falling behind us all the time while new ones are born...

PS Feminists are, to me, the best critics of mainstream comics writing today. This happens because, being mostly male, other critics overlook misogynous messages and buy every stupid fantasy that passes for art in mainstream comics. That said I strongly endorse a visit to this particular post ("Bingo: The Callers Enclue You") in Karen Healey's blog:

Girls Read Comics and they're pissed:
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Reviewing a Review

I began writing about comics in a fanzine published by my good friend Manuel Caldas: Nemo [in the subtitle's last version], O Fanzine Dos Que Gostam Da Banda Desenhada (Nemo, the fanzine of those who like comics - March, 1986 - June, 1998). This is a strange concept: no one likes music or cinema (i. e.: all music or all films). Anyway, it was back then, in Nemo # 21 (March, 1996), that I initiated my campaign against most mainstream comics (the exceptions being Carl Barks' duck stories, Matt Marriott by Reg Taylor, James Edgar and Tony Weare, lots of stories written by Héctor Germán Oesterheld and a couple of David Wright's Carol Day story arcs; I'm not sure if comics by Carlos Trillo and Alberto Breccia are mainstream or not). I tried to explain my reasons, of course... but Manuel wasn't kidding when he put that subtitle on his fanzine's cover: some people do like all comics, especially the mainstream ones (they think that alternative comics are badly drawn, so, I'm not sure if they like all comics or just the "for the youth from 7 to 77" kind). Needless to say that I was "the enemy within" subsequently ... I was bitterly expelled from the escapists' (aren't they all?) paradise...

Most of what I wrote back then I recently found in a review of Martin Sheridan's Comics and Their Creators (Hale, Cushman and Flint, 1942) by the New York Intellectual David T. Mazelon. It was published in Dwight MacDonald's Politics magazine (May, 1944: 117 - 118). Unfortunately some of us are condemned to reinvent the wheel, I suppose...

Bazelon opens his review writing that: "Mr. Sheridan has something to say about some seventy-five comic strips. But what he says is singularly unimposing. Each of these strips is covered by a thumbnail biography of the creator, or an interview in the worst newspaper manner. The histories of the cartoonists and their work are presented by banal anecdotes, salary figures, and relative merits at golf. Sheridan's understanding of the comics and the men who draw them really seems to be limited to a hungry appreciation of their salaries." This is a criticism of the author's approach (from the point of view of the social critic and art lover), not a critique of American newspaper comics and comic books (that comes later). (Bazelon also quotes Sheridan's publishers when they say that his book will appeal to "every young-minded American" - it's the "from 7 to 77" cliché again -; he counterattacks stating the existence of the "undiapered reader;" as a huge fan of the "babymen" epithet I have to add that I laughed with gusto when I read the expression.)

He goes on quoting Sheridan and sandwiching comments: "The comics cartoonist "is expected to please everybody." He believes that readers "will follow the strip which offends no one." With these directives, the tendency, of course, is to produce vacuous stereotypes." I could not say better...

I also agree with Bazelon's aesthetic ideas (if they were born with Romanticism, so be it): "One of the greatest effects of good art is to make people see themselves differently, by identification in new, fruitful perspectives. This is the other side of artistic creativeness, for it is the expression of such perspectives which provides the artist's essential worth. However, when the needs of class control determine the material of art, and when these needs are reactionary and disease-like, creativity is sharply limited or completely smothered. Art is dangerous; it tends toward freedom." In the highly commodified world of the 21th century this statement seems a bit naive, but I believe in its core idea: the stereotype can never be great art. And mainstream comics are stereotype-ridden...

To see how the New York Intellectuals changed their minds about mass consumption of the arts from 1944 to 1960 we just need to compare these two quotes... Bazelon (being a revolutionary idealist): "This approach [by Sergei Eisenstein who roughly says that if we give something good to the people they will like it] conflicts with the Philistine attitude that good art is for a small section of the population, while any trash can be tossed to the masses." MacDonald (being a post-revolution realist): "the great majority of people at any given time (including most of the ruling class for the matter) have never cared enough about such things to make them an important part of their lives. So let the masses have their Masscult, let the few who care about good writing, painting, music, architecture, philosophy, etc., have their High Culture, and don't fuzz up the distinction with Midcult." ("Masscult & Midcult," Against the American Grain, Vintage Books [Partisan Review, Volume 17, # 2, Spring, 1960 - Volume 17, # 3, Summer, 1960], 1962: 73). As Neil Jumonville put it: "[the New York Intellectuals] disliked mass culture partly because the working class never turned out to be as revolutionary, noble and cultured as radical intellectuals had hoped. Some of the Partisan group had assumed that, if unimpeded by capitalist commercial values, the mass of citizens would voluntarily seek out high culture themselves. When it became evident that would not happen, most New York Intellectuals deplored middlebrow as much as lowbrow culture." (The New York Intellectuals Reader, Routledge, 2007: 205.) Pierre Bourdieu confirmed scientifically what Dwight MacDonald suspected: high culture is not the culture of the dominant class, high culture is the culture of the dominated fraction of the dominant class (La distinction, Les Editions de minuit, 2002 [1979]). In a word: the intelligentsia. Large parts of the dominant fraction of the dominant class have middlebrow or even lowbrow taste because these "things" are not "an important part of their lives."

Bazelon likes Krazy Kat by George Herriman and that's about it. I put no American newspaper comic strips in my canon, but being forced to do it I would also choose Krazy Kat (see header above), some Sunday Pages from Gasoline Alley by Frank King (the dailies' story arcs seem as bowdlerized as the Sunday Pages, but they're not half as poetical), Dot and Dash by Cliff Sterrett (for their formal ingenuity), some Skippy by Percy Crosby (and not Peanuts... having to choose between the master and the apprentice I choose the former), but not much else... David Bazelon condemns Bringing Up Father (by George McManus): "[Jiggs] prefers corned-beef-and-cabbage and poker with the boys to the life that wealth offers. The sop here is patent[;]" Radio Patrol (by Ed Sullivan and Charles Schmidt) because: "Almost tautologically, art serving banalities itself becomes banal" (I'm not sure if I agree with this one, but that's a story for another time); The Timid Soul (by H. T. Webster): "an extreme caricature against which the pin-point ego of any harassed petty-bourgeois can release itself."

After saying that "Politically, Superman is a pre-fascist creation" David T. Bazelon ends his review contradicting what psychiatrist Lauretta Bender (who was part of Superman's publisher, National Comics' - later DC -, editorial board) has to say about said character: "(He) would seem to offer the same type of mental catharsis Aristotle claimed was an attribute of the drama." Bazelon: ""Superman" gives vicarious satisfaction to explicit social frustrations. It cannot be tragic or displeasing, nor can it contain that essential realism which is a quality of all good art. For it has a purpose: this is art in the service of social neuroses. And that service is the meaning of most comic strips... Pearls are produced not by serving but by opposing disease."

Image:

The cover of Politics, May, 1944.

PS A page about David T. Bazelon: http://www.lib.udel.edu/ud/spec/findaids/bazelon/index.htm#bio

PPS This is post # 100. I'm amazed that I arrived this far, really...

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).