This June I’ll be teaching an intensive comics workshop at the Yale Writers Conference

I’m proud to announce that this June 15-18 I’ll be teaching an intensive, immersive comics-making workshop at the Yale Writers Conference (part of the Yale Summer Session), held in New Haven, Connecticut.

This marks the first time I’ll be doing a comics workshop with YWC—it’s the first time they’ve done one—but it’ll be closely modeled on programs I’ve run a number of previous summers with the Fine Arts Work Center. Those workshops have always been a rewarding experience, both for me and my students.

Here’s the course description for my workshop Comics: Stories in Graphic Form:

Comics use words and pictures together to form powerful narratives. In this workshop, you will use fictional material, or material from your own life to create original comics. We’ll examine the basic principles of visual storytelling, and complete writing, brainstorming, and collaborative exercises that are useful in producing strong comics. We’ll generate ideas for solving storytelling problems—and look at how other cartoonists have grappled with them. We’ll use group feedback to hone our stories and find the narrative beats. You’ll emerge from this workshop with a toolset for taking your work to another level. In lieu of a writing sample, submit a 250-word description of your comics project and two character drawings with your application.

So, whether you’re interested in fiction, memoir, journalism, informed essay, or anything in between, this comics workshop is for you! The workshop is part of Session II of the YWC. Over four days, participants will meet in a seminar with eleven fellow cartoonists, led by yours truly. We’ll learn constructive criticism techniques that support productive feedback, followed by intensive group writing workshops, with the chance for each participant to showcase his or her writing and receive feedback/critique. (Participants will receive copies of their peers’ work in advance.) I will provide instruction on writing and drawing techniques, revision, and other “tricks of the trade.” And, during the conference I will hold half-hour, one-to-one meetings with each participant. Sounds great, right?

Click this link to find out more about the program and how to register. Please spread the word about the workshop, and encourage people to sign up soon. The deadline is April 30. Classes fill up quickly…

The Pendulum Swings

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I drew this back in 2015 for a French comics magazine. The concept was to illustrate some of  the “weirdest” news stories of the year—you know, like the idea that Donald Trump was running for U.S. president..

One of the things I’ll never forget about the 2008 election was watching the returns on TV and also tracking it on my Facebook feed. Facebook was a relatively new phenomenon at that point, and the folks who were on it seemed to so epitomize the energy that the Obama team was bringing to the White House. I’ll also never forget that, late that night on November 4, a lone trumpeter paraded down Eastern Parkway (in front of my apartment building), tooting triumphantly on his horn for blocks and blocks and blocks.

On January 20, 2009, I wanted to experience the moment of the inauguration of our first African-American president with other folks in my community, so I headed over to Cafe Shane. I sat at their coffee bar, watching the ceremony on TV with a diverse crowd of celebrants. I remember toasting the moment, with my cup of tea, with the 40-ish black guy, and his cup of coffee, sitting next to me. (I also remember Chief Justice Roberts fumbling the words as he led Obama through the oath. Do you remember that?)

Back then, after eight years of George Bush, it all felt like a fresh start, like our country had taken a giant stride forward. Now, eight years later, our country seems to be making another “fresh start.” But it’s not something I can bear to witness with a crowd of folks. I’ll watch the inauguration here at home on my TV, but it’s hard for me to see this fresh start as anything but a giant stride backward.

Elmo and pals: the costumed characters of Times Square

ElmoAs a native New Yorker, I don’t visit Times Square very often—too noisy, too bright, too many tourists. Of course I was aware how much the area has changed over the years, with the banishment of the porn palaces and prostitution, and the Disneyfication that began during the late 1990s. Back in the day, if you walked around the area, you’d get “asked for a date” ten times per block. Now, improbably, the area had returned to its early 20th-century roots as a tourist Mecca.

But when I did walk through the area a few years back I couldn’t help but notice a whole new group of inhabitants: Elmos, Minnie Mouses, Spider-Mans, and packs of others in Sesame Street and superhero costumes, posing for photos with tourists for tips. It was like they had come out of nowhere and had taken over the Square. (By the way: did you know that the area is actually not a square at all, but really more of a bow-tie shape?)

When I first began noticing the costumed characters it was really freaky and random to me, totally out of left field. And now, a few years later, it’s just another fact of life in NYC. Despite the shiny electronic billboards and chain restaurants, you still can’t walk through Times Square without being accosted. Maybe times hadn’t changed that much after all.

I don’t read the tabloids or watch the local TV news, so I didn’t know anything about all the hysteria surrounding these costumed characters—anti-Semitic “Evil Elmo,” the Spider-Man who punched a cop, the Cookie Monster who pushed a child, the occasional beefs between “performers” that erupted into blows, and so on. And the general complaints about the characters’ aggressiveness and panhandling techniques.

elmo07-pn5All this got a ton of local recent coverage, particularly in 2014. And believe it or not, the City Council held hearings on the matter—including the idea of requiring you to undergo a background check before you can put on a Spongebob costume—and instituted some new restrictions.

I was intrigued, so I spent a little time hanging around the area, and I couldn’t help put notice that most of the people underneath the costume were Latino. I wondered about them. Where do they come from? How much money do they make? What’s it like to do that job all day long? I decided I would find out–and show what I learned in a comics piece.

I spent two months doing research and interviews, and another couple of months writing the script and drawing the piece, which includes more than 50 panels of comics. (Much credit goes to The Nib editor Matt Bors for helping me winnow down the more than 70 panels I originally envisioned!)

The pull of the story, of course, is its sheer wackiness—plus, for those not from New York, this whole scenario is new information. And that’s how I suck you in. But then, halfway through the story, I go “behind the mask” to get the other perspective—that of the people in the costumes. And with all the new regulations spurred by the hyperbolic press coverage and local business associations like the Times Square Alliance, the real story comes into focus.

elmo07-pn3This story in particular is perfect for the comics treatment because of the costumed character aspect. It’s all be very meta, with the reader not being sure if he or she is looking at someone in a costume or just a drawing of the actual character from the cartoons or comics… (In that vein, I had fun with the color concept of the piece—let me know if it works for you.)

So debuting this week on The (new-and-improved) Nib is “Costumed Chaos in Times Square: The infamous street Elmos of NYC fight for their right to take selfies with tourists.” Check it out.

FLASHed & Girl Through Glass at the Brooklyn Book Festival

bkbf-logoSari and I will be ALL OVER the Brooklyn Book Festival this Sunday (Sept. 18), with two panels and a workshop. In addition, we will be promoting and signing FLASHed at our publisher’s booth. Here’s how it will go down:

At noon, Sari will be on the panel, “Remember All That? A Look Back at New York City,” along with Tim Murphy (Christodora) and Pia Padukone (The Faces of Strangers); moderated by Rob Spillman of Tin House. “New York City is host to grueling ballet careers, riots in Tompkins Square, a political campaign interrupted by a cross-cultural dalliance, and rare encounters of unmitigated beauty.” Brooklyn Historical Society Library, 128 Pierrepont Street. [Full details here.]

Flashed-cover400pxAt 3pm, Sari and I will run a multimedia flash fiction workshop, “Comics > Prose.” Flex your storytelling muscles as you write your own piece of flash fiction inspired by an original comic. One story created in the workshop will be published on the official FLASHed website! St. Francis College Workshop Room 4202, 180 Remsen St. [Full details here.]

At 5pm, I’ll be moderating the panel “The Art of War” with comics journalist Sarah Glidden (Rolling Blackouts), ex-Marine Maximilian Uriarte (The White Donkey), and historical graphic novelist Ethan Young (Nanjing). “Compelling comics can be drawn from conflict zones.” Brooklyn Historical Society, 128 Pierrepont Street. [Full details here.]

The rest of the day we should be at the Pressgang booth, with copies of FLASHed on hands (and hopefully with some FLASHed contributors as well!). Pressgang’s booth is #529, located near the corner of Joralemon and Adams, right in the heart of the festival.

BKBF is always a great event; we hope to see you there this Sunday!

Brooklyn Book Festival
Borough Hall and environs
Sunday, September 18 (10am-6pm, rain or shine)

Josh & Sari on Publishers Weekly podcast “More to Come”

Flashed-cover300pxSari and I recently had the honor of being guests on the Publishers Weekly podcast “More to Come,” hosted by PW editor Calvin Reid. We sat down with Calvin at the PW offices and talked about Flashed: Sudden Stories in Comics and Prose, as well as collaboration in general, and our own work.

Topics we cover in the podcast include my autobiographical travel comics collection A Few Perfect Hours (which includes a couple of collaboration with Sari), and my more recent work in comics journalism, including A.D.: New Orleans After the Deluge. We talk about the online collective ACT-i-VATE and my long creative association with Dean Haspiel.

Talking about Dean, we discuss what it means to be a native New Yorker, which leads to Sari talking a bit about her debut novel Girl Through Glass. This broaches the very rich topic of New York City in the 1970s, and the contrast between that gritty period of urban blight and the rarified world of classical dance. I appreciated Sari’s point that “a novel works through contrasts,” which are really brought out in her book.

The second half of the podcast covers the concept behind Flashed: what is flash fiction, and how Sari & I, and our joint backgrounds in  the worlds of literary fiction and alternative comics, made this project come into focus. We break down a couple of section from the book to explore the connective tissue of such triptychs as “Night Games”—featuring Lynda Barry, Kellie Wells, and Box Brown—and “Mutable Architecture”—featuring Gabrielle Bell, Jedediah Berry, and Carol Lay. And we discuss the honor and pleasure of editing such a talented group of writers & cartoonists.

The podcast wraps up with a couple of shout-outs to some upcoming projects: the week-long comics memoir workshop Sari & I will be co-teaching at the Fine Arts Work Center this summer, and the still-burgeoning Comics & Graphic Narratives concentration I’m helping to develop at the Solstice Low-Residency MFA Program.

We really enjoyed our wide-ranging conversation with Calvin, and we think you will too. Give a listen here.

1 Year Later: Thinking about Seth Kushner

seth_kushnerSeth Kushner—photographer, comic book writer, pop culture maven, husband, father—passed away one year ago today. This is what I wrote about him at the time:

I wish I had something poetic or original to say about Seth, but what impresses me the most is just how many people whose lives he touched—and how consistent their feelings are: that he was a super-talented photographer, that he was a gracious human being with an abiding interest in other people, and that he truly loved his wife and son.

Seth seemed to epitomize the best things about the comics “community”: He was a fan, he was a creator, and he had an unflagging interest in reaching out and encouraging others the way he had been encouraged along the way.

What he did in this last year, with making his battle against leukemia public and human and inspiring and funny and heart-breaking all at once, is an amazing gift to all those who suffer through these diseases alone.

The wonderful thing about art is that—unlike the artist—it lives forever. Seth’s posthumously published semi-auto-bio graphic novel Schmuck, illustrated by a boatload of talented cartoonists (and myself), came out late last year; and his character The Brooklynite is being brought to life by Shamus Beyale, all part of the Dean Haspiel-led “New Brooklyn” series on WebToons (also starring The Red Hook, and, soon, The Purple Heart).

Seth Kushner, 1973–2015. Rest in peace.

Andrea Tsurumi’s WHY WOULD YOU DO THAT?

Andrea Tsurumi's WHY WOULD YOU DO THAT?

I’m very excited to plug Why Would You Do That?, by FLASHed contributor Andrea Tsurumi, out now from Hic + Hoc!

The slim volume features a collection of off-kilter, often hilarious, short comics about dogs, baked goods, and feats of derring-do, by one of our most confident and talented young cartoonists. Longer-ish pieces that particularly stand out are “Poodle Smart,” a detailed analysis of the intelligence of poodles, told with utmost seriousness—despite  being completely fabricated; and “Food Photographer,” a set of news clippings from historical events where a confused replacement photographer focused on the food in the room rather than the actual subjects of the stories.

Crafted with the utmost seriousness (and skill), the comics in this book meet at the convergence of Dan Piraro, Gary Larson, and Hieronymus Bosch—and I’m so glad Tsurumi did that!

 

Early Work: comics and illos from my teens and early 20s

day-life-len-neufeld1-scan-1000pxMatthew Baker—or Mx. Baker, as he prefers to be called—is a rather mysterious fellow who writes for a living. He contributed a wonderful “seeder” piece to the “Brothers” triptych of FLASHed (responded to by Jon Lewis and then Julia Fierro), and he curates a blog called Early Work, which (as you might guess) highlights the immature work of established writers and artists. My take on the blog is that the stuff each creator chooses shows hints of the themes and styles of their later, mature work. (Or maybe it’s just amusing to see how far they’ve come!) Folks featured on Early Work include cartoonist Anders Nilsen, writer Kelly Luce, and poet Naomi Shihab Nye, to name a few. And now… me.

As you may know, I’m a bit of a hoarder and I have files full of old artwork, going back to my youngest days. (My mom and dad have their share of my childhood drawings as well.) So there was a lot of material to choose from. On the other hand, I was apprehensive about sharing my immature artwork with the world at large.

But with Matt’s help, I was able to whittle down all that material to some stuff from my teenage years and early twenties that I wasn’t too embarrassed about: a collection of one-page comics I did for my dad for his birthday each year, a series of illustrations of roommates from my freshman-year college dorm, and a series of trompe-l’oeil illustrations I did for loved ones.

One aspect of the Early Work site I really like is its “raw” quality—the drawings are presented on the wrinkled, yellowed paper they were done on. Stories are scrawled in a child’s hand. Nothing is cleaned up in PhotoShop. This is ephemera, often plucked from decades past. So I really tried to get into the spirit of that.

Another fun thing about Early Work is that each contribution features a statement by the creator about the “early work” and a photo of the them from that period. There’s something really poignant and charming about these photos of “anonymous” kids who later became  respected writers and artists. Who knew (besides me) that there was a photo of me posing with the late, beloved musician Prince? (Well, a poster of him, at least…) Read on to see for yourself…

So without further ado (what is “ado,” anyhow?), here are some links to my “early work”:

3135 Calhoun St. and the A.D. cosmic connection

Crescent City Comics has just opened a second location, moving its flagship store to 3135 Calhoun Street, near Tulane University in New Orleans. (There’s a nice little article about the new store here, which features a time-lapse video of their logo being painted in giant scale on their ceiling.) That address, 3135 Calhoun, is the center of an A.D.: New Orleans After the Deluge vortex. Let me explain…

One of the main “characters” in A.D. is Leo McGovern, currently the manager of Crescent City Comics. This is what Leo looked like in the book:

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(Leo once told me that his fondest desire was to be “one of those sweaty guys in a comic book.” Wish granted!)

But what’s so remarkable about Crescent City Comics’ new location is that 3135 Calhoun Street is the former location of the Calhoun Superette! For many years, the Calhoun Superette was owned by Hamid Mohammadi, another main “character” in A.D. (His name was Hamid in the original webcomic, then changed to “Abbas”—with a mustache added to his face—for the book. When I talked to him last year for a Hurricane Katrina 10-year anniversary comic, he allowed me to use his real name again.) Here’s how Hamid looked in A.D.:

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Hamid and his wife opened the Calhoun Superette in 1996 and kept it open for 16 years, through thick and thin. A lot of scenes in A.D. take place at the store. (I wasn’t able to visit the store in person when I was doing my initial research and reporting, so Leo, as a comics fan knowing what kind of reference I would need, kindly offered to drive over to the store, introduce himself to Hamid, and take a ton of photos for me. That was back in 2007, the first time the two long-time New Orleanians met each other—brought together by A.D. “Of all the gin joints in all the towns in all the world…”)

Here are some scenes from A.D. of the store… from right before the storm:

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To when part of the sign got blown off during the hurricane:

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To the first hint of flooding:

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To when the water had gotten waist-deep:

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To when the water was so deep the only thing to do was “abandon ship”:

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NOT wimpy! And here’s a scene from period of 16 months Hamid spent gutting the store and rebuilding it after Katrina:

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Hamid re-opened the store in 2007 (thank you, Google Street View):

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And this is how it looked in 2009 (the sign was finally fixed!):

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But sadly Hamid was forced to close the Superette in the summer of 2012. Here’s what he had to say about it:

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Forstall Art Supplies moved in to the space soon after (they used be located next door):

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But Forstall closed in the summer of 2015, opening the door for Crescent City Comics—they kept Forstall’s potted plants:

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Here’s Leo and CCC owner Les Arceneaux posing with other staff members (photo courtesy Bleeding Cool):

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After all the things Hamid went through, I was really bummed to hear that he had to close his deli. But I’m so glad its former location is back in the A.D. “family.”

Did I mention Crescent City Comics hosted a party for the paperback release of A.D. in 2010? That was a good time. They’re a great store. Go visit the next time you’re in NOLA, and pick up a copy of A.D. from one of the characters in the book… in the place where a lot of the book’s action happens!

Crescent City Comics
3135 Calhoun
New Orleans, LA  70125
(504) 891-3796
CrescentCityComics.com

The VAGABONDS #5 debuts at MoCCA Fest 2016

The Vagabonds #5This coming weekend is MoCCA Fest 2016, being held for the first time at Metropolitan West (near the Intrepid Sea, Air & Space Museum). I’ll be there with my Hang Dai Editions colleagues Dean Haspiel and Gregory Benton. And I’ll have a couple of brand new books for sale: FLASHed: Sudden Stories in Comics and Prose and THE VAGABONDS #5! We’ll be at table A112 on the first floor.

Here’s what’s featured in this issue of THE VAGABONDS: Last August was the tenth anniversary of Hurricane Katrina’s assault on the Gulf Coast and the subsequent devastation of New Orleans. In this issue, I catch up with four of the main characters from my book A.D.: New Orleans After the Deluge. Leo, Hamid, Kwame, and the Doctor have a lot to say about the state of the Crescent City and their own lives.

Another longer piece from this issue is “Fare Game,” a follow-up to Terms of Service: Understanding Our Role in the World of Big Data, the 2014 “graphic novella” I did in partnership with Al Jazeera America and reporter Michael Keller. “Fare Game” (again done with Michael Keller and AJAM), takes a look at ride-sharing services like Uber and Lyft, and the implications of a society where we’re all rating each other based on everyday transactions.

This issue features two collaborations with writer Adam Bessie, who is bravely living with a cancer diagnosis. In these stories, Adam and I explore the ways technology filters the experience of living with an illness. Other pieces in this issue include a rundown of the origins and meanings of emojis, a humorous take on steroids in Major League Baseball, the changing nature of Brooklyn, and a selection of one-page comics. THE VAGABONDS #5 is 24 page, full-color, for the low price of $5.

I’ve really enjoyed teaming up with Hang Dai Editions—putting out THE VAGABONDS again, rejoining the comics festival circuit, and reconnecting with readers. I look forward to seeing you at MoCCA Fest and handing you an autographed copy of THE VAGABONDS #5.

Here are all the details for MoCCA and where to find me:

MoCCA Fest 2016
April 2-3, 2016, 11am – 6pm both days
Metropolitan West, table A112
639 W. 46th St.
New York NY 10036