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)

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:


(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.:


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:


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


To the first hint of flooding:


To when the water had gotten waist-deep:


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


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


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


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


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


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


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


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


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


There’s an old saying that journalism is the first draft of history. I was thinking of that recently when I presented A.D.: New Orleans After the Deluge to students & teachers at Ben Davis High School in Indianapolis. Pretty much the entire 10th-grade there had read A.D. in their English classes, so I spent a full day at the school, bringing the story behind A.D. to the more than 1,000 kids from that grade (and a selection of 11th-graders who had read the book last year). It’s crazy to think that those students were around four years old back in 2005 when Hurricane Katrina hit the Gulf Coast and nearly destroyed New Orleans. So to them my book is not a journalistic perspective on the disaster, but rather (ancient) history.

(One positive about that is in regards to the section of A.D. that deals with Denise’s experiences at the New Orleans convention center—without the burden of the false rumors about gang violence, rapes, dead bodies in freezers, etc. that flew around the media at the time, the kids will have a fresher understanding of at what actually went down at the convention center…)

I write at the end of A.D. that

… there are many, many stories about Katrina and its aftermath. Those of the seven people in A.D. are quite particular and highly personal, but my hope is that they provide a window into a larger world, one that few of us understand and that we’ll be trying to make sense of for a long time.

And I always paraphrase that sentiment when I discuss A.D.—that my book is merely one document of many about the storm and its aftermath. And I make sure to mention some of the other great narratives about Katrina/New Orleans (a few of which are much more expansive in scope). Documentaries like Spike Lee’s When the Levees Broke or Tia Lessin and Carl Deal’s Trouble the Water. Books like Douglas Brinkley’s The Great Deluge, or Chris Rose’s 1 Dead in Attic, or Dave Eggers’ Zeitoun, or Dan Baum’s Nine Lives. Or more recent works like Roberta Brandes Gratz’s We’re Still Here Ya Bastards, and Please Forward, edited by Cynthia Joyce. And even fictional works like HBO’s solid series Treme.

DrownedCityWell, now there’s another “graphic narrative” to add to that list: Don Brown’s Drowned City: Hurricane Katrina & New Orleans (Houghton Mifflin Harcourt). Published last summer on the 10th anniversary of the storm, it’s the only other comic book format history of Katrina that I know of. (And I only just found out about it, though apparently it’s been very well received…)

Definitely for a younger audience than A.D., Drowned City takes the reader through the breadth of the Katrina story, from the storm’s formation as “a swirl of unremarkable wind” in Africa to its building in the Gulf of Mexico and finally sweeping into Mississippi, Alabama, and Louisiana. The book shows New Orleans preparing for the storm and the city’s belated & haphazard attempts to evacuate. It shows the breaching of the levees, the people trapped in their attics, and the drowned bodies. The book details how helpless/useless the authorities in New Orleans were to deal with the flooding and the aftermath, and how thousands of people were abandoned at the so-called “shelters of last resort,” the Superdome and the Convention Center. Drowned City shows the chaos that settled over the city, how people were forced to help themselves to much-need supplies—and the instances of looting—and how some brave groups and individuals performed heroic rescues. The book spares no blows in its depiction of the ineptitude and infighting of officials like FEMA head Michael Brown, Louisiana governor Kathleen Blanco, and President George W. Bush. The book ends in October 2005 with the city finally dry, but totally devastated. It talks about New Orleans’ subsequent depopulation, particularly the decline of the city’s poorest (mostly African-American) populations. Nevertheless, the book ends on a tentative note of hopefulness.

Drowned City is gorgeously illustrated, mostly in large panels of pen & ink and watercolor. And it is meticulously researched & documented, with a full source list/bibliography at the back.

I often speak of A.D. as a “people’s history” of Hurricane Katrina. Don Brown‘s Drowned City takes more of a holistic perspective, and in that way is a perfect complement to A.D. I highly recommend you check it out.


RosalieLightningI just read Tom Hart‘s new book ROSALIE LIGHTNING (St. Martin’s Press), and I was blown away. What is it about? It’s about My Neighbor Totoro, and Ponyo, and EC Comics, and Metaphrog, and James Bond, and Kurosawa movies, and Thich Nhat Hanh, and “O Superman,” and Jeff Mason. And it’s about real estate, and bike rides, and corn mazes, and getting your car stuck in the snow, and being adrift on a raft, and big moons in the sky, and dreams, and trees, and acorns, and about the “capacious hole in your heart” when your child dies.

I’ve known Tom and his fellow cartoonist wife, Leela Corman, (who’s basically the co-star of this book) for a really long time, as fellow travelers on the road of alternative comics—Sari & I were guests at their wedding—but I hadn’t seen much of them in the last 10 years, particularly after they left Brooklyn and moved to Gainesville, Florida. I only met their daughter Rosalie once, probably around 2010, shortly before they left town. I was in Chicago when I heard the horrible, terrible, tragic news of Rosalie’s death—I even wrote a short post about it back then. And the next time I saw Tom & Leela was the fall of 2014 (when I visited them at their school The Sequential Artists Workshop), when they had the gift of Rosalie’s little sister Molly Rose. This book fills in all that missing time.

Tom is a master storyteller and cartoonist, and if he never did anything else the world would always have his creation Hutch Owen. (Where would Bernie Sanders be without Hutch Owen?!) But for Rosalie Lightning he has created a new art style—malleable, scratchy and impressionistic (when needed), and deliriously vibrant, even though it’s “limited” to half-tones. It’s an incredible, gripping book, which I stayed up late into the night reading all the way through. It’s destined to become a classic.

When was the last time a book made you cry? For me, it had been a long time. As a father myself, unable to even imagine the pain Tom & Leela have been through, it was often tortuous to read, and I dried my eyes a number of times. But I’m so grateful for the experience. (I even forgive the book’s “hate letter” to New York, because I feel like that sometimes too.) Thank you, Tom, for this brave, and ultimately triumphant work. Your daughter couldn’t have a better memorial.

This Summer in P-town: Josh & Sari Week-long Memoir Comics Workshop

SariFAWX Summer Workshops 2016 and I are proud to announce that this summer we’ll be co-teaching a week-long comics-making memoir workshop at the Fine Arts Work Center in Provincetown, MA.

This marks the third time we’ll be doing a comics workshop with FAWC and it’s always been a really rewarding experience—for us and for our students. We learned that nothing makes a better combination than writing and art… or summer and beautiful P-town… or Sari and Josh! (*wink*) So that’s why we’ll be teaching the class again this summer, during the week of July 31–August 5.

Here’s the course description for our Memoir Comics Workshop:

Comics use words and pictures together to form powerful narratives. In this workshop, you will use material from your own life to create an original minicomic. It can be about last night’s dinner, or a moment that changed you forever—as long as it fits into a booklet of 8-12 pages. At the end of the week, we’ll reproduce and swap our minis, and set up an open studio to share our work.

We’ll examine some basic principles of visual storytelling. We’ll also do writing, brainstorming, and collaborative exercises we’ve found useful in producing strong comics work. There will be group feedback to hone our stories, find the narrative “beats,” and help each other discover our “true” story. We’ll generate ideas for solving storytelling problems—and look at how other cartoonists have grappled with them.

You’ll have time to work on your projects in class each day, but you will also probably do some drawing on your own. One of the key features of comics is that they are printed and reproduced. You’ll also design and produce a small edition of your minicomic to share with the other workshop members and for open studio. You’ll come out of this workshop with a tool set for taking your work to another level.

Please email a short description of the autobiographical story you’re going to work on and two character sketches (yourself and another character) to workshops@fawc.org by July 10. This prior work will help you—and us—jump into this intensive project.

Click this link to find out more about the program and how to register. And please spread the word about the week-long workshop, and encourage people to sign up soon. Classes fill up quickly.

I “lettered” Didier Kassaï’s TEMPETE SUR BANGUI

TempeteSurBangui-coverThe French publisher of A.D. used my “JoshComix” font to letter Tempête sur Bangui, by Central African Republic cartoonist Didier Kassaï. The book is an autobiographical account of life in the CAR’s capital Bangui during the ongoing civil war. Published by La Boîte à Bulles with the cooperation of Amnesty International, Tempête sur Bangui is an assured work of cartooning, gorgeously tinted in watercolor.

American readers may well be put off by the… distinctive way Kassaï draws himself and his fellow Africans. It’s more than reminiscent of Sambo caricatures from the bad old days. But I have been repeatedly assured that Kassaï’s renditions of himself and his countrymen is not considered offensive back home. (I have to say it still troubles me…) Nonetheless, Kassaï is a major talent: if he lived in Europe or the U.S. he would be a big star.

This is the first time I’ve “licensed” my font to someone else, and I almost didn’t recognize my own lettering—Tempête sur Bangui  was lettered in all caps, whereas I almost exclusively letter upper-and-lowercase style (in the manner of Tintin, my reference-point for almost everything).

I am a huge proponent of hand-lettering, and the vast majority of my work has been physically lettered by me. (I particularly hate fonts that obviously look typeset or “computer-y,” because most of the time that kind lettering contrasts with the accompanying art and creates a real eyesore.) All the same, over the years I have found myself forced by time constraints to use a font to letter my work. The only thing that made any sense was to create a font based on my own lettering style, which is why I went to Fontifier some years back and did just that. And for only 9 bucks! And when A.D. came out in French, I adapted and made a new font that incorporated French diacritical marks. That’s the font they used to letter Tempête sur Bangui.

Tempête sur Bangui recently debuted at the Angoulême International Comics Festival and has been getting a lot of press in the francophone media. I’m proud to be associated with it, even in this minimal way.

My intro to CREATING COMICS as Journalism, Memoir & Nonfiction

CreatingComicsThere’s a new book out, by three college professors, called CREATING COMICS as Journalism, Memoir & Nonfiction (Routledge), and I wrote the foreword. I’ve known authors  Randy Duncan, Michael Ray Taylor, and David Stoddard for some years now; I’ve even made guest appearances at their annual workshops for the College Media Association; but I was still extremely surprised and flattered when they asked me to write the foreword to their forthcoming book.

The book is chock-full of useful info: the history of the genre, approaches to finding stories, tips on tools & techniques, getting published, and a discussion of legal and ethical considerations. As far as I know, this is the first “instructional manual” on comics journalism, so I am very excited for it to come out, for my own use as well as others. After all, I’m no expert on the field—I’m just a practitioner.

When it came to the intro, I wasn’t sure what I had to offer to the discussion. In the end, I decided maybe the best thing would be to recap how I got here: the signposts along the way that led me to this very moment—not only in my own career, but to this extremely vibrant period of comics journalism. So, without further ado, here’s what I wrote. (And look for the book in all the usual outlets…) Read more of this post