The startling cinematic success of American Splendor—an indie film uniquely merging the real-story-behind-the-film-story with the comic drawings that stand between the two—has kicked the familiar dilemma of the vernacular American artist up to new levels. Over most of the planet, adults as well as children love comics, read them throughout life, and regard a considerable dimension of the output as… return to article
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Reader Comments (1)Page 1 of 1 pagesI’ve looked around for some of these publications unsuccessfully and would appreciate some specific venues that regularly sell them. Yet this review is more than it seems if one knows what to look for in Paul Buhle’s expose. What should raise the hackles on everyone’s nape is his mention of historical prototypes which though popular, were banned when the bullets were about to and then started flying. That rather than learn from the historical precedent we still would rather hide our heads in the sands and keep muttering, “it can’t happen here”, over and over. It’s already here, has been, will continue to be here in ever more brutal forms. The point is not only that we get our nauseatingly truthful information from palpable sources such as the above mentioned but that we find the definitive and active means of preventing the holocausts these graphically artistic publications are shouting at us to act upon, NOW. Tomorrow is too late. Tomorrow is always too late. This is why, collectively we always end up living out Hamlet’s dramatic fate on a planetary scale.
Posted by Dom Mastroserio on Oct 25, 2003 at 10:12 PM Page 1 of 1 pages -
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