Monthly Archives: May 2009

Looking for light summer reading? Little Lulu!

Lulu

Looking for something to brighten the summer weeks?

In the pantheon of great mainstream comics, few came close to the popular Dell Comics run on Little Lulu, which writer/cartoonist John Stanley (though he only drew the earliest issues of Lulu, when they debuted as part of Dell’s ‘Four Color’ one-shots). Stanley scripted Lulu from 1945 to the end of the 1950s, a run almost as extensive as Carl Barks on Donald Duck and Uncle Scrooge.

Stanley’s erstwhile collaborator was Irving Tripp, who came aboard once Little Lulu became its own series. It was initially a bimonthly when it was launched in 1948, but was monthly from 1949. That’s a lot of comics — and a ton of stories — from the amazing Stanley/Tripp team, and they remain among my all-time favorite comics for all ages.

Little Lulu was created in 1935 by Marjorie Henderson Buell (who signed her work ‘Marge’) in the pages of the popular newsstand magazine The Saturday Evening Post. Marge’s Lulu was usually confined to single-panel gag cartoons, with only occasional multi-panel gags, and these delineated Lulu as a scrappy, difficult child with a powerful tomboy streak. Though it’s important to honor Marge’s body of work on its own terms — and the monumentally successful career and international Lulu licensing empire (which included the Dell Comics series, animated cartoons, merchandizing and more) Buell springboarded from her Post cartoons — it’s also vital to acknowledge all that Stanley and Tripp brought to the character. Stanley and Tripp expanded upon Buell’s single-panel Lulu universe to create Lulu’s neighborhood and a diverse cast of characters unique to the Dell Comics series.

Primary among the cast were Tubby and Iggy and their circle of friends who were locked in an eternal gender-war with Lulu; she naturally bristled at the “No Girls Allowed” boys clubhouse Tubby lorded over, and Stanley and Tripp found infinite avenues to explore the ingenious means by which Lulu and her friend Annie persistantly challenged (and usually triumphed over) Tubby’s cottage patriarchy. The feud led to the invention of ‘Mumday,’ the first day of the week in which the boys weren’t permitted to speak to any female (including their own mothers), but it occasionally had to take a back seat to turf battles with the West Side Gang.

Stanley and Tripp also revelled in the imaginative life of their characters: Lulu’s Witch Hazel and Little Itch stories, told to terrify her neighbor Alvin; Tubby’s pulp-detective alter-ego The Spider, who more often than not targetted Mr. Moppet (Lulu’s poppa) as the culprit behind whatever crime was at hand. I think these stories are among my favorites, and Tubby is definitely one of the truly great characters in comics history — he’s a suburban Tuco, if you will, and the never-ending war-of-wits between Lulu and Tubby is possibly the most intensive manifestation of the Post-WW2 and Eisenhower Era arena of gender conflict. It’s certainly the most entertaining!

John Stanley’s dark streak also marks the Little Lulus. From his rare Raggedy Ann and Andy work for Dell to his post-Lulu run on Nancy and Sluggo and most of all his seminal scripts for Dell’s 1962 Tales from the Tomb and Ghost Stories #1, Stanley proved he could chill the spines of young readers as handily as he tickled our funny bones. The latter two Stanley-scripted classics, despite their erratic artwork, marked a generation of future cartoonists, including the Hernandez Brothers and yours truly. I had nightmares from those comics — as I did about the basement in Little Lulu!

Re-reading the Lulus, I was surprised to find direct parallels between some of the Lulu stories and Stanley’s Tales from the Tomb and Ghost Stories #1 scripts — including a chestnut about a dangerous rug, believe it or not! One of my friends in Montreal has traced some of these tales back to pulp writer Jean Ray (author of the novel Malpertuis); we’ll be writing about that sometime down the road. (Note: Maggie Thompson’s short articles on the correlation between Stanley’s horror comics and Lulu is worth checking out; it’s in one of the hardcover volumes of Lulu in the Schulz Library.) 

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I’ve already mentioned Lulu’s Witch Hazel stories, but Stanley and Tripp constantly played on childhood fears of dark basements and open doors — something lurked under beds and in unlit basements, vines could reach into bedroom windows and pluck hapless children out of their beds, and Lulu’s scary stories often involved manifestations of such terrors. Stanley’s later comics overtly played with this Lulu undercurrent: there was Oona Goosepimple’s haunted house brimming with weirdo kin and the nasty little Yoyos (which nested behind the fireplace) in Nancy and Sluggo, making the bed for Stanley’s delightful solo series Melvin the Monster (1965-69, 10 issues).

At one point Stanley and Tripp dared to reveal a decidedly phallic, monstrous Bogeyman lurking in Lulu’s basement in a story that never saw print in the Dell series, as Marjorie Buell nixed the completed story as being inappropriate. Thankfully, that never-before-published story is in one of the volumes we have in the Schulz Library. Worth a read, indeed!

Thankfully, we have a healthy collection of the Lulus in the Schulz Library, including at least a few volumes of the hardcover Another Rainbow boxed set editions and the more recent Dark Horse Comics reprint paperbacks.

I’ve no doubt we’ll be latching onto the upcoming D&Q John Stanley collections, which reportedly will include his 1960s teen comics collaborations with artist Bill Williams, Kookie (two issues, 1961-62) and Dunc & Loo (8 issues, 1961-63), which were among his final mainstream comics works. I naturally hope these will also reprint the comics Stanley wrote and drew in this period (Thirteen, Going on Eighteen; 26 issues, 1961-67, and of course Melvin the Monster) — time will tell!

In the meanwhile, though, soak up some Little Lulu!

 

– Guest post from Stephen R. Bissette

Aaron Cometbus – Punk Zines Get Personal

One of the most significant developments in zines in the past 25 years is the shift from interest-based research zines to personal zines (“perzines”, as they are sometimes called). In their earliest years, zines focused on specific fan interests. Most notably among these interests was science fiction, with fan publications starting in the 1930s. There is a reason these early publications were called “fanzines”.

Sci-Fi Fanzine
A 1933 sci-fi fanzine by no other than Jerry Siegel and Joe Shuster. This is the first printed appearance of the Superman concept.

Today autobiographical zines dominate the self-publishing culture. Doris by Cindy Crabb, Greenzine by Cristy C. Road and King-Cat by John Porcellino are popular examples. A zine that promoted this move into personal territory is Cometbus, by Aaron Cometbus. Cometbus got its start in 1981, when Aaron was still a teenager. Initially, it was your standard punk fanzine, with band interviews and show reviews. By issue 24 Aaron was focused on the culture of punk: the people, the energy, the struggle and the passion.

As Aaron put it, in Cometbus #24: “By the way, Cometbus is still a punk zine, as far as I’m concerned. How can it be a punk zine without covering bands, records or “the scene”? Because all those things are temporary, and covered enough anyway. more important is taking the lifestyle, perspective, and attitude of punk and applying it to real life.”

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An early issue of Cometbus

Cover of Cometbus #24
Cometbus Issue 24

Despite Everything: A Cometbus Omnibus
does a wonderful job of documenting this shift, and it is great introduction to Aaron’s work. The Schulz Library currently does not own a copy of this book. Do you have one you’d like to donate?

– Robyn Chapman

I Heart Virginia Lee Burton

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I just wrote a short essay/slide show appreciation about one of my favorite artists, Virginia Lee Burton.  It’s up here at Double X (no , not a porn site but rather Slate’s new women-centered web site).

CCS has been doing more curriculum involving childrens books and this is one section of the library that will grow quickly over the next year.

— James Sturm

The Haitian Hobo

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The Hatian Hobo

I’ll be giving an illustrated talk Thursday May 28th (tomorrow!) at 7pm at The Schulz Library’s neighbor, The Main Street Museum. Included will be the founding of CCS, the founding of Haiti, Len Wein, Brother Voodoo, sketchbook drawings, and speculation as to why White River Junction is cursed.

—James Sturm

ps: hey, Chuck, Sugarcube is now in the collection!

Sugarcube

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Last weekend I attended the Maine Comics Art Festival in Portland.  Our table was right next to another CCS alum, Sam Gaskin.  Sam is one of my favorite cartoonists period.  At the show he had a new book called Sugarcube.  This book is about a guy who finds out he has diabetes and how his life changes and how he perceives everything around him because of this new situation.  Sugarcube cleverly lays out small stories that linger with you.  It’s good art.  Great art.  I’m nobody but this is my favorite book right now.  If you are not Familiar with Sam’s work, he is the creator of Fatal Faux-Pax(published last year by Secret Acres) and the Xeric-winning Pizza Wizard.  Those works genius in their own right but Sugarcube is dancing on a different floor.  It’s drawn in a spare style that is not Gaskin’s usual style but it certainly applies here.  I love this book.  I just wish the library had a copy…

-chuck forsman

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A Troublesome Orange Cat

What’s Michael?
by Makoto Kobayashi

Yet another orange tabby captures the hearts of comic readers in Makoto Kobayashi’s manga, What’s Michael? Translated into English in the 90s, the Schulz Library is the proud owner of no less than six books in this well-toned series. (Any moray patterns seen here are the fault of this writer.)

Kobayashi no doubt captures the ideaology of what it is to be a cat in several pantomine strips of the orange striped Michael in addition to adorable panels of kittens and cats playing. What makes this comic interesting to read is the relationship betwixt the two species, cats and humans. Truth is seen from panel to panel: you can love all over a cat as much as you want but he will do whatever he pleases. Michael’s extra spice is after an embarassing act such as hitting his head, which are aplenty, he starts dancing.

Kobayashi’s storytelling takes many twists and turns but is always easy to read. Whether Michael is relaxing with newly weds or teaching a Yakuza member a lesson, he appears to have several owners but only in service of the story and we just go along with that fact. Kobayashi occasionally lets the animals break their character in order to run business meetings or play baseball as seen below.

Even if cats are not your cup of tea, I encourage you to pick of one of the many issues of What’s Michael? around and to enjoy the indulgent life of being purely feline.
-Jen Vaughn

Gray Matter

In 1929, nine-year-old Shirley Bell began her decade long run as the radio voice of Little Orphan Annie. She kept a scrap book of press, advertisements, comic strips, and photos of memorabilia, events, and celebs she met (including, of course, Harold Gray).

A few years back Shirley’s family published a thick hardcover facsimile of her scrap book (at the now defunct Stinehour Press in Vermont). A cool book that provides a great glimpse into the radio days of the thirties and just how huge a phenomenon Gray’s Annie was.

—James Sturm

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