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As Rouge Would say:

Though comics are one of the bare handful of born-in-America artforms, their appeal crosses all political and geographical borders. Submitted as proof of this hypothesis—as if proof be needed!…one of the first European editions of a Library of American Comics book. In October, 2010, Nicholas Forsans, Jean-Baptiste Barbier, Antonie Mathon, and their fine co-workers at Bdartist(e) released a lovely translated-into-the-French version of Milton Caniff’s Terry and the Pirates, Volume 1. Here’s a look at their familiar-yet-different front dustjacket for the book:

French_Terry-1

More than two decades after Caniff’s passing and with almost sixty-five years gone by since he abandoned post-War China in favor of Horizons, Unlimited, Bdartist(e)’s release stands as testament to Milt’s unmatched talent and the timeless appeal of Terry Lee and his vivid, unforgettable supporting cast.

Their book follows our own Terry Volume 1 closely, but not exactly. Howard Chaykin’s introduction and my essay were retained; Dean’s preface was not. Like us, Bdartist(e) chose to provide a ribbon bookmark, but Randy Scott’s Index to Volume 1 has been replaced by eight pages of “Hommages:” interpretations of Terry in both color and black-&-white by Continental artists that served as a preview of a December 2010 exhibition on display at the publisher’s gallery, located at 55 rue Condorcet in Paris.

Aside from the text on the front endpapers, the daily reprinted on the back flap of the dustjacket, and the “Character Key to Our Cover” feature, the entire book has been translated into French, all the strips re-lettered. This means our European friends are deprived of Frank Engli’s beautiful lettering, but the work of Maximilien Chailleux is crisp and clean, and certainly it must be no easy task to place translated text within space defined for the “mother tongue.” Well done, M’sieur Chailleux!

As I browsed Terry et les Pirates, I speculated on the considerable challenge one faces in translating Caniff’s dialogue into another language. As the series unfolds, many of Milton’s characters use an increasingly snappy and sometime esoteric American slang, and several of his secondary players routinely fracture the King’s English as a reminder of their Asian or European origins (think of Singh-Singh’s love of “Pappermeents,” or Rouge, using one of her many aliases while confirming what Flippo Corkin has just wryly observed: “Preencess Rojo does have the prett-ee feegure!”). Is it possible to capture even the majority of the insouciance and humor contained in Milton’s scripting? Michel Pagel, who adapted the text in tome 1, will surely handle that considerable task with professionalism, skill, and care.

Alas, I’ll be a poor judge of his efforts—four years of school-years German left me ill-equipped to tackle a French translation!

Terry_french_text

 

Believe it or not, this is not the first time my work has been translated for European audiences. I own copies of both the French and German editions of Lee Weeks’s and my graphic novel,Batman: The Gauntlet. (There’s reportedly also a Spanish edition I’ve been unable to find – so if anyone knows where I can get a copy of Robin: Dia Un, I’d be greatly indebted … )LE_DEFI

Cover to the French edition of Gauntlet, which also featured a James Robinson/Lee Weeks
short story reprinted from Legends of the
Dark Knight #100)

 

On this side of the Atlantic, each week we’re bombarded with e-mails from readers requesting second printings of the LOAC Terry and the Pirates, since many volumes of the initial run are sold out, with copies commanding high prices on the secondary market ($200-300 for Volume Five!). While we have not yet completed our plans—there are scheduling, printing, and economic factors that have to be weighed and balanced—we will be offering second printings of Terry as we look to keep Milton Caniff’s original masterpiece in print during the second decade of the 21st Century. Watch this space for notification when the presses start rolling.

Meanwhile (with a lot of help from Google-Translate): Un grand merci à Bdartist(e) de me donner une copie de leur merveilleuse Terry et les pirates, tome 1! Mes félicitations pour produire un beau livre!

You’ll find the Amazon-France listing for Bdartist(e)’s Terry tome 1 here …

… While the page on Bdartist(e)’s website devoted to Terry – complete with French press coverage – is located here.

Master of the Motherload in Michigan

randy

I’ve known Randy Scott and been familiar with Michigan State University’s Comic Art Collection since the late 1970s. I recently found a carbon copy (remember those?) of the letter I sent him in 1978 that accompanied a copy of Sabre by Don McGregor and Paul Gulacy, the inaugural book from my publishing company, Eclipse Comics. Sabre was the first graphic novel ever published for the comics specialty market, and at a time when graphic novels and comics were considered trash by most universities, I thought it pretty impressive that at least one Big Time College Library would collect what I published!

sabre

MSU then became the home for the complete files of Eclipse Comics, from beginning to end. It’s turned out to be a useful resource. For example, when Blake Bell was writing his excellent bookon Steve Ditko, I was able to offer him nearly 100 pages of original research we did at Eclipse in the 1980s, including notes from an interview with Ditko’s brother.

Randy and I were also early members of APA-I. What’s that, you ask? Basically, a bunch of comics nuts producing indexes to different series, writers, and artists. Three other early APA-I members went on to form the Grand Comics Database.

New_arrivals

randy_dean

So here we are, thirty years later — Randy is STILL the comics maven at Michigan State University, while I’m preserving and restoring classic comics as founder of The Library of American Comics. Many of our releases boast indexes by…you guessed it, Randy Scott.

randy_lorraine

Randy shows Lorraine Turner and me some of the hard-to-find European comics he’s brought home from a recent buying trip..

stacksStacks of fun!

bandroomRandy and fellow librarians on campus use his office for their weekly jazz improvs.

old_comics

Some uncatalogued tearsheets from the King Features collection.

On our recent research trip to East Lansing, the home of MSU’s Special Collections Library, Lorraine Turner and I barely scratched the surface of the several hundred thousand (yes, several hundred thousand!) comics, graphic novels, and books about comics in the stacks. We were concentrating our research on—among other subjects—Alex Raymond’s syndicate proofs forFlash Gordon and Jungle Jim; the cartoonists Otto Soglow, creator of The Little King; Frank Robbins, creator of Johnny Hazard; and Jimmy Hatlo, of They’ll Do It Every Time and Little Iodinefame…

…and to look through my old Eclipse files relating to Alex Toth. Our forthcoming book—Genius, Isolated: The Life and Art of Alex Toth—will be richer because the Eclipse files containing correspondence and stats of original artwork have been preserved and catalogued at Michigan State University.

Gift_of_Murder_Notes

Here’s Alex’s note to me expressing uncertainly over who drew this page originally published by Standard Comics. In the 1980s at Eclipse, I reprinted six issues worth of Standard stories in a series entitled Seduction of the Innocent. Alex’s comment that “you won’t have to pay any of us old crocks” refers to my policy of paying reprint rates to artists or their heirs, regardless of the fact that the comics were in the public domain. It’s a policy I maintain today: Alex’s family is sharing in royalties on our Genius books. It’s a policy we encourage other publishers to adopt.

* * * * *

So here’s a “Hear, Hear” for my old pal Randy Scott, Comic Art Bibliographer, Indexing Guru, and (with his wife Lynn) the best host north of Columbus, Ohio, and south of Cadillac, Michigan.

Hunting(ton) Season

Beau_rocker

 

The fact that hunting season opened in the Middle West had nothing to do with why we were in Huntington, West Virginia last week. What could have drawn us nearly 1,200 miles away from the delightlfuly warm temperatures of Key West? Nothing less than a Library of American Comics confab with our marketing and sales guru, Beau Smith. Those who know Beau are aware of the fact that he rarely leaves his home town (the electronic shackles on his ankles may have something to do with it—only kidding!). Oh, he’ll travel up to Mid-Ohio Con each year, but that’s about as far afield as he likes to go.

Luckily for us, Huntington was a convenient first stop on our trip. Beau’s been doing a great job expanding our sales to libraries and universities. Here, he and Associate Art Director (and marketing whiz herself) Lorraine Turner exchange ideas about spreading the word in the halls of academia.

pointing-1

For as many books as Beau and I have worked together on in the past twenty-five years, we still get a thrill opening that first box from the printer to see the latest release.

Beau_book

Beau also gave us a fun tour of the town, which included the stadium of the Marshall football team (his alma mater, and the subject of the movie, “We Are Marshall”). Before we hit the road, Beau’s better half, Beth, joined us for a cracklin’ good breakfast. And then we were off to our next stop: Columbus, Ohio. More about that in our next entry.

 

Beau_Beth

Overlapping strips

DT480710

 

In working on the layout for The Complete Dick Tracy volume 11, I searched for a specific daily—July 10, 1948—to place in the page design. The search results came up with the requested Tracydaily, but also a Rip Kirby daily and an Archie daily from the same date.

I guess it should have dawned on me earlier because with more than thirty books published as part of the Library of American Comics, we’re starting to see overlapping dates from strip to strip. We tend to look at each series as a distinct collection, but great cartoonists such as Chester Gould, Bob Montana, and Alex Raymond didn’t work in a vacuum—their strips often appeared alongside one other’s.

Archie480710

 

So in the interest of imaging what it would have been like to read a daily comics page at the time, here are three dailies from July 10, 1948.

 

RK480710

And for more fun, imagine the thrill of reading Milton Caniff’s Terry and the Pirates, Al Capp’s Li’l Abner, and Harold Gray’s Little Orphan Annie all on the same day?! Here are those strips from May 21, 1937.

Enjoy!

Terry370521

Abner370521

LOA370521

Overlapping strips

DT480710-1

In working on the layout for The Complete Dick Tracy volume 11, I searched for a specific daily—July 10, 1948—to place in the page design. The search results came up with the requested Tracydaily, but also a Rip Kirby daily and an Archie daily from the same date.

I guess it should have dawned on me earlier because with more than thirty books published as part of the Library of American Comics, we’re starting to see overlapping dates from strip to strip. We tend to look at each series as a distinct collection, but great cartoonists such as Chester Gould, Bob Montana, and Alex Raymond didn’t work in a vacuum—their strips often appeared alongside one other’s.

Archie480710-1

So in the interest of imaging what it would have been like to read a daily comics page at the time, here are three dailies from July 10, 1948.

RK480710-1

And for more fun, imagine the thrill of reading Milton Caniff’s Terry and the Pirates, Al Capp’s Li’l Abner, and Harold Gray’s Little Orphan Annie all on the same day?! Here are those strips from May 21, 1937. Enjoy!

Terry370521-1

Abner370521-1

LOA370521-1

 

 

Mike Esposito: In His Own Words – Part Three

Mike Esposito, the comic book artist and inker whose career spanned a half-century, has passed away at age eighty-three. In his memory, The Library of American Comics concludes our printing of the excerpted transcript of my interview with Mr. Esposito, who spoke with me in 2009 for our forthcoming Genius, Isolated: The Life and Art of Alex Toth.

We begin this final installment with a discussion of work Alex did in the early 1950s for Esposito and his artistic partner and lifelong friend, Ross Andru, while they were publishing comics under the company name, “Mikeross Publications”:

Espo_09

 

LOAC: OK, I’ve seen Joe Yank, but let me ask you about one of your books that I haven’t seen, a book called 3D Love.

ME: Oh yeah, we published that.

LOAC: And I heard that Alex did …

ME: Yeah, yeah. He did two great covers!

LOAC: All of Toth’s romance stuff is so fantastic. I spoke with John Romita about Toth – and you know how much romance work he did – and Romita said, “I learned how to do all the romance stuff just by looking at how Toth did it.”

ME: Yeah, John was up at DC, Johnny was starting up there, he was very young. In fact, Ross and I wanted Johnny to come to us when we were doing romance, and when we were doingWonder Woman. We wanted him to do the heads for us, and the figure of Wonder Woman only. But he didn’t want to do it, he didn’t want to get involved with the character, he wanted to do stuff where he’d draw the whole thing himself. And that worked for him – he’s done very well!

LOAC: Oh, yeah! And he’s such a nice guy, too …

ME: Oh, sure! We’re very close, still, he and I. We speak once or twice a week. He lives not too far from me.

Espo_10

LOAC: You know, I think we’ve covered all the topics I had on my list. Thanks very much for your time. I still have a batch of people to talk to, but if somebody else tells me something and I want to run it past you, would it be all right to give you a quick call … ?

ME: Oh, of course! Now, what is this going into?

LOAC: Well, here’s a name you may remember – Dean Mullaney, who used to publish Eclipse Comics back in the ’80s and ’90s …

ME: Yeah, yeah, Eclipse, I remember.

LOAC: These days Dean and I are producing hardcover collections of strip reprints. We’ve got all of Caniff’s Terry and the Pirates back into print, and we’re doing Dick Tracy. Last year we did a collection of Noel Sickles’s Scorchy Smith

ME: Oh, great!

LOAC: That’s up for an Eisner Award this year …

ME: Really?

LOAC: So we decided this Toth biography would be a great follow-up to the Sickles.

ME: Well, I wish you guys lots of luck. I think I’m gonna go now – my phone is still running, but my voice is leaving!

LOAC: I understand how that goes! Thanks very much for your time – I appreciate it.

ME: All right, pal. ‘Bye now.

 

Espo12

Rest in peace, Mr. Esposito.

 

 

Mike Esposito: In His Own Words – Part Two

We continue to honor the late Mike Esposito, who passed away at the end of October, by publishing the second excerpt from my 2009 interview with him. Mr. Esposito and I spoke in support of our upcoming release, Genius, Isolated: The Life and Art of Alex Toth, and we return to the interview at the beginning of a wide-ranging conversation about Alex:

Espo13

ME: As far as Toth goes, he was good right to the end. I get the Alter Ego magazine – he did a lot of articles for Jim Amash.

LOAC: Yeah, he really kept his interest in the field down through the years … and he definitely wasn’t shy with his opinions!

ME: Yeah, but he had the right to ’em, he was a real veteran …

LOAC: Sure.

ME: But you’re right about that. And all his articles and notes, every little thing, he would letter it himself – he wouldn’t write it, he would print it. And he had a way of lettering … he would have been a great full-time letterer, he had that knack. When you see my lettering it’s so sloppy, when I write a note to somebody or something. But he had control right to the end of his life. I used to see those little articles of his in Alter Ego – amazing! I couldn’t help but admire him for it. But I didn’t know he died so young. I never knew he was that sick.

LOAC: Well, the medical problems began, and they mounted up. And maybe he wasn’t as quick to get help as he should have been. But years before that, his wife passed away before him and that affected him, as well.

ME: Sure. Did he have any children?

LOAC: Yes, he had four children, two girls, two boys.

ME: I didn’t know that.

LOAC: Actually, we’re working with the kids, we’re doing the book with their approval, and we’re working with them …

ME: What about talent-wise? Are they art-interested?

LOAC: None of them have followed in his footsteps, obviously, but some of them work in design and photography, and there are grandchildren …

ME: That’s what I meant. Sometimes it steers toward music, sometimes it steers toward acting, but it all comes from the creative spark that gets passed along.

 

Espo_07

 

LOAC: Let me ask you a quick question in another area. I saw some of the stuff that you and [lifelong artistic partner, penciler] Ross [Andru] had done at Standard, some pages from Joe Yank

ME: Oh, yeah . . .

LOAC: It seemed to me that in some of that work, the two of you were going for a Toth-like look.

ME: Oh, definitely! Ross realized that he would overwork too much, and he tried to get a more visually-readable look to his stuff. Like the way Toth would do it, with the faces, the layouts, the backgrounds, and the figures in the foregrounds.

LOAC: One of the guys who inked a lot of Toth’s work, especially at Standard, was Mike Peppe. And Peppe was the art director there, too, right?

ME: Sure, sure. You know, he wanted to ink Ross. Ross had an argument with him. He said to Ross, “I want to do your inking,” and Ross said to Peppe, “No, Mike’s my partner for life.” We were kids, Ross and I, we grew up together, all the way through high school, the Music and Art High School. He said, “Partners for life.” Ross was young, and an up-and-comer, but he said, “No.” Peppe was actually shocked.

LOAC: Sure. In most businesses, there’s not a lot of that kind of loyalty.

ME: You’re right. But sometimes loyalty is because of your own insecurity.

LOAC: That’s true.

ME: Ross might have been more comfortable with me because he knew me from when we were kids – he trusted me.

LOAC: When you get a good working relationship together … if it’s not broke, why fix it?

ME: Especially if you’re paranoid. And we were! [National/DC editor Bob] Kanigher called us, “The Paranoid Twins!”

Espo18

The conclusion of my interview with Mike Esposito will appear tomorrow.

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