“With this new book, I’m reconnecting with my earlier self from the underground era, but with all the experience and skill that I’ve gained in the last 30 years of doing a daily strip.”
Bill Griffith is best known for nearly 30 years of daily comic strips featuring the absurd, surreal American treasure known as Zippy the Pinhead, but he’s also the author of the amazing graphic memoir, Invisible Ink: My Mother’s Love Affair With A Famous Cartoonist (Fantagraphics). This new 200-page work chronicles Bill’s mother’s affair with the cartoonist Lawrence Lariar, and explores notions of family, infidelity, art, vanishing New York, the transience of reputation and memory, and of course, comics. The book is so significant that I decided to have two separate sessions with Bill, one to discuss his background and his comics history, and the other to focus on Invisible Ink. In part 1, we tackle Bill’s discovery of underground comics and the scene in ’70s San Francisco, his fine art education, the inescapable importance of Robert Crumb, his collaboration with Art Spiegelman on Arcade magazine, how he wound up with a syndicated daily Zippy comic strip, his rediscovery of diners, muffler-men, and roadside advertising icons, his surprisingly youthful audience, the responsibility of blowing up his readers’ minds, and more! Give it a listen! (And go buy Invisible Ink!)
“We thought of Arcade magazine as a life-raft. We were worried that underground comics would die in two ways: economically, with the Supreme Court ruling on pornography . . . and through the limits of its own audience, which was centered around headshops. Arcade was supposed to be where underground comics went to grow up, and build a wider audience.”
Part 2 of this episode takes place at the inaugural Cartoon Crossroads Columbus, where I interviewed Bill in front of an audience that included Art Spiegelman. This section focuses on Invisible Ink, and covers Bill’s relationship with his parents, the reasons he pursued the story of his mother’s affair, the transience of fame, his need to re-draw all of Lawrence Lariar’s art in his book, how he reacted when his mother wanted to get a tattoo of Zippy, what he’s learned from teaching cartooning at SVA, and more! We had two great conversations, so go listen to them!
“Art Spiegelman told me he liked Zippy, but it was a little like being stuck in an elevator with a crazy person.”
About our Guest
Bill Griffith grew up in Levittown, NY. He attended Pratt Institute and studied painting and graphic arts concurrently with Kim Deitch — they dropped out about the same time. Inspired by Zap, Griffith began making underground comics in 1969, and joined the cartoonists in San Francisco in 1970. Griffith’s famous character Zippy the Pinhead made his initial appearances in early underground comic books, morphing into a syndicated weekly strip in 1976 and then a nationally-syndicated daily strip a decade later. Griffith is married to cartoonist and editor Diane Noomin. They live in Connecticut. His new book is Invisible Ink: My Mother’s Love Affair With A Famous Cartoonist (Fantagraphics).
You can find a more extensive bio at Bill’s site.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The conversation was recorded at Mr. Griffith’s studio in Connecticut in August 2015 and at the Cultural Arts Center in Columbus, OH at Cartoon Crossroads Columbus in October 2015 on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photos of Mr. Griffith by me.
“Fatherland is really about who my father was, getting to understand him, and also an attempt to explain how politics can tear a family apart, just like they tore apart the people of Yugoslavia in the 1990s.”
Nina Bunjevac‘s new book, Fatherland, explores her family’s fractured history against the backdrop of 20th century Yugoslavia. We talk about how she left her country in 1990 only to find that it wasn’t there when she went back. We also explore the risks and challenges of researching a terrorist organization, the comics tradition in Yugoslavia and her own comics history, Serbia’s culture of friendship, why the Toronto Comic Arts Festival is the best comics event in North America, how I discovered her first book, Heartless, the perils of too much stippling, why it was controversial to publish Fatherland in Serbian dialect in Croatia, and more.
“When I got to Canada when I was 16, I saw an issue of Raw, and that pretty much did it.”
About our Guest
Nina Bunjevac started her art training in Yugoslavia, at the Djordje Krstic School for Applied Arts; in 1990 she moved to Toronto, Canada, where she continued her studies in art at the Art Centre of Central Technical School; in 1997 she graduated from OCAD in the Drawing and Painting department. Formerly a painter, a sculptor and an art teacher, Nina found her calling in sequential arts, a form that seemed to naturally evolve out of the narrative component in her sculpture installation work. Pen and ink became her medium of choice.
Nina’s comics have appeared in a number of local and international publications: Komikaze (Croatia), Black (Italy), GIUDA (Italy), Stripburger (Slovenia), Zone 5300 (Netherlands), Stripolis (Serbia), ArtReview (UK), Asiatroma/Le Dernier Cri (France), Broken Pencil, Exile, Taddle Creek (Canada) and Mineshaft (USA). Her debut collection of comics, Heartless, came out in September 2012 with the Nova Scotia-based publisher Conundrum Press, and was translated and published in France in 2013 by Ici-même Editions. In 2011 Nina received The Golden Pen of Belgrade at the 11th International Biennale of Illustration in Belgrade for the cover image of Balkan Women in Comics (Fibra/Croatia); in 2013 she received The Doug Wright Award in the Spotlight category, also known as The Nipper, for Heartless.
Fatherland: A Family History comes out this month in Canada from Cape Graphic/Random House and will be released in the U.S. in January 2015.
Photo of Nina Bunjevac by David Hawe.
Credits: This episode’s music is Bomba by King Africa (I make no apologies). The conversation was recorded at the Marriott Bloor in Toronto on a Zoom H2n digital recorder (because there was a power supply problem that caused a weird reverb on my main recorder). The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Ms. Bunjevac and me by Amy Roth.