Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
612-822-4611

  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Chester Brown: Conversations

Chester Brown: Conversations

Grace, Dominick
Hoffman, Eric

Paperback

Series: Conversations with Comic Artists

ArtistsLiterary CriticismFiction Anthologies

ISBN10: 1496802527
ISBN13: 9781496802521
Publisher: University Press of Mississippi
Published: Dec 15 2014
Pages: 284
Weight: 0.92
Height: 0.64 Width: 6.00 Depth: 9.00
Language: English
The early 1980s saw a revolution in mainstream comics--in subject matter, artistic integrity, and creators' rights--as new methods of publishing and distribution broadened the possibilities. Among those artists utilizing these new methods, Chester Brown (b. 1960) quickly developed a cult following due to the undeniable quality and originality of his Yummy Fur (1983-1994). Chester Brown: Conversations collects interviews covering all facets of the cartoonist's long career and includes several pieces from now-defunct periodicals and fanzines. Brown was among a new generation of artists whose work dealt with decidedly nonmainstream subjects. By the 1980s comics were, to quote a by-now well-worn phrase, not just for kids anymore, and subsequent censorious attacks by parents concerned about the more salacious material being published by the major publishers--subjects that routinely included adult language, realistic violence, drug use, and sexual content--began to roil the industry. Yummy Fur came of age during this storm and its often-offensive content, including dismembered, talking penises, led to controversy and censorship. With Brown's highly unconventional adaptations of the Gospels, and such comics memoirs as The Playboy (1991/1992) and I Never Liked You (1991-1994), Brown gradually moved away from the surrealistic, humororiented strips toward autobiographical material far more restrained and elegiac in tone than his earlier strips. This work was followed by Louis Riel (1999-2003), Brown's critically acclaimed comic book biography of the controversial nineteenth-century Canadian revolutionary, and Paying for It (2011), his best-selling memoir on the life of a john.

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