565:
255:
481:
418:
997:
978:
246:". Binky is shocked when he walks by the statue and no distressing thoughts occur. Emboldened by this, Binky confronts his faith and by smashing a set of miniature statues of the Virgin Mary, he declares himself free of his obsession with sexual purity. Noticing that one of the statues in the pile has survived unscathed, he puts it on his mantel and says to himself "Mother of God, eh? Guess I'll build up some new associations around you now... Let bygones be bygones!"
2782:
2734:
2746:
2758:
33:
242:, and acid trips. The narrator tells us that bad acid trips were like "water off a duck's back" to Binky, since everyday routines were already potentially traumatic experiences. As an adult, as the effects of an acid trip are beginning to wear off, Binky encounters a statue of the Virgin Mary in his path. Expecting to be tormented by his neuroses, he tries to dissolve the tension by facetiously singing "
238:
churches or statues of Mary. Binky finds his anguish all-consuming as he imagines the destruction he cannot avoid and spends hours praying to God for forgiveness. Eventually Binky comes to the conclusion that he has sinned so much through his thoughts that he is bound for hell no matter what, and decides to experiment with a variety of activities considered sinful, including beer, speed, self-harm,
2770:
1022:
764:
121:. He develops an internal set of rules to obey and punishments for breaking them. The torment does not subside, and he comes to reject the Catholic Church in defiance as the source of it. The work combines a wide variety of visual and narrative techniques in a style that echoes the torment of its protagonist.
589:
Critic Joseph Witek sees the shifting between different modes of traditional comics representation at times presents a literalist view through "windowlike panels", and at others "representational, symbolic, allegorical, associative, and allusive", an approach analogous to "Binky Brown's massively and
233:
bring him to believe that his body is trying to lead him to sin and eternal punishment. He develops an internal system of rules to cope with these thoughts and punishes himself for violations. He wards off thoughts and fantasies he could not control, and that gives him guilt by silently repeating the
225:
Green (the cartoonist) takes the persona of Binky Brown, who opens the story writing a confession of the neurosis that has tortured him since puberty. In Binky's childhood, he knocks over a statue of the Virgin Mary and feels intense guilt over this affront to his mother and to God. Binky is raised
629:
Green blames the
Catholic Church for his psychological troubles; years later, he was diagnosed with OCD, and came to see these episodes in that light rather than as the fault of the Church. He nevertheless continued to blame the Church for contributing to his anxieties and maintained that religion
237:
As he approaches adolescence and becomes aware of his sexuality, he begins to see common objects as phalluses—phalluses that project unholy rays. These objects include Binky's fingers, toes, and his own penis, and he obsessively tries to deflect their "pecker rays" from reaching holy items such as
216:
At the time, comic books had a reputation in the US as low-brow children's entertainment, and the public often associated them with juvenile delinquency. Comics had little cultural capital and few
American cartoonists had challenged the perception that the medium was inherently incapable of mature
302:
staff contacted the owner of the artwork, Christine
Valenza, to make fresh scans for a standalone reprinting in 2009, overseen by McSweeney's editor Eli Horowitz. It had a print run of 5,000 copies and reprints the artwork at the full size of the originals; the page reproductions mimic the actual
521:
was the first work of autobiographical comics to depict explicit sexuality: penises appear throughout, and Binky masturbates in one scene. The central symbol of the penis recurs sometimes subtly as in the images of pencils used to craft the work, and more often explicitly, as every phallic-like
434:
as he draws with a pen in his mouth. He declares his intention: "to purge myself of the compulsive neurosis which I have served since I officially left
Catholicism on Halloween, 1958". He justifies the work to communicate with the "many others [who] are slaves to their neuroses" and who,
863:, and Philip Roth. He has accepted credit for "anticipat[ing] the groundswell in literature about obsessive compulsive disorder by almost two decades", for which he knew of no precedent. Chute sees major themes of isolation and coping with OCD recurring in autobiographical works such as
723:
went out of print for two decades after selling its initial print runs, during which time enthusiasts traded copies or photocopies. Green made his living painting signs, and contributed occasional cartoon strips to various publications. Green used the Binky Brown persona over the years in short
202:
there. That year Green introduced a religion-obsessed character in the strip "Confessions of a Mad School Boy", published in a periodical in
Providence, Rhode Island, in 1968. He named the character Binky Brown in "Binky Brown Makes up His Own Puberty Rites", published in the 17th issue of the
185:
and turned to cartooning, attracted to what he called Crumb's "harsh drawing stuffed into crookedly-drawn panels". He experimented with his artwork to find what he called an "inherent and automatic style as a conduit for the chimerical forms in [his] own psyche". He dropped out of an
548:
symbols become literal, as when Binky imagines himself becoming a snowball hurtling into Hell or as a fish chased by a police officer who wears a crucifix. The work displays a wide array of visual techniques: diagrammatic arrows; mock-scholarly documentation; a great variety in panel size,
922:
sympathized with Brown's approach, which she described as "talking about his feelings or his emotional state when he was illustrating it with striking images that were sort of absurd or a weird juxtaposition". Green's influence extended overseas to cartoonists such as the Dutch
850:
According to underground comix historian
Patrick Rosenkranz, Green represents a break with past convention by being "the first to openly render his personal demons and emotional conflicts within the confines of a comic". Green denied credit, calling confessional autobiography "a
683:
1. Other contemporary underground cartoonists were soon to incorporate confessional autobiography into their work. Robert Crumb followed the same year with "The
Confessions of R. Crumb" and continued with numerous other such strips. Art Spiegelman, who had seen
464:
series from the 1950s. Green used the adult Binky as the narrator of the captions and as a way to tie together the past and present timeframes. There is a disconnect in that the narrator refers to his younger self as "he". Other references to comics include a
717:; years later he revisited the theme in the graphic novel of the same name. Comics critic Jared Gardner asserts that, while underground comix was associated with countercultural iconoclasm, the movement's most enduring legacy was to be autobiography.
270:. He took a few months making cards of what he called "factual incidents or neurotic habits" to incorporate. During the seven months he drew the work Green received a monthly stipend of $ 150 from Ron Turner, the founder of underground comix publisher
836:
has appealed mostly to comics fans and cartoonists, and has gained little recognition from mainstream audiences and arts critics. Spiegelman has speculated this neglect comes from the nature of the comics medium; in contrast to explicit works such as
442:
on an autobiographical base he fabricated many scenes—such as one in which Binky is bullied by two third-graders—"to suggest or convey a whole generalized idea about some subjective feeling, such as order or fear or guilt". To critic
Charles Hatfield
736:. "Sweet Void of Youth" in 1976 follows Binky from high school to age thirty-one, torn between cartooning and more respected forms of art. Aside from occasional one-off strips, his more regular cartooning appeared in the ongoing strips
2339:
226:
a
Catholic and undergoes the religious indoctrination of nuns at a strict Catholic parochial school that commonly employs corporal punishment. He forms an image of a vengeful God, which fills him with feelings of fear and guilt.
634:
may be harmful to minors; Green countered that he believed it was the Church that was harming minors. Green likened his OCD to a "split vision" which made him "both the slave to the compulsion and the detached observer".
1021:
630:
has a magnifying influence on the condition. He said the abandoning of both religion and recreational drugs made it easier to cope with his condition. In 1990 a
Catholic priest raised concerns that
274:. Last Gasp published the story as a one-shot comic book in 1972—Green's first solo title. It went through two print runs of 55,000 copies each with a "Youngsters Prohibited" label on the cover.
2213:
2349:
642:
sees the work as addressing feminist concerns of "embodiment and representation" as it "delves into and forcefully pictures non-normative sexuality". Chute affirms that despite its brevity
2263:
501:
Green employs numerous Catholic symbols, such as a word balloon adorned with symbols of Christ's martyrdom to represent the depth of Binky's desperation. Catholic works such as a
447:
displays a "radical subjectivity" that calls into question the notion of objectivity in autobiography. The presentation is insistently subjective and non-literal in its visuals.
454:—Green's drawing of it frames the narrative proper and there are constant reminders of it throughout. Green patterned the opening after those featuring the Crypt-Keeper in
117:
torment Binky Brown; to his alarm, phallic objects become literal penises and project what he calls "pecker rays" at religious objects such as churches and statues of the
666:, where its self-mocking and confessional approach has inspired numerous cartoonists to expose intimate and embarrassing details of their lives. Under the influence of
147:
has gained a reputation as the first major work of autobiography in English-language comics, and many aspects of its approach have become widespread in underground and
2315:
2832:
977:
955:
s list of the best hundred English-language comics of the 20th century, and featured as the cover artwork for the autobiographical comics issue of the journal
996:
2223:
2448:
940:
428:
The story takes the form of a guilt-ridden confession. In the opening, the adult Binky hangs over a sickle, bound from head to toe and listening to
884:
435:
despite believing themselves isolated, number so many that they "would entwine the globe many times over in a vast chain of common suffering".
2273:
2193:
2239:
166:, and later transferred to a school where most students were Jews. He rejected the Catholic faith in 1958 as he believed it caused him "
662:
drew from his readership, the first significant response he got from his work. The story has had a wide influence on underground and
303:
pages, including marks, smudges, and corrections. In 2011, the publisher Stara published a French translation by Harry Morgan titled
713:. Spiegelman delivered the three-page "Maus" in which Nazi cats persecute Jewish mice, inspired by his father's experiences in the
528:
described the artwork as "quirky and ungainly". Though it appears awkward, Green put considerable effort into elements such as
2561:
2441:
2365:
2067:
2041:
2010:
1987:
1961:
1938:
1912:
1889:
1867:
1846:
1823:
1800:
401:
378:
162:(1945–2022) was born to a Jewish father and Catholic mother and raised Catholic. As a child he at first attended a Catholic
2822:
2289:
2323:
417:
171:
107:
2812:
2434:
1030:
stated Green's autobiographical work "has never been surpassed"; his own autobiographical work depicts his dreams.
2002:
1930:
544:, another prominent early practitioner of autobiographical comics, Green makes wide use of visual metaphors. In
2498:
892:
564:
2706:
2547:
2526:
2029:
460:
178:
778:
Though autobiographical elements had appeared earlier in the work of underground cartoonists such as Crumb,
2802:
2660:
714:
2807:
590:
chaotically overdetermined subjectivity". Witek finds roots for the fractured psychological landscape of
549:
composition, and layout; and a range of contrasting mechanical and organic rendering techniques, such as
199:
517:
Despite strict censorship in other media in the US, explicit sexuality was common in underground comix.
2837:
2724:
2106:
650:" as "the quality of work, its approach, parameters, and sensibility" mark a "seriousness of purpose".
600:
581:
2827:
2817:
2685:
1838:
912:, Green's autobiographical work "has never been surpassed". Woodring's own autobiographical work in
883:(2006). Hatfield sees echoes of Green's unrestrained approach to dealing with a mental condition in
159:
95:
51:
2568:
2491:
2020:
Witek, Joseph (2011). "Justin Green: Autobiography Meets the Comics". In Chaney, Michael A. (ed.).
726:
532:, and draws attention to his craft by depicting himself drawing and by placing the drawing manuals
855:, a low fruit ripe for the plucking", examples of which abounded in literary works he had read by
791:
529:
507:
493:
430:
2197:
814:
did for sword-and-sorcery, Justin Green did for confessionary, autobiographical comix [
2247:
2088:
843:
806:
declared Green and his work "ahead of the memoirist curve"; Art Spiegelman declared: "What the
118:
2582:
1979:
705:
s publication, Green asked Spiegelman to contribute a three-page strip to the first issue of
373:
353:
271:
259:
77:
39:
802:
Green was "the first neurotic visionary to unburden his uncensored psychological troubles";
2692:
2243:
1999:
Comic Books as History: The Narrative Art of Jack Jackson, Art Spiegelman, and Harvey Pekar
671:
132:
2403:
Burbey, Mark (January 1986). "Comics and Catholics: Mark Burbey Interviews Justin Green".
2033:
1899:
Green, Diana (2010). "Binky Brown Meets the Holy Virgin Mary". In Booker, M. Keith (ed.).
8:
2738:
2678:
2617:
2610:
2575:
2410:
2375:
2167:
2141:
2097:
1953:
957:
239:
205:
191:
187:
283:. In the essay, he describes the OCD with which he was diagnosed years after completing
2540:
2405:
2370:
2268:
2162:
2136:
2118:
948:
901:
663:
279:
148:
2774:
2596:
2477:
2457:
2414:
2344:
2294:
2171:
2145:
2122:
2063:
2037:
2006:
1983:
1957:
1934:
1908:
1885:
1863:
1842:
1819:
1796:
965:
appeared in an exhibition of Green's work at Shake It Records in Cincinnati in 2009.
869:
822:
752:
676:
230:
195:
128:
114:
2379:
2340:"Sex, Lies and Religion: A New Edition of 'Binky Brown Meets the Holy Virgin Mary'"
2110:
1922:
860:
811:
522:
object Green sees becomes a literal "pecker ray"-projecting penis in Binky's mind.
163:
91:
807:
307:, and La CĂşpula published a Spanish translation by Francisco PĂ©rez Navarro titled
254:
194:
when in 1968 he felt a "call to arms" to move to San Francisco, where the nascent
2786:
2589:
2512:
2022:
1857:
896:
779:
732:
605:
558:
2299:
2214:"'Binky Brown conoce a la Virgen MarĂa', una obra maestra del cĂłmic Underground"
918:
draws from his dreams rather than his waking life. British-American cartoonist
2762:
2484:
1971:
1002:
919:
874:
710:
525:
396:
299:
292:
140:
103:
674:
published her first strip, the autobiographical "Goldie: A Neurotic Woman" in
2796:
2750:
2554:
2505:
2418:
2175:
2160:, ed. (February 1999). "The Top 100 English-Language Comics of the Century".
2149:
2059:
924:
827:
647:
639:
243:
98:, published in 1972. Green takes the persona of Binky Brown to tell of the "
2157:
2126:
2051:
1877:
1027:
983:
914:
909:
864:
803:
799:
595:
576:
541:
511:
489:
480:
277:
In 1990, Green had an essay published entitled "The Binky Brown Matter" in
182:
167:
136:
99:
2426:
32:
1424:
856:
838:
768:
724:
strips and prose pieces that appeared in underground periodicals such as
594:
in the comics of earlier eras: the unrestrained psyches in the dreams of
451:
102:" with which he struggled in his youth and which he blamed on his strict
1816:
Critical Survey of Graphic Novels: Independents and Underground Classics
1787:
Booker, M. Keith, ed. (2014). "Binky Brown Meets the Holy Virgin Mary".
557:. The symbolic and technical collide where the Virgin Mary becomes the
2519:
2114:
783:
550:
470:
234:
word "noyatin" to himself, a contraction of the repentant "not a sin".
1859:
Chris Ware's Jimmy Corrigan: Honing the Hybridity of the Graphic Novel
1513:
291:, a softcover anthology of Binky Brown strips with an introduction by
2624:
2533:
2024:
Graphic Subjects: Critical Essays on Autobiography and Graphic Novels
763:
610:
502:
455:
2781:
2699:
1904:
1792:
1716:
879:
615:
554:
209:
in 1969. "The Agony of Binky Brown" followed in the first issue of
2745:
2733:
2603:
619:
1652:
774:
and other writers who bared their personal lives in their work.
742:
688:
in mid-creation in 1971, went as far as to state that "without
1974:(1995). "Symptoms of Disorder/Signs of Genius: Introduction".
798:
is "the ur-example of confessional literature in comics"; for
1339:
2218:
1737:
1735:
1733:
1731:
1271:
1269:
1267:
1265:
1263:
1261:
1259:
1257:
1255:
1007:
694:
298:
Green sold the original artwork to the strip in the 1970s;
2134:
Levin, Bob (April 1998). "Rice, Beans and Justin Greens".
2056:
Reading Comics: How Graphic Novels Work and What They Mean
1461:
1459:
1457:
1455:
1395:
1393:
1391:
1389:
1387:
1385:
2264:"BD: "Binky Brown", un classique novateur et iconoclaste"
1789:
Comics through Time: A History of Icons, Idols, and Ideas
1355:
1087:
1085:
1083:
1081:
1079:
1077:
1075:
1073:
1071:
1058:
1056:
986:
took to putting himself on display shortly after reading
816:
1747:
1728:
1503:
1501:
1471:
1252:
1225:
1223:
1221:
1219:
1217:
1215:
1202:
1200:
1198:
540:
in the backgrounds. In contrast to the mundane tales of
450:
Despite the heavy tone, humor is prominent. The work is
2287:
2194:"Binky Brown rencontre la Vierge Marie de Justin Green"
1722:
1668:
1568:
1546:
1544:
1452:
1414:
1412:
1410:
1408:
1382:
1372:
1370:
1323:
1301:
1299:
1286:
1284:
1185:
1183:
143:
soon turned to producing similarly confessional works.
1640:
1592:
1488:
1486:
1440:
1242:
1240:
1238:
1068:
1053:
756:
Such later work has attracted far less attention than
698:"—Spiegelman's most prominent work. The same year as
2722:
1835:
Graphic Women: Life Narrative and Contemporary Comics
1704:
1680:
1556:
1498:
1212:
1195:
1146:
1144:
1142:
1129:
1127:
1125:
1123:
1121:
1108:
1106:
1104:
1102:
1100:
295:
and an expanded version of "The Binky Brown Matter".
2316:"Justin Green: Binky Brown conoce a la Virgen MarĂa"
1759:
1628:
1616:
1580:
1541:
1405:
1367:
1296:
1281:
1180:
484:
Comics and Catholic images are scattered throughout
1692:
1604:
1529:
1483:
1235:
1156:
2087:
2021:
1168:
1139:
1118:
1097:
1041:
110:(OCD) and came to see his problems in that light.
790:has gained credit as the first important work of
477:and a cartoon by Robert Crumb in the background.
2794:
1311:
266:Green spent about a year working on the 44-page
127:had an immediate influence on contemporaries in
1901:Encyclopedia of Comic Books and Graphic Novels
249:
2442:
287:. Last Gasp reprinted the story in 1995 in
106:upbringing. Green was later diagnosed with
2833:Fiction about obsessive–compulsive disorder
2456:
2363:
1882:Graphic Novels: Stories to Change Your Life
1814:". In Beaty, Bart; Weiner, Stephen (eds.).
1753:
1741:
1434:
1275:
424:makes visual its author's internal anguish.
2449:
2435:
1970:
1927:Alternative Comics: An Emerging Literature
1574:
1523:
1465:
1430:
1361:
847:, the penises in Green's work are visual.
709:, which Green edited and was published by
31:
16:1972 graphic novel written by Justin Green
2288:Publishers Weekly staff (December 2011).
2078:
1950:Outlaws, Rebels, Freethinkers and Pirates
969:Autobiographical cartoonists inspired by
604:, the irrational, shifting landscapes of
2290:"Binky Brown Meets The Holy Virgin Mary"
2156:
1921:
1765:
1674:
1519:
1399:
1091:
1062:
762:
563:
479:
416:
253:
2237:
2211:
2085:
1876:
1710:
1686:
1646:
1598:
1562:
1507:
1376:
1345:
1189:
1150:
961:(Vol. 31, No. 1). Artwork to
658:Green recounted "a strong energy" that
653:
262:publisher Ron Turner (photo from 2007).
181:when in 1967 he discovered the work of
2795:
2643:Binky Brown Meets the Holy Virgin Mary
2402:
2313:
1786:
1349:
1229:
1206:
971:Binky Brown Meets the Holy Virgin Mary
834:Binky Brown Meets the Holy Virgin Mary
788:Binky Brown Meets the Holy Virgin Mary
392:Binky Brown Meets the Holy Virgin Mary
349:Binky Brown Meets the Holy Virgin Mary
322:Binky Brown Meets the Holy Virgin Mary
268:Binky Brown Meets the Holy Virgin Mary
258:Green received financial support from
170:" that decades later was diagnosed as
87:Binky Brown Meets the Holy Virgin Mary
25:Binky Brown Meets the Holy Virgin Mary
2562:The Rip Off Review of Western Culture
2430:
2261:
2133:
2019:
1996:
1947:
1898:
1855:
1832:
1809:
1662:
1658:
1634:
1622:
1610:
1586:
1550:
1535:
1492:
1477:
1446:
1418:
1333:
1305:
1290:
1246:
1174:
1162:
1133:
1112:
1047:
561:of Binky's converging "pecker rays".
412:
305:Binky Brown rencontre la Vierge Marie
2337:
2050:
1698:
1317:
309:Binky Brown conoce a la virgen MarĂa
2364:Rosenkrantz, Patrick (2011-03-06).
2089:"Autography's Biography, 1972–2007"
514:comics appear throughout the work.
177:Green was studying painting at the
13:
2395:
2191:
1976:Justin Green's Binky Brown Sampler
1329:
618:'s obsessively contrarian nemesis
213:, published by Last Gasp in 1971.
14:
2849:
2338:Reid, Calvin (December 1, 2009).
2262:Norot, Anne-Claire (2011-07-25).
1862:. Cambridge Scholars Publishing.
2780:
2768:
2756:
2744:
2732:
1020:
1005:stated there would have been no
995:
976:
794:in English. To Charles Hatfield
2240:"Justin Green on "Binky Brown""
2003:University Press of Mississippi
1931:University Press of Mississippi
1818:. Salem Press. pp. 89–93.
946:The story ranked No. 9 on
830:of autobiographical comics".
115:thoughts that he cannot control
1774:
893:dissociative identity disorder
680:
575:s unrestricted psyche include
1:
2527:Fabulous Furry Freak Brothers
2238:Manning, Shaun (2010-01-22).
2212:Jiménez, Jesús (2011-06-17).
2030:University of Wisconsin Press
1035:
939:(2000), about his father who
810:did for Gothic romance, what
452:conscious of its own creation
179:Rhode Island School of Design
172:obsessive–compulsive disorder
154:
108:obsessive–compulsive disorder
94:comic by American cartoonist
2222:(in Spanish). Archived from
1723:Publishers Weekly staff 2011
927:, who drew inspiration from
715:Auschwitz concentration camp
7:
2823:Comics critical of religion
2366:"The ABCs of Autobio Comix"
2314:Queipo, Alan (2011-07-12).
2272:(in French). Archived from
2196:(in French). Archived from
1810:Bosky, Bernadette (2012). "
941:collaborated with the Nazis
553:alongside dense hand-drawn
314:
250:Composition and publication
220:
10:
2854:
2107:University of Hawaii Press
1833:Chute, Hillary L. (2010).
748:Musical Legends in America
601:Dream of the Rarebit Fiend
582:Dream of the Rarebit Fiend
198:scene was blossoming amid
2686:The Complete Crumb Comics
2670:
2652:
2634:
2469:
2465:
1839:Columbia University Press
387:
364:
344:
339:
336:
333:
330:
327:
73:
65:
57:
47:
37:Original comic-book cover
30:
23:
2569:San Francisco Comic Book
2192:Bi, Jessie (July 2011).
1779:
568:Precursors in comics to
2813:Autobiographical comics
2086:Gardner, Jared (2008).
792:autobiographical comics
475:Crimestopper's Textbook
369:The Binky Brown Sampler
289:The Binky Brown Sampler
203:underground comic book
2583:Tits & Clits Comix
2548:"Omaha" the Cat Dancer
2184:
2079:Journals and magazines
1997:Witek, Joseph (1989).
943:during World War II.
775:
586:
498:
467:Sinstopper's Guidebook
425:
263:
131:: such cartoonists as
1856:Dycus, D. J. (2011).
891:(2002)—about Clell's
861:James T. Farrell
826:called the work the "
766:
567:
530:graphical perspective
483:
420:
383:Softcover collection
354:Last Gasp Eco Funnies
272:Last Gasp Eco-Funnies
257:
217:artistic expression.
113:In the story, sinful
78:Last Gasp Eco Funnies
2244:Comic Book Resources
1795:. pp. 480–482.
654:Reception and legacy
585:(February 25, 1905).
461:Tales from the Crypt
2803:1972 graphic novels
2671:Books and one-shots
2411:Fantagraphics Books
2376:Fantagraphics Books
2168:Fantagraphics Books
2142:Fantagraphics Books
1954:Fantagraphics Books
1948:Levin, Bob (2005).
1812:Binky Brown Sampler
1480:, pp. 229–230.
844:Portnoy's Complaint
469:, which alludes to
438:Though Green built
324:
192:Syracuse University
168:compulsive neurosis
100:compulsive neurosis
2808:1972 comics debuts
2541:Gothic Blimp Works
2406:The Comics Journal
2371:The Comics Journal
2269:Les Inrockuptibles
2163:The Comics Journal
2137:The Comics Journal
2115:10.1353/bio.0.0003
1907:. pp. 56–58.
949:The Comics Journal
776:
743:Signs of the Times
692:there would be no
664:alternative comics
646:merits the label "
587:
499:
426:
413:Style and analysis
319:
264:
231:intrusive thoughts
200:the counterculture
149:alternative comics
2838:Underground comix
2720:
2719:
2716:
2715:
2707:It Ain't Me, Babe
2478:American Splendor
2458:Underground comix
2345:Publishers Weekly
2295:Publishers Weekly
2069:978-0-7867-2157-3
2043:978-0-299-25103-1
2012:978-0-87805-406-0
1989:978-0-86719-332-9
1963:978-1-56097-631-8
1940:978-1-60473-587-1
1923:Hatfield, Charles
1914:978-0-313-35747-3
1891:978-1-84513-068-8
1869:978-1-4438-3554-1
1848:978-0-231-15063-7
1825:978-1-58765-950-8
1802:978-0-313-39751-6
1449:, pp. 18–19.
870:Stuck Rubber Baby
823:Publishers Weekly
638:Literary scholar
538:Fun with a Pencil
410:
409:
406:Deluxe hardcover
402:978-1-934-78155-5
379:978-0-86719-332-9
211:Laugh in the Dark
196:underground comix
129:underground comix
83:
82:
2845:
2828:Last Gasp titles
2818:Religious comics
2785:
2784:
2773:
2772:
2771:
2761:
2760:
2759:
2749:
2748:
2737:
2736:
2728:
2661:Keep on Truckin'
2653:Individual works
2467:
2466:
2451:
2444:
2437:
2428:
2427:
2422:
2390:
2388:
2387:
2378:. Archived from
2360:
2358:
2357:
2348:. Archived from
2334:
2332:
2331:
2322:. Archived from
2310:
2308:
2307:
2298:. Archived from
2284:
2282:
2281:
2258:
2256:
2255:
2246:. Archived from
2234:
2232:
2231:
2208:
2206:
2205:
2179:
2153:
2130:
2094:
2091:
2073:
2047:
2027:
2016:
1993:
1982:. pp. 4–6.
1967:
1944:
1918:
1895:
1873:
1852:
1829:
1806:
1769:
1763:
1757:
1754:Rosenkrantz 2011
1751:
1745:
1742:Rosenkrantz 2011
1739:
1726:
1720:
1714:
1708:
1702:
1696:
1690:
1684:
1678:
1672:
1666:
1656:
1650:
1644:
1638:
1632:
1626:
1620:
1614:
1608:
1602:
1596:
1590:
1584:
1578:
1572:
1566:
1560:
1554:
1548:
1539:
1533:
1527:
1517:
1511:
1505:
1496:
1490:
1481:
1475:
1469:
1463:
1450:
1444:
1438:
1435:Rosenkrantz 2011
1433:, pp. 4–5;
1428:
1422:
1416:
1403:
1397:
1380:
1374:
1365:
1359:
1353:
1343:
1337:
1327:
1321:
1315:
1309:
1303:
1294:
1288:
1279:
1276:Rosenkrantz 2011
1273:
1250:
1244:
1233:
1227:
1210:
1204:
1193:
1187:
1178:
1172:
1166:
1160:
1154:
1148:
1137:
1131:
1116:
1110:
1095:
1089:
1066:
1060:
1051:
1045:
1024:
999:
980:
954:
704:
682:
574:
325:
318:
164:parochial school
92:autobiographical
35:
21:
20:
2853:
2852:
2848:
2847:
2846:
2844:
2843:
2842:
2793:
2792:
2791:
2779:
2769:
2767:
2757:
2755:
2743:
2731:
2723:
2721:
2712:
2666:
2648:
2630:
2461:
2455:
2425:
2398:
2396:Further reading
2393:
2385:
2383:
2355:
2353:
2329:
2327:
2305:
2303:
2279:
2277:
2253:
2251:
2229:
2227:
2203:
2201:
2187:
2182:
2092:
2081:
2076:
2070:
2044:
2013:
1990:
1972:Spiegelman, Art
1964:
1941:
1915:
1892:
1870:
1849:
1826:
1803:
1782:
1777:
1772:
1764:
1760:
1752:
1748:
1740:
1729:
1721:
1717:
1709:
1705:
1697:
1693:
1685:
1681:
1673:
1669:
1661:, p. 227;
1657:
1653:
1649:, pp. 7–8.
1645:
1641:
1633:
1629:
1621:
1617:
1609:
1605:
1601:, pp. 6–7.
1597:
1593:
1585:
1581:
1575:Spiegelman 1995
1573:
1569:
1561:
1557:
1549:
1542:
1534:
1530:
1524:Spiegelman 1995
1522:, p. 138;
1518:
1514:
1506:
1499:
1491:
1484:
1476:
1472:
1466:Spiegelman 1995
1464:
1453:
1445:
1441:
1431:Spiegelman 1995
1429:
1425:
1417:
1406:
1398:
1383:
1375:
1368:
1364:, pp. 4–5.
1362:Spiegelman 1995
1360:
1356:
1344:
1340:
1328:
1324:
1316:
1312:
1304:
1297:
1289:
1282:
1274:
1253:
1245:
1236:
1228:
1213:
1205:
1196:
1188:
1181:
1173:
1169:
1161:
1157:
1149:
1140:
1132:
1119:
1111:
1098:
1090:
1069:
1061:
1054:
1046:
1042:
1038:
1031:
1025:
1016:
1000:
991:
981:
952:
767:Green had read
702:
656:
606:George Herriman
572:
559:vanishing point
415:
317:
252:
223:
157:
43:
38:
17:
12:
11:
5:
2851:
2841:
2840:
2835:
2830:
2825:
2820:
2815:
2810:
2805:
2790:
2789:
2777:
2765:
2753:
2741:
2718:
2717:
2714:
2713:
2711:
2710:
2703:
2696:
2693:Feds 'N' Heads
2689:
2682:
2674:
2672:
2668:
2667:
2665:
2664:
2656:
2654:
2650:
2649:
2647:
2646:
2638:
2636:
2632:
2631:
2629:
2628:
2621:
2614:
2607:
2600:
2597:Wimmen's Comix
2593:
2586:
2579:
2572:
2565:
2558:
2551:
2544:
2537:
2530:
2523:
2516:
2509:
2502:
2495:
2488:
2485:Anarchy Comics
2481:
2473:
2471:
2463:
2462:
2454:
2453:
2446:
2439:
2431:
2424:
2423:
2399:
2397:
2394:
2392:
2391:
2361:
2335:
2311:
2285:
2259:
2235:
2209:
2188:
2186:
2183:
2181:
2180:
2154:
2131:
2082:
2080:
2077:
2075:
2074:
2068:
2048:
2042:
2017:
2011:
1994:
1988:
1968:
1962:
1945:
1939:
1919:
1913:
1896:
1890:
1874:
1868:
1853:
1847:
1830:
1824:
1807:
1801:
1783:
1781:
1778:
1776:
1773:
1771:
1770:
1758:
1746:
1727:
1715:
1703:
1701:, p. 203.
1691:
1679:
1677:, p. 131.
1667:
1665:, p. 111.
1651:
1639:
1637:, p. 107.
1627:
1625:, p. 104.
1615:
1603:
1591:
1589:, p. 103.
1579:
1567:
1555:
1553:, p. 227.
1540:
1528:
1512:
1497:
1482:
1470:
1451:
1439:
1423:
1421:, p. 229.
1404:
1402:, p. 138.
1381:
1366:
1354:
1338:
1322:
1310:
1308:, p. 103.
1295:
1293:, p. 102.
1280:
1251:
1234:
1232:, p. 481.
1211:
1209:, p. 480.
1194:
1179:
1167:
1165:, p. 101.
1155:
1138:
1117:
1096:
1094:, p. 134.
1067:
1065:, p. 135.
1052:
1039:
1037:
1034:
1033:
1032:
1026:
1019:
1017:
1003:Art Spiegelman
1001:
994:
992:
982:
975:
973:
920:Gabrielle Bell
908:To cartoonist
875:Alison Bechdel
808:Brontë sisters
746:magazine, and
711:Apex Novelties
677:Wimmen's Comix
672:Aline Kominsky
655:
652:
526:Art Spiegelman
508:Treasure Chest
494:Treasure Chest
488:, such as the
414:
411:
408:
407:
404:
399:
394:
389:
385:
384:
381:
376:
371:
366:
362:
361:
358:
356:
351:
346:
342:
341:
338:
335:
332:
329:
316:
313:
293:Art Spiegelman
251:
248:
222:
219:
156:
153:
141:Art Spiegelman
133:Aline Kominsky
104:Roman Catholic
81:
80:
75:
71:
70:
67:
63:
62:
59:
55:
54:
49:
45:
44:
36:
28:
27:
15:
9:
6:
4:
3:
2:
2850:
2839:
2836:
2834:
2831:
2829:
2826:
2824:
2821:
2819:
2816:
2814:
2811:
2809:
2806:
2804:
2801:
2800:
2798:
2788:
2783:
2778:
2776:
2766:
2764:
2754:
2752:
2747:
2742:
2740:
2735:
2730:
2729:
2726:
2709:
2708:
2704:
2702:
2701:
2697:
2695:
2694:
2690:
2688:
2687:
2683:
2681:
2680:
2676:
2675:
2673:
2669:
2663:
2662:
2658:
2657:
2655:
2651:
2645:
2644:
2640:
2639:
2637:
2633:
2627:
2626:
2622:
2620:
2619:
2615:
2613:
2612:
2608:
2606:
2605:
2601:
2599:
2598:
2594:
2592:
2591:
2587:
2585:
2584:
2580:
2578:
2577:
2573:
2571:
2570:
2566:
2564:
2563:
2559:
2557:
2556:
2555:Rip Off Comix
2552:
2550:
2549:
2545:
2543:
2542:
2538:
2536:
2535:
2531:
2529:
2528:
2524:
2522:
2521:
2517:
2515:
2514:
2510:
2508:
2507:
2506:Bijou Funnies
2503:
2501:
2500:
2496:
2494:
2493:
2489:
2487:
2486:
2482:
2480:
2479:
2475:
2474:
2472:
2468:
2464:
2459:
2452:
2447:
2445:
2440:
2438:
2433:
2432:
2429:
2420:
2416:
2412:
2408:
2407:
2401:
2400:
2382:on 2014-03-05
2381:
2377:
2373:
2372:
2367:
2362:
2352:on 2015-01-19
2351:
2347:
2346:
2341:
2336:
2326:on 2015-06-29
2325:
2321:
2317:
2312:
2302:on 2015-06-29
2301:
2297:
2296:
2291:
2286:
2276:on 2015-06-28
2275:
2271:
2270:
2265:
2260:
2250:on 2015-01-19
2249:
2245:
2241:
2236:
2226:on 2011-06-25
2225:
2221:
2220:
2215:
2210:
2200:on 2014-03-13
2199:
2195:
2190:
2189:
2177:
2173:
2169:
2165:
2164:
2159:
2158:Spurgeon, Tom
2155:
2151:
2147:
2143:
2139:
2138:
2132:
2128:
2124:
2120:
2116:
2112:
2108:
2104:
2100:
2099:
2090:
2084:
2083:
2071:
2065:
2061:
2060:Da Capo Press
2057:
2053:
2052:Wolk, Douglas
2049:
2045:
2039:
2035:
2031:
2026:
2025:
2018:
2014:
2008:
2004:
2000:
1995:
1991:
1985:
1981:
1977:
1973:
1969:
1965:
1959:
1955:
1951:
1946:
1942:
1936:
1932:
1928:
1924:
1920:
1916:
1910:
1906:
1902:
1897:
1893:
1887:
1883:
1879:
1878:Gravett, Paul
1875:
1871:
1865:
1861:
1860:
1854:
1850:
1844:
1840:
1836:
1831:
1827:
1821:
1817:
1813:
1808:
1804:
1798:
1794:
1790:
1785:
1784:
1767:
1766:Spurgeon 1999
1762:
1755:
1750:
1743:
1738:
1736:
1734:
1732:
1724:
1719:
1713:, p. 23.
1712:
1707:
1700:
1695:
1689:, p. 22.
1688:
1683:
1676:
1675:Hatfield 2005
1671:
1664:
1660:
1655:
1648:
1643:
1636:
1631:
1624:
1619:
1613:, p. 88.
1612:
1607:
1600:
1595:
1588:
1583:
1576:
1571:
1565:, p. 17.
1564:
1559:
1552:
1547:
1545:
1538:, p. 34.
1537:
1532:
1525:
1521:
1520:Hatfield 2005
1516:
1510:, p. 13.
1509:
1504:
1502:
1495:, p. 19.
1494:
1489:
1487:
1479:
1474:
1467:
1462:
1460:
1458:
1456:
1448:
1443:
1436:
1432:
1427:
1420:
1415:
1413:
1411:
1409:
1401:
1400:Hatfield 2005
1396:
1394:
1392:
1390:
1388:
1386:
1378:
1373:
1371:
1363:
1358:
1351:
1347:
1342:
1335:
1331:
1326:
1319:
1314:
1307:
1302:
1300:
1292:
1287:
1285:
1277:
1272:
1270:
1268:
1266:
1264:
1262:
1260:
1258:
1256:
1249:, p. 57.
1248:
1243:
1241:
1239:
1231:
1226:
1224:
1222:
1220:
1218:
1216:
1208:
1203:
1201:
1199:
1192:, p. 12.
1191:
1186:
1184:
1177:, p. 89.
1176:
1171:
1164:
1159:
1152:
1147:
1145:
1143:
1136:, p. 17.
1135:
1130:
1128:
1126:
1124:
1122:
1115:, p. 58.
1114:
1109:
1107:
1105:
1103:
1101:
1093:
1092:Hatfield 2005
1088:
1086:
1084:
1082:
1080:
1078:
1076:
1074:
1072:
1064:
1063:Hatfield 2005
1059:
1057:
1050:, p. 56.
1049:
1044:
1040:
1029:
1023:
1018:
1014:
1010:
1009:
1004:
998:
993:
989:
985:
979:
974:
972:
968:
967:
966:
964:
960:
959:
951:
950:
944:
942:
938:
934:
930:
926:
925:Peter Pontiac
921:
917:
916:
911:
906:
904:
903:
898:
897:David B.
894:
890:
886:
885:Madison Clell
882:
881:
876:
872:
871:
866:
862:
858:
854:
853:fait accompli
848:
846:
845:
840:
835:
831:
829:
828:Rosetta Stone
825:
824:
819:
818:
813:
809:
805:
801:
797:
793:
789:
785:
781:
773:
770:
765:
761:
759:
755:
754:
749:
745:
744:
739:
738:The Sign Game
735:
734:
729:
728:
722:
718:
716:
712:
708:
707:Funny Aminals
701:
697:
696:
691:
687:
679:
678:
673:
669:
665:
661:
651:
649:
648:graphic novel
645:
641:
640:Hillary Chute
636:
633:
628:
623:
621:
617:
613:
612:
607:
603:
602:
597:
593:
584:
583:
578:
571:
566:
562:
560:
556:
552:
547:
543:
539:
535:
531:
527:
523:
520:
515:
513:
510:
509:
504:
496:
495:
491:
487:
482:
478:
476:
472:
468:
463:
462:
457:
453:
448:
446:
441:
436:
433:
432:
423:
419:
405:
403:
400:
398:
395:
393:
390:
386:
382:
380:
377:
375:
372:
370:
367:
363:
359:
357:
355:
352:
350:
347:
343:
326:
323:
312:
310:
306:
301:
296:
294:
290:
286:
282:
281:
275:
273:
269:
261:
256:
247:
245:
244:Lady of Spain
241:
235:
232:
227:
218:
214:
212:
208:
207:
201:
197:
193:
189:
184:
180:
175:
173:
169:
165:
161:
152:
150:
146:
142:
138:
134:
130:
126:
122:
120:
116:
111:
109:
105:
101:
97:
93:
89:
88:
79:
76:
72:
68:
64:
60:
56:
53:
50:
46:
41:
34:
29:
26:
22:
19:
2739:Christianity
2705:
2698:
2691:
2684:
2677:
2659:
2642:
2641:
2623:
2616:
2609:
2602:
2595:
2588:
2581:
2574:
2567:
2560:
2553:
2546:
2539:
2532:
2525:
2518:
2511:
2504:
2497:
2490:
2483:
2476:
2404:
2384:. Retrieved
2380:the original
2369:
2354:. Retrieved
2350:the original
2343:
2328:. Retrieved
2324:the original
2319:
2304:. Retrieved
2300:the original
2293:
2278:. Retrieved
2274:the original
2267:
2252:. Retrieved
2248:the original
2228:. Retrieved
2224:the original
2217:
2202:. Retrieved
2198:the original
2161:
2135:
2127:Project MUSE
2125:– via
2102:
2096:
2055:
2023:
1998:
1975:
1949:
1926:
1900:
1881:
1858:
1834:
1815:
1811:
1788:
1761:
1756:, p. 5.
1749:
1744:, p. 3.
1718:
1711:Gravett 2005
1706:
1694:
1687:Gravett 2005
1682:
1670:
1654:
1647:Gardner 2008
1642:
1630:
1618:
1606:
1599:Gardner 2008
1594:
1582:
1577:, p. 4.
1570:
1563:Gardner 2008
1558:
1531:
1526:, p. 4.
1515:
1508:Gardner 2008
1473:
1468:, p. 5.
1442:
1437:, p. 1.
1426:
1379:, p. 8.
1377:Gardner 2008
1357:
1346:Jiménez 2011
1341:
1325:
1313:
1278:, p. 1.
1190:Gardner 2008
1170:
1158:
1151:Manning 2010
1043:
1028:Jim Woodring
1012:
1006:
987:
984:Robert Crumb
970:
962:
956:
947:
945:
936:
932:
928:
913:
910:Jim Woodring
907:
900:
888:
878:
868:
865:Howard Cruse
852:
849:
842:
833:
832:
821:
820:]"; and
815:
804:Douglas Wolk
800:Paul Gravett
795:
787:
777:
771:
757:
751:
747:
741:
737:
731:
725:
720:
719:
706:
699:
693:
689:
685:
675:
667:
659:
657:
643:
637:
631:
626:
624:
609:
599:
596:Winsor McCay
591:
588:
580:
577:Winsor McCay
569:
545:
542:Harvey Pekar
537:
533:
524:
518:
516:
506:
500:
492:
485:
474:
466:
459:
449:
444:
439:
437:
429:
427:
421:
391:
368:
348:
321:
320:Editions of
308:
304:
297:
288:
284:
278:
276:
267:
265:
240:Hesse novels
236:
228:
224:
215:
210:
204:
183:Robert Crumb
176:
160:Justin Green
158:
144:
137:Robert Crumb
124:
123:
112:
96:Justin Green
86:
85:
84:
52:Justin Green
24:
18:
2144:: 101–107.
2032:. pp.
1775:Works cited
1350:Queipo 2011
1230:Booker 2014
1207:Booker 2014
1013:Binky Brown
988:Binky Brown
963:Binky Brown
935:to produce
929:Binky Brown
873:(1995) and
857:James Joyce
839:Philip Roth
796:Binky Brown
769:Philip Roth
758:Binky Brown
721:Binky Brown
700:Binky Brown
690:Binky Brown
686:Binky Brown
668:Binky Brown
660:Binky Brown
644:Binky Brown
632:Binky Brown
627:Binky Brown
592:Binky Brown
570:Binky Brown
546:Binky Brown
534:Perspective
519:Binky Brown
497:comic book.
486:Binky Brown
445:Binky Brown
440:Binky Brown
422:Binky Brown
397:McSweeney's
360:Comic book
300:McSweeney's
285:Binky Brown
190:program at
145:Binky Brown
125:Binky Brown
119:Virgin Mary
2797:Categories
2775:Psychology
2679:Breakdowns
2618:Young Lust
2611:Yellow Dog
2576:Slow Death
2520:Comix Book
2499:Armageddon
2386:2011-04-17
2356:2015-01-19
2330:2015-06-28
2306:2015-06-29
2280:2015-06-28
2254:2011-04-18
2230:2015-06-28
2204:2015-06-28
2170:: 34–108.
1663:Dycus 2011
1659:Witek 2011
1635:Levin 1998
1623:Levin 1998
1611:Levin 2005
1587:Witek 1989
1551:Witek 2011
1536:Chute 2010
1493:Chute 2010
1478:Witek 2011
1447:Chute 2010
1419:Witek 2011
1334:Norot 2011
1306:Levin 1998
1291:Levin 1998
1247:Green 2010
1175:Bosky 2012
1163:Levin 1998
1134:Chute 2010
1113:Green 2010
1048:Green 2010
1036:References
784:Kim Deitch
772:(pictured)
670:, in 1972
551:screentone
471:Dick Tracy
334:Publisher
206:Yellow Dog
155:Background
66:Page count
61:March 1972
2625:Zap Comix
2534:Gay Comix
2419:0194-7869
2413:: 37–49.
2176:0194-7869
2150:0194-7869
2123:161222880
2098:Biography
1980:Last Gasp
1884:. Aurum.
1699:Wolk 2008
1318:Reid 2009
958:Biography
902:Epileptic
611:Krazy Kat
512:parochial
503:catechism
490:parochial
456:EC Comics
431:Ave Maria
374:Last Gasp
260:Last Gasp
74:Publisher
40:Last Gasp
2787:Religion
2700:God Nose
2109:: 1–26.
2054:(2008).
1925:(2005).
1905:ABC-CLIO
1880:(2005).
1793:ABC-CLIO
1011:without
905:(2003).
895:—and in
880:Fun Home
616:Superman
555:hatching
315:Editions
229:Binky's
221:Synopsis
69:44 pages
2763:Judaism
2725:Portals
2635:Stories
2604:witzend
2409:(104).
2166:(210).
2140:(203).
1330:Bi 2011
812:Tolkien
620:Bizarro
340:Format
280:The Sun
174:(OCD).
48:Creator
2751:Comics
2590:Weirdo
2513:Cherry
2492:Arcade
2470:Series
2417:
2320:Notodo
2174:
2148:
2121:
2066:
2040:
2036:–230.
2009:
1986:
1960:
1937:
1911:
1888:
1866:
1845:
1822:
1799:
889:Cuckoo
782:, and
753:Pulse!
733:Weirdo
727:Arcade
681:#
614:, and
331:Title
139:, and
90:is an
42:, 1972
2460:works
2119:S2CID
2105:(1).
2093:(PDF)
1780:Books
953:'
937:Kraut
780:Spain
750:, in
740:, in
703:'
573:'
388:2009
365:1995
345:1972
337:ISBN
328:Year
2415:ISSN
2219:RTVE
2172:ISSN
2146:ISSN
2064:ISBN
2038:ISBN
2007:ISBN
1984:ISBN
1958:ISBN
1935:ISBN
1909:ISBN
1886:ISBN
1864:ISBN
1843:ISBN
1820:ISBN
1797:ISBN
1008:Maus
933:Maus
931:and
730:and
695:Maus
536:and
505:and
58:Date
2185:Web
2111:doi
2034:227
915:Jim
899:'s
887:'s
877:'s
867:'s
841:'s
817:sic
625:In
608:'s
598:'s
579:'s
473:'s
188:MFA
2799::
2374:.
2368:.
2342:.
2318:.
2292:.
2266:.
2242:.
2216:.
2117:.
2103:31
2101:.
2095:.
2062:.
2058:.
2028:.
2005:.
2001:.
1978:.
1956:.
1952:.
1933:.
1929:.
1903:.
1841:.
1837:.
1791:.
1730:^
1543:^
1500:^
1485:^
1454:^
1407:^
1384:^
1369:^
1348:;
1332:;
1298:^
1283:^
1254:^
1237:^
1214:^
1197:^
1182:^
1141:^
1120:^
1099:^
1070:^
1055:^
859:,
786:,
760:.
622:.
458:'
311:.
151:.
135:,
2727::
2450:e
2443:t
2436:v
2421:.
2389:.
2359:.
2333:.
2309:.
2283:.
2257:.
2233:.
2207:.
2178:.
2152:.
2129:.
2113::
2072:.
2046:.
2015:.
1992:.
1966:.
1943:.
1917:.
1894:.
1872:.
1851:.
1828:.
1805:.
1768:.
1725:.
1352:.
1336:.
1320:.
1153:.
1015:.
990:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
