Sundown Towns

As a belated acknowledgement of Martin Luther King day, I thought I’d reprint this piece. It first appeared in (I think) 2007 in The Chicago Reader.
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A couple years ago the city’s One Book, One Chicago program encouraged Chicagoans to read Harper Lee’s To Kill a Mockingbird. Those that did encountered a familiar portrait of American racism, which, as we all know, was a problem mostly in the south, mostly in the past, and mostly perpetrated by poor, uneducated white folk. The novel’s hero, Atticus Finch, is a respected white attorney in a small Georgia town who defends a black man falsely accused of rape. At the end we’re assured that most people are pretty nice once you get to know them, and left with a vague sense that the world will keep on getting more and more enlightened as long as high school students continue to read high-minded novels like this one.

As a corrective to this lyrical vision of race relations, the city should consider endorsing Sundown Towns, a new study by James Loewen, author of the best-selling Lies My Teacher Told Me, that methodically upends many of white America’s preconceived notions about race.

Sundown towns were incorporated areas that banned African-Americans from living in them, or even from staying overnight. Often, a sundown town would hang a sign or signs at the city limits declaring, “Nigger, Don’t Let the Sun Go Down on You in ________.” African-Americans who were on the city streets after dark might be harassed, beaten, or worse. Even black people on public transportation weren’t safe: whites in Pana, Illinois, are reported to have fired gunshots at African-American Pullman porters as trains passed through town.

Sundown towns aren’t exactly unknown in popular culture; William Burroughs, Maya Angelou, and Tennessee Williams all mention them. But Loewen’s book is the first systematic exploration of the phenomenon, and while the existence of such towns isn’t a shock, virtually everything else he’s found out might be. Sundown towns, he discovered, were located mostly in the west and midwest, not the south. They came into being relatively recently, mostly between 1890 and 1930, but some as late as the 1950s–and Loewen was able to confirm the existence of towns that threatened African-Americans after dark as recently as 2002. Anna, Illinois, population 5,136, is likely still a sundown town, says Loewen. It reported just 89 African-Americans in the 2000 census, most of them probably residents of the state mental hospital. Elwood, Indiana, which has zero African-American residents, an annual Klan parade, and a vicious reputation, almost surely is.

The biggest revelation of Loewen’s book, however, is not the location or continued existence of sundown towns, but their number. When he started his research he thought he would find about 50 towns in the U.S. with a history of sundown practices. But after conducting on-site interviews, he was able to confirm the existence of 145 in Illinois alone. Based on census data and statistical analysis (all carefully detailed in the book) Loewen believes that by 1970, when such towns were most common, there were more than 470 in Illinois. This means that a majority of towns in Illinois may well have been sundown towns. Statistics like these eventually led Loewen to the broader conclusion that when a state, a suburb, or a neighborhood is all white, then it is probably all white on purpose.

At first, this may seem ludicrous. When Loewen asked white interview subjects about small, all-white towns nearby, they would often suggest that African-Americans didn’t live in them because nobody in their right mind would want to live in them. Moreover, the association of African-Americans with cities is so strong that black people take it for granted as well; when I saw Aaron McGruder speak a couple years ago he scoffed at the idea of a black person living in the WB’s Smallville.

Yet Loewen shows conclusively that the historic concentration of African-Americans in cities was a matter of discrimination, not choice. Before 1890 blacks were not particularly urbanized. Shortly thereafter, however, during a period historians refer to as the nadir of American race relations, racism in the United States became much more vicious. The Klan made a triumphant nationwide resurgence; segregation and disenfranchisement solidified in the south. In the north blacks and other minorities, like the Chinese, were forced out of rural areas and small towns. The result was a phenomenon Loewen calls the Great Retreat, in which African-Americans fled to the cities and wound up concentrated in ghettos. This process was well under way when the better-known Great Migration of the teens and 20s spurred the unprecedented resettlement of blacks from the south to the north.

Sundown towns were generally restricted to the north and west, but sundown suburbs were a well-documented nationwide phenomenon. Redlining, steering, and restrictive covenants were standard in communities like the Levittowns of the 50s. Though they’re now less prevalent, not to mention illegal, such practices are still employed surreptitiously; Loewen reports incidents of steering in suburban Harrisburg, Pennsylvania, as recent as 2002. Violence against black home owners and their children has also been persistent, probably peaking during the 1980s.

The relative dearth of blacks in the suburbs–especially the wealthier ones–is often attributed to class. Statistically, blacks are poorer than whites. But Loewen argues that their exclusion from the suburbs is one of the causes of their relative poverty, not one of the effects. Until 1968 the Federal Housing Authority refused to underwrite homes built in communities that included African-Americans. Thus, African-Americans were excluded after World War II from what Loewen credits as “Americans’ surest route to wealth accumulation, federally subsidized home ownership.”

Black poverty isn’t usually blamed on the policies of white suburban home owners; instead, professors and pundits point to the excesses of the welfare system, or the failures of the welfare system, or the enduring impact of slavery on the black family, or what have you. All these explanations focus on how African-Americans live. Loewen’s book suggests, however, that if you want to understand racism in this society you must look at how, and especially where, African-Americans do not live. It isn’t what black people do but what whites do to exclude them that results in inequality. Whites won’t warehouse kids in crappy schools if the kids being warehoused are their own, they don’t want to fund massive police crackdowns if they themselves are likely to be caught in the dragnet, they don’t want to ignore fundamental flood preparedness if their homes are likely to be inundated.

Loewen does discuss some ways African-Americans can change discriminatory policies–by buying homes in mostly white communities, for example, or by supporting legislation to give federal fair-housing policies some teeth. Overall, though, Sundown Towns is not especially empowering: in Loewen’s narrative African-Americans tend to figure as victims rather than heroes.

This is largely a function of his topic. In many ways the history of racism in the north is less hopeful than that of the south. Twice the south has been the site of utopian social experiments, during Reconstruction and the civil rights era. Neither movement was wholly successful, but during both periods African-Americans were able to make important social changes because of their connections to white society. After the Civil War, African-American links with white Republicans, both north and south, gave them a voice in southern government. The Montgomery Bus Boycott was effective because African-American dollars were important to white business owners.

In the north, however, connections between black and white communities were, as Loewen reports, deliberately severed. It’s no accident that Martin Luther King Jr. encountered a harsher reception in Chicago than in Atlanta. Nor is it an accident that black leaders in the north tended to be isolationist. James Baldwin’s famous question, “Do I really want to be integrated into a burning house?,” could only have been asked by a northerner.

Loewen points out that whites who live in sundown towns see no African-Americans and thus tend to believe they have no race problems. Similarly, the north itself, where whites and blacks have historically been more separate, has long been able to convince itself that racism is somebody else’s sin. But 50 years after the Brown decision, separate is still not equal. Illinois was the land of Lincoln, it was a supporter of the Union, and it’s now the home of the nation’s only African-American senator. But it’s also heir to a brutal and ongoing tradition of racism and segregation. All our problems wouldn’t be solved if every person in Chicago read this book, of course. But it wouldn’t be a bad place to start.

Utilitarian Review 1/15/12

On HU

Our featured archive post for the week is Bert Stabler on abject feminist performance art.

I and others had a conversation about Dan Clowes, knowledge, and power in Ghost World.

Caroline Small talked about high and heavy concepts in art and comics.

I talked about sound effects in Tiny Titans.

Erica Friedman discussed the Arab shounen manga Gold Ring.

We had several posts on the Girl With the Dragon Tattoo: Kinukitty; Monika Bartyzel; Eric Berlatsky.

Ben Crossland explains Islamic finance.

Sean Michael Robinson discussed Mizuki’s Onward Towards Our Noble Deaths.

Robert Stanley Martin on the history and legacy of TCJ.
 
Utilitarians Everywhere

At Splice Today I review music from saharan cellphones.

Also at Splice I argue that Rick Perry is not a strategic genius.
 
Other Links

Derik Badman on Deborah Turbeville.

The Atlantic on Linda Lovelace.

The Devil Inside makes a bunch of money.

Tim Hodler on gag cartoons and conceptual art.

Vom Marlowe talks about her contribution to the Wallace Stevens roundtable.

James Romberger interviews Sammy Harkham.

Dan Nadel on conceptual art.

Monika Bartyzel on the Hollywoodization of The Girl With the Dragon Tattoo

Sometime commenter on HU Monika Bartyzel had an thoughtful post about the softening and sexualizing of Lisbeth Salander in the Hollywood version of “Girl with the Dragon Tattoo.” I talked to her a little about it on email, and she kindly agreed to let me publish her further reflections. So here they are:

I appreciate the book. As you’ve already seen with Twilight, I can read around certain issues if I find something compelling or interesting. I so completely appreciate his [Stieg Larsson’s] intent and the path he takes that any literary questions of value/etc are irrelevant to me. The only thing that did really weigh on me was supposed to – it was hard work to read about repeated abuse to one woman, but I think it was entirely necessary to make the environment palpable, especially to those who would deny it…while also noting that even with just a sliver of what Lisbeth experiences, the audience sees it as too much. It adds weight.

As for similar problems – do you mean in her characterization or the film? Yes, the film is dense and not structured in the usual way (again, I don’t mind that). As for her – it’s similar yet very different. It basically boils down to privilege and how stories are filtered. Larsson saw a rape and wrote from the vantage of being emotionally impacted by the continual violence against women that he saw. Fincher is coming from sexy Hollywood of flash and lust.

So through Larsson and on the page, Lisbeth’s vulnerability is more about the men than about her (though her body is slight). She has things happen to her that she can’t control, so she reacts in an entirely different way to the world than we do. For her, in the book, she feels like she’s given a lot to Mikael and has deep feelings for him (love? No idea. She cares for him, but there’s no base of comparison). So when he walks off with his long-time paramour, she’s hurt and writes him off. But she wasn’t womanized. She wasn’t a romantic fool. There was never a moment of dual intimacy. To her, she’s sharing a lot; to him, she’s cold, aloof, and fascinating, but not warm. It’s a look at her struggle to find the balance between who she became due to her terrible life, and the human feelings and impulses she has. Some say that it’s ludicrous that she’d even like Mikael, but it’s not. He’s the second kind man in her life, the first who isn’t a father figure. He isn’t a misogynist, he’s smart, fit, and comes to her in a place of warmth and kindness that immediately gets under her skin because no men have this obvious, inherent respect for her.

Fincher takes the vulnerability of a girl whose legal and human rights are continually ignored and thrusts her into a two-part personality of the soft girl who just wants to be loved and the hard girl who will kill if she’s crossed. So to him, her sneers are sexy, rather than sad or unfortunate. He makes her obviously romantically interested in Mikael. He makes her share dark secrets and openly trust him. He makes her the emotional hero and
Mikael the man who broke her again. He takes away the context around Lisbeth so to understand her, you fill in the blanks, and since she’s been infused with more classic Hollywood portrayals, the blanks are filled in with assumptions that defeat the purpose. The biggie for me: In the book she’s attacked by drunk guys and her computer is broken. No one helps her and it helps to set up how men continually try to prey on her. In the film, it’s just a thief, and she’s just a tough ass-kicker. It glamourizes it at the expense of the painful truth.

You can read Kinukittys’ discussion of the film here. Richard Cook’s take on the book is here.

Skritch Skritch Draw Draw

This piece first ran on Comixology.
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No western comic has better sound effects than Art Baltazar and Franco’s kiddie superhero title Tiny Titans.

As you’d expect, the comic has lots of standard issue sound effects. The Batmobile goes

Beast Boy changing into a dog goes

Streaky the Super-Cat’s stomach goes

And so forth.

But Baltazar and Franco also make extensive use of less familiar sound effects. So when Robin presses, slides, and jumps, it goes:

Or when Raven reaches, it goes:

Manga pioneered the use of this sort of effect; a sound that isn’t so much a sound as a stage direction. Baltazar and Franco have made the technique a central part of their world, and it’s one of the consistent joys of reading their comics. Part of the fun is the child-like logic of the thing. Of course, if you reach it sounds like “reach”. Of course, if Killer Croc is rustling through the garbage, it will sound like:

The sound effects are also used to emphasize or escalate jokes. For example:

The first two panels use appropriate sound effects; “Shake Shake,” for the cereal, “Pour!” for the milk. But then things begin to go awry…and the sound effects emphasize the goofiness. The ice in the cereal bowl is so wrong it goes “Ice!” the carrot is so incongruous in its carrotness that it has to scream “Carrot!” And the sound effects get the final punchline too. Poor Robin is slapped not only with the image of the fish, but with the word (“Fish!”) as well.

The sound effects do more than just add humor though. You can see this by looking again at that page above, especially at the first couple of panels. If you think about it for a second, you’ll realize that the first two panels aren’t actually traditional sound effects either. They’re not nouns (“Fish!”) but they’re not onomatopoeia either. Instead, (like Raven’s “reach”) they’re verbs. They label the action.

In comics, of course, there isn’t actually any action; no one moves. Usually, motion is conveyed through motion lines (as in the last panel, with the penguin slapping down the fish) or through the sense of time passing from panel to panel. Here, though, the motion is also created by the sound effects. They’re the analog to those clunky text boxes which would tell you that Spider-Man raced across the city, except that the text boxes have been streamlined and incorporated into the picture. The still image isn’t only an image; it’s also a word. And words come off the page; they go in at your eye and wander around your brain and come out as an idea. Which means that if an image is also a word, the image moves.

For Tiny Titans, then, sound effects end up as a substitute for animation. This fits naturally into artist (and letterer) Baltazar’s overall style. Tiny Titans, with its thick outlines, and simple figures, looks in some ways like an animated cartoon. Yet, at the same time, it’s unambiguously illustrational — much more so than a lot of slick, anonymous mainstream superhero art for adults. In the picture below, for example:

You can see Balthazar’s hand in the way the door curves out of true, or the slanting lines of the floor and doorjamb at impossible angles to each other, or in the bat’s delightfully wobbling motion line. It’s a drawing that’s not afraid of its drawingness. The charm is in the imperfection.

Similarly, Balthazar’s sound effects draw attention to themselves; they’re story-telling devices, and so they point to the storyteller. Again, the images are energized, or moved, not just by sequence, but by something like language — a conspiracy that goes back and forth between creator and reader. It’s a picture of a story, or a story of a picture. Which, for kids or adults, is hard to resist. Especially with bunnies.

What Does That Even Mean?

A while back Isaac Cates posted an analysis of a panel from Ghost World over at The Panelists. Since the Panelists is sadly going to fold shortly, Isaac re-posted it at his own place.. Anyway, Isaac also posted comments from the post, including some of mine. But not all of them…so I thought I’d collect them here. And what the hey, I’ve reproduced some comments from others on the thread too so this seems a bit more coherent.
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So to start, here’s Isaac’s (abbreviated) take on the a panel from Ghost World.

At the beginning of the chapter, Clowes reveals Enid to be deeply clueless about the outside world in a way that rewrites a lot of her seeming savvy in the previous chapters. Up to this point, Enid has been cool, positioning herself against the stupid, the pretentious, and the lame: “I just hate all these obnoxious, extroverted, pseudo-bohemian art-school losers!” (Is that Enid talking, or Lloyd Llewellyn?) But then the change-up:

Enid’s fun to hang out with, but how seriously can we take a high-school graduate who doesn’t know what the G.O.P. is, or what it would mean for a lobbyist to be in bed with them? Don’t we have to think of her as uninformed, immature, and a little lame? This is the panel that gets us ready to think badly of Enid’s prank on “Bearded Windbreaker.” It’s also the moment, at least in my reading experience, when we start looking at these girls from the outside, as characters, instead of seeing the semi-grotesque world through their eyes. In other words, this is the panel in which Clowes moves away from Lloyd Llewellyn and Like a Velvet Glove territory and starts to make David Boring and Ice Haven possible.

I replied to Isaac and to other folks on the thread:

I read it that Enid knows what the headline means too. And in that reading, of course, it’s Isaac, not Enid, who’s insufficiently hip and a little clueless, yes? (Though, of course, in Isaac’s reading, it’s me who is unhip/clueless.)

I think trapping/implicating the reader in these questions of knowing/not knowing, hipness/not hipness, and the subsequent arguments about who is more moral and who is more superior is an important part of what Ghost World is about. In general, I find those questions tedious and irritating, which is one of the (many) reasons I don’t care for this book.

Jeet then quotes Charles Hatfield’s comment.

Noah: you’re not engaging with what Charles actually wrote above. As he says, “Seriously, the moral arguments in Ghost World are not reducible to who’s hip and who’s not. There are questions of empathy and responsibility there that exceed, I bet, even what Clowes expected from the work when he was midstream.” That’s a serious reading of Ghost World which you have to grapple with. you can’t just repeat your earlier point about the book just being about “who is and is not a sufficiently or overly knowledgeable hipster.” To simply repeat your earlier point when it’s been challenged in a serious and convincing way is to write criticism that is, to borrow a phrase, “tedious and irritating.”

Me:

I’m not writing criticism! I’m engaging jovially in a comments thread.

I don’t want to derail the thread with a grudge match. You want to engage in a knock-down drag out, come over to HU and talk about Human Diastrophism. We’re waiting for you!

Oh, all right. Sigh.

I don’t find the questions of empathy and moral responsibility Charles is talking about either engaging or enlightening. As I’ve written about the book elsewhere, what I mostly get from it is an older male creator acting out his attraction/repulsion for younger girls. I think that fits this panel quite well. The girls are looking off panel at the reader/author, whose paper it is. The paper is about the Grand Old Party (coded old and surely male) performing metaphorically sexual acts. Clowes has Enid ironically refusing to understand the headline — a sexual disavowal, which actually means she understands quite well this headline about perverse sex with grand old men. The knowledge/not knowledge binary is a tease and a provocation; the moral experience Isaac articulates in which we are able to feel superior (and/or possibly inferior) to Enid is part of the (sexualized) satisfaction we (the grand old party) get in pretending that Enid knows and does not know us.

Happy?

Damn it; hard to disengage when I get started. I wear that “tedious and irritating” badge proudly….

So just a couple more notes. First, I don’t think this is something Clowes is unaware of. He picks his details carefully; the Grand Old Party is really not just a random choice.

Second — in this reading, Clowes emphatically gets the laugh on Enid. Enid is saying she doesn’t understand the headline in order to show she understands it; she gets the stupid metaphor. But the trick is, that stupid metaphor isn’t just a random paper lying around; it’s a snide sexual remark implicating Enid which has been placed there by Clowes. Enid gets the diagetic point, but not the extra-diagetic point. She’s attempting to assert her control and wisdom, but Clowes shows us she’s just his cipher. In this way Isaac gets the details wrong but the essence right; this is a panel which sneers at Enid for her lack of sophistication. I don’t find that particularly morally insightful or uplifting though.

All right, I’m really done. Sorry about that.

Jeet responds.

@Noah. “what I mostly get from it is an older male creator acting out his attraction/repulsion for younger girls”: this is a pretty good example of “the intentional fallacy” in action. I don’t think its very fruitful to judge works of art by what the author’s presumed motives are. In fact, I don’t even think it’s possible for anyone (even Clowes) to know what the motives of his art art, or what the motives of any art are.

The issue of “moral questioning” that Charles raised have to do with the friendship between Enid and Becky, and also how the two girls treat other people. This is something that can be discussed by looking at what Clowes wrote and drew. It doesn’t really contribute to the conversation to speculate about Clowes motives, unless by chance you are a telepath. If you are a telepath, then tell us and continue to enlighten us about the secret, ulterior motive of artists. On the other hand, if you are a telepath, you could use your power in more frutiful ways, perhaps by uncovering government and corporate corruption.

Isaac adds:

Jeet:

I’m not really interested in whether Clowes personally thinks Enid is hawt, but I find that I am interested in at least one aspect of an author’s perceivable psychology (intentional or not): as his interests and ideas shift, the themes of the works shift. If I find myself responding more to the ideas in David Boring than in Like a Velvet Glove, and I know they’re written by the same person, I want to see when those new ideas started to develop.

Noah seems to be caricaturing those ideas as merely an older (not yet middle aged) cartoonist pining for teenage indie tail and then rejecting the notion of jailbait.

For me, or at least in my reading of Ghost World, it’s about more than (or less than?) simple attraction to scornful ugly-cute teenage girls: instead, it’s about Clowes as a writer moving out of a period of personal grotesquerie and universal satire (as in “I Hate You Deeply”) and into a period of social observation, where he becomes interested in writing characters.

There might be a grain of truth in Noah’s lampooning—remember the way that Clowes has Enid show up admiringly at a zine-store signing in “Punk Day,” then draws himself looking like a seedy dork—but I think the real crux of the matter is artistic development beyond teenage scorn and hipster one-upmanship. This is a lot closer to Charles’s notion of ethical stakes than Noah is allowing. And I think Clowes makes that turn in “Hubba Hubba.”

Jeet:

@Isaac. I find your reading of Ghost World as a liminal work in Clowes’ oeuvre to be compelling and persuasive. But seeing Ghost World as being thematically focused on Clowes’ own evolution as an artist is a bit different than the type of argument Noah is making, which is that we can divine Clowes’ motives for doing the type of art he does. Your reading of Clowes is based on looking at the trajectory of his career, on looking at the comics itself. I think Noah’s approach is based on some sort of pretense to telepathic powers.

Isaac:

Well, you could call that a pretense to telepathic powers, or you could call it Freudian criticism…

As I said, though, I don’t think that “Did the cartoonist want to jump these fictional characters?” is the most interesting question we could be asking about a text.

Me:

I like that your accusations of intentional fallacy are built on intentional fallacy. You presume I started from an idea of what Clowes was doing and read back into the comic. In fact it’s signals in the comic that led to my reading. “Clowes” figures in the text as an author function. He does it very insistently — he’s even in the book, as Isaac says. He’s in that panel; it’s his paper (and the reader’s too, quite possibly). I don’t know what Clowes had in his head, of course, but I know how he figures himself in the text and I can do a reading based on that.

You seem to think that you’re performing some sort of advanced literary technique by refusing to think about the self-reflexivity of the text. That’s characteristic; you tend to be fairly uncomfortable with readings that aren’t straightforward. But Clowes is very much a pomo writer; he’s playing games with the intentionality you want to put off limits.

I don’t think Clowes wanted to jump the characters necessarily, or only, by the by. It’s about inhabiting them too. Sadism is not just lust; it’s control.

There are lots of older men in Ghost World, incidentally. Clowes himself shows up, but there are various other figures wandering around the edges. And of course Enid’s name is Clowes’ name. Seeing her as and Becky as doppelgangers (doppelmeyers?) is hardly a counter-intuitive reading.

But you haven’t done a reading yourself, Jeet, serious or otherwise. If you want to take on the panel and respond to my criticism (other than with ad hominem petulance) it seems like you’d need to try to deal with the following: the reason that that title was chosen on the newspaper; the reason the panel is framed so as to suggest that the paper is the reader’s (or Clowes’); the role of knowledge in the panel, and how it accounts for both Isaac’s reading (Enid doesn’t know) and the other readings here (Enid does know) — and ideally also you should account for the hints throughout that Enid and Becky are Clowes.

I presume you’ll just indulge in more indignation and then punt, but I’ll live in hope.

Isaac, in terms of what’s more interesting in the text, morality or jumping bones. Do you really see Clowes’ moral vision as especially serious or insightful compared to folks who actually care about that stuff — George Eliot, Tolstoy, Jane Austen, even Dickens? It all just seems pretty thin gruel by those standards to me — the characterization is thin, the “morals” such as they are boil down to “don’t be a prick” — I just don’t see it as an especially powerful or interesting moral vision. Do we really need someone to tell us that it’s cruel to prank call people? I mean, this isn’t Lydgate being tempted here. The moral questions aren’t what’s interesting; what’s interesting is watching Enid be taught A Lesson.

To me, that’s because the energy of the book is not invested in morality as morality; rather it’s invested in morality as a lever of desire and power, about the experience of condemnation and wanting to be condemned. That’s why you’re reading of this panel isn’t really about morality. It’s about knowledge, and it’s about contempt. And about Clowes, of course.

Isaac:

I don’t think I’m trying to compare Clowes to Tolstoy here. I’m comparing “early Clowes” to “later Clowes”—and noticing a difference that has to do with the position (moral, ethical, social, whatever) of the satirist or the satirical impulse.

Early in Ghost World, as in the Lloyd Llewellyn shorts, the satirist is impervious; beginning in “Hubba Hubba,” making fun of people starts to seem like a sign of personal insecurity and even a certain sort of naïveté. I think that’s an interesting development.

Me:

Well, fair enough. I think comparing to Tolstory (or the Wire, or whatever) is kind of interesting, but no reason why you should have to, of course.

Rob Clough:

To tie Isaac’s claims back into what I said, Ghost World represents the turning point between unfettered, unimpeachable satirist and a more self-aware artist and person understanding what their constant sneering represents. I agree 100% that Enid is a Clowes stand-in, but the issue is not even controlling a young girl, but rather exploring and expressing the understanding of how much self-loathing she (and he) possess at that point in time. Clowes drawing himself in as a grotesque, pathetic toad isn’t just a good gag, I would argue, but an expression of his own self-loathing.

Enid being taught a lesson regarding pranks isn’t a simple control/corrective of a young female, it’s Clowes castigating himself for indulging in the pleasures of simple cruelty as a way of coping with alienation.

Lastly, while I agree with Isaac that Clowes’ character work became much sharper starting with Ghost World, I would argue that nearly every one of his characters represented some autobiographical aspect of his life, personality and/or desires. Even with all of the pomo deflections, Clowes’ work is deeply personal.

Jeet:

I think Clough pretty much hits the nail on the head in sharpening the point Isaac originally made that Enid is a way for Clowes to reexamine his earlier artistic practices. I’d go further and note that their is a contradiction between saying that Enid is Clowes’ alter-ego and saying that he’s using her as a punching bag to work out his revulsion/attraction to young women. Yet the same critic can hold these two positions simultaneously.

Me:

Hey Jeet. Not a contradiction.

Sadism is about control. As such, it’s often about fantasies of actually inhabiting or being the other person. So imagining someone as your alter ego can be a way to inhabit them and destroy them. Basic rape fantasy. And sure, it seems logically contradictory if you’re writing an algorithm…but human beings and their fictions aren’t algorithms (unless you have more faith in the Turing Test than I do, I guess.)

Anyway — truce, maybe? I really don’t need to be mad at anybody for liking Ghost World. I don’t agree, and I in general don’t see art the way you do, but it’s not a big deal. It’s fun to talk about the differences, and I appreciate you getting me to figure out my reading of that panel more explicitly.

Rob, you’re point that Clough’s moralism is directed at himself is interesting, and I think it’s certainly part of what’s going on. But why externalize that self as a young girl? Self-loathing and misogyny aren’t mutually exclusive, surely. You can hate yourself for loving and love yourself for hating all at once. And the gross, pathetic toad who is controlling/watching/inhabiting the attractive young thing is a ubiquitous fantasy in itself. Self-loathing can be a pleasure too.

And I’ll conclude with a comment by Caro:

I think I’m hesitant in general about the “shift through time” linearity of your argument, Isaac. Ouevre questions aside, I didn’t find Ghost World to have nearly as linear a narrative trajectory as the shift you’re describing suggests — I read it in the Eightballs (long after their original publication) and it was very nested and recursive to me, with each episode covering very similar ground save very subtle, significant, changes as Enid matured. There were constant metaphorical returns as well — really a structural tour de force. (I was apathetic about it, actually, until I got deeply invested in disagreeing with Noah’s reading from our roundtable last year.)

I still disagree with Noah, but also with Jeet — there’s nothing contradictory about representing a character from both inside and outside. Although I don’t see the same objectification here that Noah does, I think the objectification that is there is of a piece with the identity crisis at the heart of the narrative — the blurring/confusion of self and other — “desire is the desire of the Other” — it is Freud playing the piano there on the back cover of Issue #17…

Thanks to Isaac again for starting this conversation. Revisiting reminds me why I’m really sorry that the Panelists is shuttering.

Utilitarian Review 1/7/12

On HU

In this week’s Featured Archive post, Kinukitty discusses her irritation with Ghost World.

We looked back at the year on HU.

I talked about the mystery of Yuichi Yokoyama’s Travel.

Domingos Isabelinho reviews Fantagraphics’ Carl Barks volume.

Caroline Small on the illustration work of Ellen Raskin.

Richard Cook on playing the Elder Scrolls v. Skyrim.

Franklin Einspruch and Caroline Small talk about theory, art, and academia.

I talk about Breaking Bad, Weeds, and the addiction of narrative.

And her’s a downloadable Bollywood mix.
 
Utilitarians Everywhere

At the Atlantic I talk about The Devil Inside and demonic possession for all.

At Splice I make fun of pundit Ed Kilgore’s desperate attempt to pretend he’s relevant.

And I talk about psychedelic warbler Kali Bahlu and the limits of hippie assimilation, also at Splice.
 
Other Links

A claymation remake of John Carpenter’s The Thing.

Franklin Einspruch on bad art in comics.

Scott Meslow on the found footage horror film fad.
 

Music For Middle-Brow Snobs: Dard-E-Disco

A Bollywood mix. Download Dard-E-Disco here.

1. Aa Jane Jaan — Lata Mangeshkar
2. Deewana Hai Dekho — Alka Yagnik, Sonu Nigam & Kareena Kapoor
3. Ruk Ja Dil Deewane — Udit Narayan
4. Kuch Kuch Hota Hai — Udit Narayan & Alka Yagnik
5. Touch Me — K.K. & Alisha Chinai
6. Teri Yaad — Nusrat Fateh Ali Khan, Anu Malik, Bally Sagoo
7. Dard-E-Disco —Sukhwinder Singh, Marianne, Nisha & Caralisa
8. Jawani Jan-E-Man — Asha Bhosle
9. Mehbooba Mehbooba — Rahul Dev Burman
10. Ellelu Preethi (Love Is Everywhere) — Vijaya Anand
11. Tera Jasia Pyara Koi Nahin — Usha Khanna
12. Aap Jaise Ko — Nazia Hassan