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Dirty Pictures: How an Underground Network of Nerds, Feminists, Misfits, Geniuses, Bikers, Potheads, Printers, Intellectuals, and Art School Rebels Revolutionized Art and Invented Comix
A complete narrative history of the weird and wonderful world of Underground Comix—now in paperback!
In the 1950s, comics meant POW! BAM! superheroes, family-friendly gags, and Sunday funnies, but in the 1960s, inspired by these strips and the satire of MAD magazine, a new generation of creators set out to subvert the medium, and with it, American culture.
Their “comix,” spelled that way to distinguish the work from their dime-store contemporaries, presented tales of taboo sex, casual drug use, and a transgressive view of society. Embraced by hippies and legions of future creatives, this subgenre of comic books and strips often ran afoul of the law, but that would not stop them from casting cultural ripples for decades to come, eventually moving the entire comics form beyond the gutter and into fine-art galleries.
Author Brian Doherty weaves together the stories of R. Crumb, Art Spiegelman, Trina Robbins, Spain Rodriguez, Harvey Pekar, and Howard Cruse, among many others, detailing the complete narrative history of this movement. Through dozens of new interviews and archival research, Doherty chronicles the scenes that sprang up around the country in the 1960s and ’70s, beginning with the artists’ origin stories and following them through success and strife, and concluding with an examination of these creators’ legacies, Dirty Pictures is the essential exploration of a truly American art form that recontextualized the way people thought about war, race, sex, gender, and expression.
In the 1950s, comics meant POW! BAM! superheroes, family-friendly gags, and Sunday funnies, but in the 1960s, inspired by these strips and the satire of MAD magazine, a new generation of creators set out to subvert the medium, and with it, American culture.
Their “comix,” spelled that way to distinguish the work from their dime-store contemporaries, presented tales of taboo sex, casual drug use, and a transgressive view of society. Embraced by hippies and legions of future creatives, this subgenre of comic books and strips often ran afoul of the law, but that would not stop them from casting cultural ripples for decades to come, eventually moving the entire comics form beyond the gutter and into fine-art galleries.
Author Brian Doherty weaves together the stories of R. Crumb, Art Spiegelman, Trina Robbins, Spain Rodriguez, Harvey Pekar, and Howard Cruse, among many others, detailing the complete narrative history of this movement. Through dozens of new interviews and archival research, Doherty chronicles the scenes that sprang up around the country in the 1960s and ’70s, beginning with the artists’ origin stories and following them through success and strife, and concluding with an examination of these creators’ legacies, Dirty Pictures is the essential exploration of a truly American art form that recontextualized the way people thought about war, race, sex, gender, and expression.
448 pages, Paperback
Published June 13, 2023
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1998 people want to read
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Displaying 1 - 24 of 24 reviews
May 30, 2022
Brian Doherty what an entertaining book. My husband couldn't wait for me to finish your book so he could read it. He and I enjoyed all the memories it brought back to us. Lots of flashbacks. "Dirty Pictures" serves as a history of comix and their eventual place in the field of literature, from the names you do know to the names you might not be as familiar with. How Nerds, Feminists, Bikers, and Potheads Revolutionized Comix by Brian Doherty is a history that will appeal to a wide range of readers. These are informative as history but also great reading as biographical accounts. The interactions between these artists as well as the paths they each took after the heyday of the 60s and 70s makes for a fascinating read. I highly recommend. Great job Brian Doherty for bringing back great memories in my younger days.
December 6, 2022
It took me until about Chapter 6 to really get into the book and finally become familiar with all of the artists being mentioned. After that, the story flowed quickly and was sadly over before I knew it. R Crumb was the only person's name I had even kind of heard before, so everything in this was new and interesting to me! Throughout the book I discovered I was familiar with a lot of the artist's works but not their names. I now have tons of comix anthologies on hold at the library to read through when they come in.
The most glaring weakness of this book is the lack of a photo section, or any photos throughout the book at all. You'd think a book about the history of a visual medium would include some photos so you could at least get an idea of the artist's animation style without having to put the book down and do a Google search. It would have also been nice to have pictures of the artists through the years and in some of their printing warehouses mentioned in the book.
I also think some sort of graphic novel version of this that allows the drawing style to change into the style of each artist as they are being discussed would be useful and interesting.
The most glaring weakness of this book is the lack of a photo section, or any photos throughout the book at all. You'd think a book about the history of a visual medium would include some photos so you could at least get an idea of the artist's animation style without having to put the book down and do a Google search. It would have also been nice to have pictures of the artists through the years and in some of their printing warehouses mentioned in the book.
I also think some sort of graphic novel version of this that allows the drawing style to change into the style of each artist as they are being discussed would be useful and interesting.
July 28, 2022
4.5 stars, actually ... the author sometimes wears his heart on his sleeve when talking about certain creators and the lack of any examples of art takes a bit away.
I have only a passing memory or two of underground comix as I was growing up, mainly relegated to those “forbidden fruit” images that blew my mind. But reading this book made me feel that the title—Dirty Pictures—is far beneath the revolutionary stories and art that categorize the underground comix movement. In fact, it’s almost insulting. Yes, there was sex, drugs, sex, violence, and sex in the early undergrounds; but the revolutionary part comes from the artists involved and how they threw off the yolk of comics oppression and rose above the tame and mundane world of mainstream comics to tell personal, provocative, and sometimes shocking stories. The art—sometimes startling and fresh, sometimes stale and amateurish—was secondary to the storytelling. Underground comix exploded the medium and took it in an entirely different direction, making budding—and professional—artists realize they could tell stories about anything. I sincerely believe superhero comics artists such as Frank Brunner and Jim Starlin were totally inspired by the underground artists … it shows in Dr. Strange, Howard the Duck, and Captain Marvel and Warlock. It was called “cosmic” over at Marvel, but we all knew it had a different meaning.
Brian Doherty’s exhaustive study of underground comix is a personality-driven one, told in chronological order. It’s a dense and fascinating read, one that took me just about a month to get through in small, nightly installments, but one that I throughly enjoyed. I have always admired the drawing skills of R. Crumb, even if some of his subject matter—The Book of Genesis Illustrated, for example—is not exactly my cup of tea. Art Spiegelman definitely emerges as “king of the hill” in this book, with, of course, his amazing memoir Maus, but the book also pays notice to how undergrounds evolved from those early sex, drugs, and violence days to much more personal work, like that of Lynda Barry and Alison Bechdel, both “daughters” of the undergrounds.
The other story told here is how the undergrounds carved out their own non-traditional distribution network, for better or worse. Books were sold via head shops (along with the direct sales market for mainstream comics). I guess no one knows how many hundreds of thousands—maybe millions—of copies were sold (particularly those featuring work by Crumb), and how many artists were stiffed of their rightful royalties.
One major drawback to this book: no images. It’s difficult to imagine telling the story of a graphic phenomenon without actually showing any of it. I suppose the tangled rights of some of these artists’ work would be difficult to navigate, but like the recent book American Comics: A History, if you’re going to tell the story of a visual medium, you have to show examples.
I have only a passing memory or two of underground comix as I was growing up, mainly relegated to those “forbidden fruit” images that blew my mind. But reading this book made me feel that the title—Dirty Pictures—is far beneath the revolutionary stories and art that categorize the underground comix movement. In fact, it’s almost insulting. Yes, there was sex, drugs, sex, violence, and sex in the early undergrounds; but the revolutionary part comes from the artists involved and how they threw off the yolk of comics oppression and rose above the tame and mundane world of mainstream comics to tell personal, provocative, and sometimes shocking stories. The art—sometimes startling and fresh, sometimes stale and amateurish—was secondary to the storytelling. Underground comix exploded the medium and took it in an entirely different direction, making budding—and professional—artists realize they could tell stories about anything. I sincerely believe superhero comics artists such as Frank Brunner and Jim Starlin were totally inspired by the underground artists … it shows in Dr. Strange, Howard the Duck, and Captain Marvel and Warlock. It was called “cosmic” over at Marvel, but we all knew it had a different meaning.
Brian Doherty’s exhaustive study of underground comix is a personality-driven one, told in chronological order. It’s a dense and fascinating read, one that took me just about a month to get through in small, nightly installments, but one that I throughly enjoyed. I have always admired the drawing skills of R. Crumb, even if some of his subject matter—The Book of Genesis Illustrated, for example—is not exactly my cup of tea. Art Spiegelman definitely emerges as “king of the hill” in this book, with, of course, his amazing memoir Maus, but the book also pays notice to how undergrounds evolved from those early sex, drugs, and violence days to much more personal work, like that of Lynda Barry and Alison Bechdel, both “daughters” of the undergrounds.
The other story told here is how the undergrounds carved out their own non-traditional distribution network, for better or worse. Books were sold via head shops (along with the direct sales market for mainstream comics). I guess no one knows how many hundreds of thousands—maybe millions—of copies were sold (particularly those featuring work by Crumb), and how many artists were stiffed of their rightful royalties.
One major drawback to this book: no images. It’s difficult to imagine telling the story of a graphic phenomenon without actually showing any of it. I suppose the tangled rights of some of these artists’ work would be difficult to navigate, but like the recent book American Comics: A History, if you’re going to tell the story of a visual medium, you have to show examples.
September 25, 2024
I listened to the book. I commend the narrator for keeping it interesting with a non fiction book that has so many names, events, timelines, odd stories, and stuff going on. Huge comix fan and I was happy to learn a lot about some of my favorite creators.
May 24, 2024
This is a fantastic history of the genre that irrevocably changed pop culture. It details the ups, downs, challenges, and friction of the people who blazed a serious path in changing the course of the comics industry - in form, content, and business practices - not to mention changing film and tv.
Anyone who draws indie/alt/underground comix/comics should read this book.
Anyone who draws indie/alt/underground comix/comics should read this book.
April 12, 2022
My thanks to both NetGalley and the publisher Abrams Presss for an advanced copy of this history of comix and their creators.
A baby, made homeless by his planet's destruction is taken in by a loving couple, who helps him become a good citizen in his new home. Four busy bodies go into space, find that the journey has changed them, and go on to help others. That is pretty much the history of comics to most people. Sure there was your Sad Sack, or Carl Barks doing Uncle Scrooge, but to most people comics are the big companies, with some tiny independents with a mutant turtle or radioactive hamster making a ruckus, before going back to the men in capes and the Amazonian women. Maybe some will know Robert Crumb because there was a movie about a cat, and documentary on him, or they were hippies. However the fast world of the underground comix is not that well known to people, even comic book readers, unless they spot a Fantagraphics collection while picking up their pull list at the comic shop. Brian Doherty in his book Dirty Pictures:How an Underground Network of Nerds, Feminists, Misfits, Geniuses, Bikers, Potheads, Printers, Intellectuals, and Art School Rebels Revolutionized Art and Invented Comix, hopes to remedy that. And in this stately tome, he more than does.
The book is a narrative history, following the creators as they were born, how they developed, and what they worked on. The usual gang of geniuses are featured, Robert Crumb, Art Spiegelman, Trina Robbins, Spain Rodriguez. And others not so well known, and others who have been unfairly forgotten. Each are introduced and followed as the start on their paths, meet each other, work together, sometimes feud and sue, and for some gallery shows and fame, for others unfairly forgotten, or dead from excess, or broken hearts. The stories are interesting, tales of success when everyone doubted, to sad when somehow it all goes wrong. The list of creators is big, covering all the worlds of underground comix, including a few artists, I had heard of, but knew nothing about.
The research must have been daunting. Trying to tie stories together after so much time, in some places so much hatred, and in others so much drugs and alcohol. The writing is solid, and never meanders much, except when it has to. My only problem is a small one, the chapters just went on and on. I understand the chapters are covering a time period, but a break in a few spots might have been nice, but that is minor quibble. This is a major book bringing together a lot of creators and a huge span of time. I can't imagine it was easy, and I give Mr. Doherty major praise and kudos for his work.
A fantastic piece of reportage, biography and social history. The book shows the impact of comix on readers, creators and the big companies and their superhero books also. A really great book that a lot of readers will enjoy. Recommended for comic historians, pop culture enthusiasts and people who like to read about art and the creation of art. If these guys and gals could do it, so can anyone who is willing to try.
A baby, made homeless by his planet's destruction is taken in by a loving couple, who helps him become a good citizen in his new home. Four busy bodies go into space, find that the journey has changed them, and go on to help others. That is pretty much the history of comics to most people. Sure there was your Sad Sack, or Carl Barks doing Uncle Scrooge, but to most people comics are the big companies, with some tiny independents with a mutant turtle or radioactive hamster making a ruckus, before going back to the men in capes and the Amazonian women. Maybe some will know Robert Crumb because there was a movie about a cat, and documentary on him, or they were hippies. However the fast world of the underground comix is not that well known to people, even comic book readers, unless they spot a Fantagraphics collection while picking up their pull list at the comic shop. Brian Doherty in his book Dirty Pictures:How an Underground Network of Nerds, Feminists, Misfits, Geniuses, Bikers, Potheads, Printers, Intellectuals, and Art School Rebels Revolutionized Art and Invented Comix, hopes to remedy that. And in this stately tome, he more than does.
The book is a narrative history, following the creators as they were born, how they developed, and what they worked on. The usual gang of geniuses are featured, Robert Crumb, Art Spiegelman, Trina Robbins, Spain Rodriguez. And others not so well known, and others who have been unfairly forgotten. Each are introduced and followed as the start on their paths, meet each other, work together, sometimes feud and sue, and for some gallery shows and fame, for others unfairly forgotten, or dead from excess, or broken hearts. The stories are interesting, tales of success when everyone doubted, to sad when somehow it all goes wrong. The list of creators is big, covering all the worlds of underground comix, including a few artists, I had heard of, but knew nothing about.
The research must have been daunting. Trying to tie stories together after so much time, in some places so much hatred, and in others so much drugs and alcohol. The writing is solid, and never meanders much, except when it has to. My only problem is a small one, the chapters just went on and on. I understand the chapters are covering a time period, but a break in a few spots might have been nice, but that is minor quibble. This is a major book bringing together a lot of creators and a huge span of time. I can't imagine it was easy, and I give Mr. Doherty major praise and kudos for his work.
A fantastic piece of reportage, biography and social history. The book shows the impact of comix on readers, creators and the big companies and their superhero books also. A really great book that a lot of readers will enjoy. Recommended for comic historians, pop culture enthusiasts and people who like to read about art and the creation of art. If these guys and gals could do it, so can anyone who is willing to try.
July 9, 2022
I actually got choked up reading this.
June 20, 2023
I am having to adjust my rating to reflect the inconsistency of the publisher and their complete lack of response to several inquiries concerning their inconsistency. They are what they are, buyer beware, and the new rating reflects what the publisher is, though it would be lower if I could do it.
Dirty Pictures: How Nerds, Feminists, Bikers, and Potheads Revolutionized Comix by Brian Doherty is a history that will appeal to a wide range of readers, from historians of popular culture to old folk (like me) who remember some of these comix (mainly the Furry Freak Brothers) from their high school years (in California in early to mid 70s).
I admit I bumped the book rating from a four to a five specifically for the multiple flashbacks, um, I mean memories it brought back. Not just of the comix that were available but the publications like, in my area, the LA Free Press. It devolved into mostly sex ads but a high school student at the time didn't think of that as a step backwards. Anyway, I digress.
At times the book almost seems like it is trying to cram too much info into a small space, but most of the time we are given a more evenly paced account of each of the principal cartoonists involved in the movement. These are informative as history but also great reading as biographical accounts. The interactions between these artists as well as the paths they each took after the heyday of the 60s and 70s makes for a fascinating read. I remember when Maus was assigned in a class in college in the early 90s I saw the name Art Spiegelman and did a double take.
What made this a standout for me, aside from the nostalgic aspect, was the sheer enjoyment of reading it. Maybe part of my enjoyment was remembering the times, but I think the larger part was the writing and the care Doherty took to present a fairly balanced account of some very erratic and volatile personalities.
In addition to others like myself who have fond memories of these comix, I would recommend this to those who like to read about where high and low culture meet and inform each other. Also anyone who simply enjoys reading about a bunch of interesting, albeit at times odd, people.
Reviewed from a copy made available by the publisher via NetGalley.
Dirty Pictures: How Nerds, Feminists, Bikers, and Potheads Revolutionized Comix by Brian Doherty is a history that will appeal to a wide range of readers, from historians of popular culture to old folk (like me) who remember some of these comix (mainly the Furry Freak Brothers) from their high school years (in California in early to mid 70s).
I admit I bumped the book rating from a four to a five specifically for the multiple flashbacks, um, I mean memories it brought back. Not just of the comix that were available but the publications like, in my area, the LA Free Press. It devolved into mostly sex ads but a high school student at the time didn't think of that as a step backwards. Anyway, I digress.
At times the book almost seems like it is trying to cram too much info into a small space, but most of the time we are given a more evenly paced account of each of the principal cartoonists involved in the movement. These are informative as history but also great reading as biographical accounts. The interactions between these artists as well as the paths they each took after the heyday of the 60s and 70s makes for a fascinating read. I remember when Maus was assigned in a class in college in the early 90s I saw the name Art Spiegelman and did a double take.
What made this a standout for me, aside from the nostalgic aspect, was the sheer enjoyment of reading it. Maybe part of my enjoyment was remembering the times, but I think the larger part was the writing and the care Doherty took to present a fairly balanced account of some very erratic and volatile personalities.
In addition to others like myself who have fond memories of these comix, I would recommend this to those who like to read about where high and low culture meet and inform each other. Also anyone who simply enjoys reading about a bunch of interesting, albeit at times odd, people.
Reviewed from a copy made available by the publisher via NetGalley.
September 17, 2022
This book tells the stories of the men and women who brought to life the underground comics movement (comix), detailing their struggles, both creatively and with life in general, placing their work in context within both comics as a whole and within society.
I was born as the comix movement was taking off, only even becoming aware of them in my early teens as classmates managed to get their hands on issues of Freak Brothers, not even being introduced to the work of Robert Crumb until years later. This book is clearly thoroughly researched, featuring interviews with most of the major creators in that arena, and creating a comprehensive picture of the underground world that I'd really only ever dipped my toes into.
Certainly, the very raw and personal nature of the work distinguishes comix from the mainstream comics industry, deserving of exploration like this. If I do have a particular criticism, it's in the lack of any example illustrations of the comix work itself. Describing the subject matter provides part of the picture, but seeing the type of art being produced, with unique, individual styles and sensibilities, would give a greater understanding in many cases, as well as context, to the attitudes towards the work, both in its time and today.
Thanks to the publisher and Goodreads for providing the book in a giveaway.
I was born as the comix movement was taking off, only even becoming aware of them in my early teens as classmates managed to get their hands on issues of Freak Brothers, not even being introduced to the work of Robert Crumb until years later. This book is clearly thoroughly researched, featuring interviews with most of the major creators in that arena, and creating a comprehensive picture of the underground world that I'd really only ever dipped my toes into.
Certainly, the very raw and personal nature of the work distinguishes comix from the mainstream comics industry, deserving of exploration like this. If I do have a particular criticism, it's in the lack of any example illustrations of the comix work itself. Describing the subject matter provides part of the picture, but seeing the type of art being produced, with unique, individual styles and sensibilities, would give a greater understanding in many cases, as well as context, to the attitudes towards the work, both in its time and today.
Thanks to the publisher and Goodreads for providing the book in a giveaway.
July 21, 2023
A brilliant introduction to the world of underground comix... And I suspect just as interesting for those more familiar with the genre. This is a full history, supported by many interviews with leading figures in the scene, offering a look at all aspects of the movement.
The author doesn't shy away from the negative aspects such as feuds and sexism in the scene, but there's also such a clear love for the subject matter.
Issues of prejudice and censorship are very well handled, on one hand these artists broke new ground and made a lot of very important work possible, on the other hand it sounds like some it was pretty horrible! But the author manages to stress the importance of the work without condoning some of the attitudes (or falling back on blaming modern audiences for being 'easily offended').
As well as a thorough analysis of the work there's plenty of information on the artists personal lives too... The final chapters are very moving.
The only thing that could improve this book would be some pictures of the art in question... I assume choosing the best examples (and getting around licencing) was too difficult. As it is I have 70+ tabs open of artists and books to look up so it's definitely encouraged me to explore this world more.
The author doesn't shy away from the negative aspects such as feuds and sexism in the scene, but there's also such a clear love for the subject matter.
Issues of prejudice and censorship are very well handled, on one hand these artists broke new ground and made a lot of very important work possible, on the other hand it sounds like some it was pretty horrible! But the author manages to stress the importance of the work without condoning some of the attitudes (or falling back on blaming modern audiences for being 'easily offended').
As well as a thorough analysis of the work there's plenty of information on the artists personal lives too... The final chapters are very moving.
The only thing that could improve this book would be some pictures of the art in question... I assume choosing the best examples (and getting around licencing) was too difficult. As it is I have 70+ tabs open of artists and books to look up so it's definitely encouraged me to explore this world more.
April 28, 2023
Despite some inaccuracies (especially pertaining to Ralph Bakshi, who was not involved in the production of “The Nine Lives of Fritz The Cat” nor did he “tarnish” the spirit of the Underground Comix movement with his adaptation of Fritz The Cat, I wish the writer would have taken the time to interview Bakshi himself before inserting an opinion piece on the filmmaker), some sections that deviated from a pop culture history tome into “here’s why I think underground comix were so awesome” essay territory, and several examples of blog-like writing, I really did enjoy this book overall.
Yeah I would’ve preferred photos as many have stated but thankfully I own several of the comics mentioned and have Fantagraphic’s “Rebel Visions.” This is a nice sort-of spiritual sequel to “The Ten-Cent Plague” that was entertaining and very informative. I like how the writer depicted this large quantity of cartoonists from their early lives as Kurtzman fans all the way up until their modern lives.
I would rate this a 3.5 out of 5 Stars but I don’t have that option sadly
Yeah I would’ve preferred photos as many have stated but thankfully I own several of the comics mentioned and have Fantagraphic’s “Rebel Visions.” This is a nice sort-of spiritual sequel to “The Ten-Cent Plague” that was entertaining and very informative. I like how the writer depicted this large quantity of cartoonists from their early lives as Kurtzman fans all the way up until their modern lives.
I would rate this a 3.5 out of 5 Stars but I don’t have that option sadly
September 11, 2022
This worked best when it was a biography of Crumb and to a lesser extent of Spiegelman as well. Covering such a wide range of characters it was inevitable that many would receive short shrift thus the book was diminished in these instances. And if ever a book called out for a photo or illustration inclusion this was one, so their absence was also a disappointment. But overall seemed to have a good grasp of the subject and informative on the movement.
July 10, 2023
Time will tell, but I suspect Brian Doherty’s work will become the “authoritative” history of underground comix and their lasting impact, due in no small part to the access he gained to so many of the surviving original participants.
“Dirty Pictures” is well researched, well written, and well thought through. My only criticism is the book would greatly benefit from the inclusion of artwork from the principles, and a photo gallery of the main characters.
“Dirty Pictures” is well researched, well written, and well thought through. My only criticism is the book would greatly benefit from the inclusion of artwork from the principles, and a photo gallery of the main characters.
July 27, 2022
Very well-researched and detailed history of underground comics. However, there are no photos or examples of any of the works covered which really takes away a lot of the impact. I understand there were probably countless rights issues, but having to constantly look up the comics written about became tiresome.
November 30, 2022
I wanted to love this. I was looking forward to it. And indeed, I liked it. But it desperately needed one (more?) thorough polish. Material is unwieldy (and wordy) in places, and that should been addressed before publication.
Still, nothing else covers this subject in this much detail. Worth your time, warts (or warthogs) and all.
Still, nothing else covers this subject in this much detail. Worth your time, warts (or warthogs) and all.
August 20, 2022
Doherty's history of the underground scene in American comics is exhaustively researched as it tracks the movers and shakers of the scene over a half century, even if it is a bit light on historical analysis. Certainly worth reading for anyone interested in the history of the form.
March 10, 2022
"Dirty Pictures" serves as a history of comix and their eventual place in the field of literature, from the names you do know to the names you might not be as familiar with.
Read
July 16, 2022Interesting and entertaining summer read
February 16, 2023
As a writer of comics myself, I appreciated this deep dive into the comics (or comix) and creators that shaped my own approach to the genre. Well researched and engagingly written.
January 28, 2025
Did not finish
The book is broken up into an interesting way, by having each chapter broken up into different sections of various underground comix creators.
Unfortunately, there are absolutely no pictures whatsoever in the book, which is very disappointing. Every time the author mentions how an artist was inspired by a specific issue of MAD Magazine, how the cover blew them away, they went on to publish their own zines which the illustrations were so offensive yadda yadda yadda.... there's no scans of any of it. I have to look up the covers to ZAP #3 or whatever the subject is to actually see what's happening. Being half on my phone and half in the book is very detrimental to this piece.
I'd like to see this adapted into a video documentary instead
The book is broken up into an interesting way, by having each chapter broken up into different sections of various underground comix creators.
Unfortunately, there are absolutely no pictures whatsoever in the book, which is very disappointing. Every time the author mentions how an artist was inspired by a specific issue of MAD Magazine, how the cover blew them away, they went on to publish their own zines which the illustrations were so offensive yadda yadda yadda.... there's no scans of any of it. I have to look up the covers to ZAP #3 or whatever the subject is to actually see what's happening. Being half on my phone and half in the book is very detrimental to this piece.
I'd like to see this adapted into a video documentary instead
October 16, 2023
Great book about the rise and impact of underground comix beginning in the late sixties. Very well researched, very informative. Includes important information about women cartoonists in the underground comix movement. The only shortcoming? Too much emphasis and attention to Robert Crumb. I understand he is the golden boy of the underground comix movement. But he is also the undisputed star and focus of this book. Even when talking about other underground artists, male or female, the story winds back to Robert Crumb. Every underground artist seems to be in Crumb's shadow.
July 19, 2022
Interesting read.
August 16, 2022
This is a must for any Comix fans.
June 3, 2024
I always feel conflicted about underground comix. On one hand, they're an important part of comics history, and some really great art came out of the movement. On the other hand, I can't stand all the hippy nonsense surrounding it. So while this book was fun and fascinating, all the "counter culture" silliness made me roll my eyes.
But the hippy silliness isn't the writer's fault; to write about this kind of thing, you have to document the silly parts too. Doherty records everything with a clarity that contrasts with the murkiness of comix. I love when you can tell an author really cares about their subject matter, and Doherty expresses his deep interest without getting indulgent.
Very well-written. Extremely well-researched. The best parts are when Doherty goes into detail about the different artists' styles, or about certain comix.
This book also gives proper attention to the women involved in comix, and how much misogyny there was towards them. It's something that shows the limitations of so many "alternative" types. They can claim to be free thinkers, but they still treat certain groups of people badly. (And their music is boring, too.)
That's one reason why Robert Crumb stood out. He wasn't pretending to be anything he was not. While you can't admire him for being a creep, you can at least admire how dark, funny and messed-up his comix are. I love reading about his disdain for a movement he ended up being a part of.
There's one description early on of Crumb's brother becoming fascinated by some sort of mechanical doll as a kid that stood out to me as particularly vivid.
But the hippy silliness isn't the writer's fault; to write about this kind of thing, you have to document the silly parts too. Doherty records everything with a clarity that contrasts with the murkiness of comix. I love when you can tell an author really cares about their subject matter, and Doherty expresses his deep interest without getting indulgent.
Very well-written. Extremely well-researched. The best parts are when Doherty goes into detail about the different artists' styles, or about certain comix.
This book also gives proper attention to the women involved in comix, and how much misogyny there was towards them. It's something that shows the limitations of so many "alternative" types. They can claim to be free thinkers, but they still treat certain groups of people badly. (And their music is boring, too.)
That's one reason why Robert Crumb stood out. He wasn't pretending to be anything he was not. While you can't admire him for being a creep, you can at least admire how dark, funny and messed-up his comix are. I love reading about his disdain for a movement he ended up being a part of.
There's one description early on of Crumb's brother becoming fascinated by some sort of mechanical doll as a kid that stood out to me as particularly vivid.
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