Tag Archives: Like A Velvet Glove Cast In Iron

Daniel Clowes’ “Eightball” — A Personal Reminiscence : Part Four

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Perhaps the weirdest thing about devouring the contents of The Complete Eightball Issue Numbers 1-18 in the way that I’ve chosen to do so — one issue at a time, cover-to-cover, in the order originally published (and presented) — has been my discovery that the short-form humor strips that used to make me laugh my ass off (from the quick-fire half-pagers and full-pagers like “Fuckface” and “Needledick, The Bug-Fucker” to the longer three-and four-pagers like “I Hate You Deeply” and “I Love You Tenderly,” both of which employ Lloyd Llewellyn as an obvious stand-in for the author himself) don’t quite “do it” for me in the same way that they once did, while some of the strips that I thought to be “lesser” efforts at the time (issue three’s “The Stroll,” issue six’s “Marooned On A Desert Island With The People On The Subway,” to cite just a couple of examples), are ones that  I now find quite a bit of merit in.

Part of that is probably just down to the fact that I know all the jokes in the humor strips more or less by heart, and so they’ve lost their “punch,” but I think a big part of it is me just finding the whole shtick of taking aim at painfully obvious targets to be a lot less amusing in my forties than I did in my teens and twenties. To be sure, those strips that I’m less “wowed” by today are still pretty goddamn funny, and if I were reading them for the first time I’d probably still chuckle — but I doubt I’d loudly guffaw at them for months on end as I did when they were first published. My head’s just not in the same place anymore.

I leave it to you to decide whether or not that means I’m “maturing” or just becoming a stereotypical “stick in the mud,” but on the other side of the coin, the fact that a good number of strips that I once considered “one-and-done” reads I’m now able to enjoy on a level I didn’t previously speaks to the fact that Dan Clowes was , in fact, constructing with this series something that would stand the test of time and offer readers of just about any age bracket something worth sinking their metaphorical teeth into.

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A definite tonal shift occurred in the short-form works as the series progressed, as well , with the overtly sarcastic comedy of first few issues giving way to the more bleak and hopeless “gallows humor” found in issue eight’s “My Suicide” and issue ten’s “A Message To The People Of The Future.” At the time of these strips’ initial publication I was a relatively care-free, hard-partying college kid, and so the rapid-fire transition into more overtly morose subject matter sort of “lost me,” but now that I’m older and have both “been through some shit” and come out the other side of it, I’m able to appreciate the sort of resigned-to-one’s-fate nature of the aforementioned “downer” stories simply because, hey, there were points in my life where I was there, too, and I’m able to relate to where the artist himself was so obviously coming from when he sat down to make them.

In addition, the fact that “the bad times are behind me”(knock wood) gives me a sort of “been there, done that” disposition in terms of evaluating them, whereas if I were still in the depths of some depression-induced downward spiral, they might actually hit a bit too close to home and make for an uncomfortable reading experience. In short, I think I’m catching these particular strips again at precisely the right time to take them for what they were,  whereas earlier on I had a bit more difficulty because I was having to accept them for what they are — and, unlike the the serialized “major” works that ran in Eightball‘s pages, which always seemed to mesh smoothly with where my own interests and obsessions were at the time, I was mentally and emotionally “out of synch” with where a number of these more admittedly “minor” efforts were coming from.

I just hadn’t lived enough yet, I guess. But now that I have, I find at least something of interest and/or merit in, to be honest, all of them — and very frequently there’s even a kernel of out-and-out brilliance to latch onto.

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As “phase one” of Eightball, anchored as it was by “Like A Velvet Glove Cast In Iron,” gave way to the more pre-planned, formalized (damn, I’m making that sound like a bad thing, but it wasn’t) structure of “phase two,” which was tethered to the ongoing exploits of Enid and Rebecca in “Ghost World,” (which we’ll be coming to in, I would imagine, the not-too-distant future here) the short-form stories also “grew up” a bit, incorporating elements of the decidedly bleak nature of the aforementioned “My Suicide” and “A Message To The People Of The Future,” but transposing them into actual stories about actual characters rather than coming at us directly from the mouth of the artist himself in “graphic rant” form. It made for a welcome switch, and led to some genuine classics, but we’re probably getting just a bit ahead of ourselves at this point if we delve into them too deeply.

It’s worth noting, however, that Clowes and his editors at Fantagraphics were able, with the benefit of hindsight,  to pretty clearly delineate this tonal and structural shift when re-evaluating them for reprint collections,  and packaged them accordingly when,   some years ago,  the (arguably, I suppose) less substantial efforts of the earlier issues were collected in Twentieth Century Eightball, and the (again, arguably) more mature shorter works of later issues were bound together in Caricature. Some things, it would seem, are obvious to everyone.

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I should take at least a moment here, however,  to iterate that there are plenty of these shorter works that hit that “sweet spot” for me both then and now — “Devil Doll?” from issue one, “Ugly Girls” and “Grist For The Mill” from issue eight, and, of course, the legendary “Art School Confidential” from issue seven seemed like works of absolute genius to me at age 17, or 20, or 22 (or whatever), and haven’t lost an ounce of their impact in my estimation as an (early, I assure you) 40-something.

And then there’s Dan Pussey. The one character who “bridged the gap” between “phase one” and “phase two” of Eightball, and who started as an object of scorn and derision on the part of his creator before slowly-but-surely morphing into a figure of, believe it or not, sympathy. But Dan probably deserves an entire segment of his own in this retrospective, and ya know what? Enid and Rebecca might just have to wait their turn under our microscope, because Dan’s “tragicomedy” would probably make for the perfect subject for our next installment — see you here in about a week for that one!

 

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Daniel Clowes’ “Eightball” — A Personal Reminiscence : Part Three

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In our previous segment here, I referred to Daniel Clowes’ first creative “phase” on Eightball as the “Velvet Glove Phase” — so named for the principal story running from issues one through ten, Like A Velvet Glove Cast In Iron — and while such an ad hoc descriptive probably does a disservice by giving short shrift to the numerous, and often quite good, short-form stories, and even gag strips, that ran alongside the “main” work, I’ll try to make up for it by addressing some of those in a future (hell, probably the next) installment. A guy can only do so much at one time, ya know?

So — Velvet Glove, then. This has been re-printed and collected God-knows-how-many-times now, but it’s nice to see it back in its original format in The Complete Eightball Issue Numbers 1-18, with all of the color front pages for the installments in numbers 5-10 left intact. It’s fair to say that a straight-up rush of memories hit me as I re-read this for the first time in probably five or six years, and truth be told, because of the somewhat disjointed nature of the narrative here, it probably does read better in quickly-digested individual chapters than it does collected in graphic novel form.Taken one at a time, this material is given more “breathing space” and takes on greater import, whereas read in one go it almost feels — dare I say it — a bit lightweight.

Not that it actually is, mind you, but — hard as this may be to fathom for modern comics readers — there was one a time where stories were written specifically to be serialized rather than specifically to be collected in later in trade, and this is one of those stories. In fact, there’s a definite sense that, in may key respects, Clowes is just plain improvising here, with only the most minimal overall plot structure in mind. As a matter of fact,  when I caught him with Peter Bagge on their “HateBall” signing tour, I asked him about this and, if memory serves me correctly, he pretty much said that was exactly what he was doing.

In other words, there’s a lot of throwaway stuff that’s added into the mix here. A man who walks on all fours. A dude with an impossibly long, vaguely insectoid nose browsing through an outdoor(?) bookstore. Little things like that. Interesting touches, to be sure, but not ones that serve any sort of relevant plot function. Like the guy with the sea crustaceans in his eyes, who made his way onto the first official Eightball t-shirt, as pictured below —

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All of which suited me at the time just fine, truth be told. I was completely immersing myself in the works of David Lynch in my late teens and early twenties, and the “Lynch vibe” here is absolutely unmistakable. There’s a definite sense that this story is coming from somewhere else entirely, and while that can be frustrating for folks seeking a tight, cohesive narrative, it’s exciting for the simple reason that you well and truly never  know what’s going to happen next. Quite possibly because the artist himself didn’t know when he sat down to write and draw it.

For those unfamiliar with the basics of the plot, our story centers around a guy named Clay — something of a no-account drifter by all appearances — who wanders into an adult theater (remember those?) one day and finds his ex-wife starring in a film called Like A Velvet Glove Cast In Iron that’s quite unlike anything else he’s ever seen. In the words of his own internal monologue “these people are real sickos — there’s no sex — not even any nudity,” and indeed that’s true — instead the film appears to be nothing so much as a disjointed series of surreal images tied together loosely by some BDSM undercurrents (it’s probably a bit much to even call it a “theme”). He’s immediately intrigued at how the one-time love of his life —although wordless flashbacks popping up here and there don’t show their marriage to have been a particularly happy one — could have ended up in such a bizarre production, and his quest for answers takes him first into the men’s room of the porno shack itself, where an all-knowing Indian swami dispenses the answers to all of life’s questions, and then on the road to the dystopian ‘burg of Goosneck Hollow — where, said swami informs him, the flick was made.

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Along the way he gets the shit beaten out of him by a couple of cops, ends up an unwilling conscript of a Manson-esque cult preparing for “Harum Scarum,” spends the night at the home a half-human/half-fish girl named Tina where he beds her (don’t worry, entirely human) mother, and picks up a “roommate” on the run from the law with the foulest mouth of anyone in comics not created by Garth Ennis. Among other things.

He ends up with only a few answers, and even fewer limbs — as a matter of fact, he’s a quadriplegic by the time the curtain falls. It’s a challenging work to say the least, not the least bit due to the fact that Clowes never gives the reader much reason to become emotionally invested in his central because he’s never very emotionally invested in him as a creator. Clay undertakes precisely one action on his own initiative here —getting the whole ball rolling in the first place — but from that point on, he’s almost pathologically passive. He doesn’t make things happen, they just happen to him.

That can be interesting — and it is — but only for awhile. There’s a palpable sense that Clowes was beginning to realize he had taken the entire conceit as far as he could towards the end, and he wraps things up pretty quickly indeed in the final segment. Mind you, I only say quickly, and not conveniently, because there’s really nothing too terribly “convenient” about how things wind up for anyone here. Except maybe Tina.

Reading it as originally presented again, I got the same sense I did the first time around, only magnified — did I like it? Yes. And I most likely wouldn’t have been actively bothered  if it had gone on a bit longer, but — I was also, I dunno, not so much bored with it by any stretch of the imagination, but ready for it to end when it did. Clowes’ frequent obsession with longing for days gone by (that, ironically, weren’t all that great when they were going on) while at the same time having contempt for such syrupy nostalgia is writ large here and leads to complete fucking disaster, and alienation from the rest of humanity, another staple of his ouevre, is also present and accounted for, so if you’re as intrigued by those themes as I am (and as the artist himself is), then rest assured that you’re going to find a lot to like here (assuming you haven’t read it yet). They’d all crop up again in future, and be dealt with in more frankly human — yet, perhaps paradoxically, more subtle — fashion, but there’s something uniquely provocative about seeing them addressed withing the bounds (loose as they are) of a  free-form, almost stream-of-consciousness story.

Is it a comics masterpiece? Nah, but it’s definitely intriguing in the truest sense of the word and certainly offers many tantalizing hints that the guy who made it may just have a masterpiece waiting for us right around the corner.

Which, of course, he did. But we’ll get to that in due course, have no fear.

Dainel Clowes’ “Eightball” — A Personal Reminiscence : Part Two

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What were your comics reading habits like in 1989? I was still in high school, but man — was I ever in the mood for something different. At that point, Watchmen was hardly the distant memory it seems today and the reverberations of what Alan Moore and Dave Gibbons had done were still being felt far and wide across the mainstream super-hero landscape. Yes, the superficial trappings of that already-seminal-by-then  work had been effectively cheapened and co-opted by “The Big Two” almost across the board — most books were suddenly much “darker” and “more realistic” — but by and large it seemed like DC and Marvel were in the early stages of trying to figure out “okay, where do we go from here?” now that their entire formula had been so successfully deconstructed right in front of everyone.

I would argue, in fact, that they’re still trying to answer that question some three decades later. Grant Morrison was doing his level best to respond to it in Animal Man (and would soon do the same with Doom Patrol),  while Neil Gaiman was successfully building upon the classical- literature foundations of Moore’s prose in the pages of The Sadman, but for the most part it seemed like no one was willing to pick up the gauntlet Moore and Gibbons had thrown down. Vertigo was still just a pipe dream in Karen Berger’s mind and the publishers still had nothing like a firm grasp on what a “mature readers” comic really meant even though they’d just published one that, essentially, blew the doors open and should have resulted in a veritable onslaught of genuinely good and interesting titles.

Rather than embrace this new reality fully, though, DC and Marvel opted to do what they pretty much always do — batten down the hatches, keep pumping out more of the exact same shit they’ve been doing for decades, and hope to dumb everybody back down to the point where predictable dross seems normal. Sadly, it worked — and it continues working to this day.

Fortunately, there was a burgeoning “alternative” comics scene that started to blossom in the early ’80s,  thanks in large parts to the efforts of brothers Gilbert and Jaime Hernandez (and, early on, third sibling Mario) in the pages of their magnificent Love And Rockets, and these guys felt no need to tap into the current zeitgeist of superhero comics because, well — they just plain didn’t give a fuck. Soon, their ranks were buttressed by the likes of former Weirdo editor Peter Bagge, who unleashed his first “solo” series, Neat Stuff, in the middle part of the decade,  and one Daniel Clowes, whose early “professional” work saw print in Weirdo (among other places —including, would’ja believe, Cracked, during the legendary editorship of Mort Todd). This new generation of “non-mainstream” cartoonists was far more influenced by the likes of Robert Crumb and his wife, Aline Kominsky-Crumb, as well as by Kim Deitch, Mary Fleener, S. Clay Wilson, and assorted other underground luminaries, than they were by, say, Gerry Conway, Roy Thomas, or any of the other (sorry, but it’s true) second-rate, highly-derivative superhero comics creators of their youth. You know who I’m talking about — the guys who drove the bus into the ditch that Moore and Gibbons had just tried to pull out of.

Weirdo gave these artists and others (like Clowes’ good friend, the criminally-underappreciated Rick Altergott) the chance to rub elbows, metaphorically speaking, with a number of the great just-referenced underground cartoonists of years past  by putting all their work side-by-side in the same magazine, but by the late ’80s many were certainly looking to spread their own wings a bit further than a standard multi-creator anthology series would allow. The Bradley family had proven to be popular characters in Neat Stuff, and Bagge soon sent eldest brother Buddy off on his own to join (and in some cases to invent significant parts of) the nascent “Generation X” or “slacker” scene just underway in Seattle in his own solo book, Hate, while Clowes created Lloyd Llewellyn, a magazine-sized series starring a perpetually-disinterested, “too-cool-for-school,” proto-aging-hipster named — well, you guessed it.

It went just about nowhere. After seven issues its publisher, Fantagraphics Books (pretty much the “go-to” publishing house for independent cartoonists at the time, with Drawn + Quarterly still a few years away from bursting onto the scene), lowered the boom on poor old Lloyd citing poor sales, but head honchos Gary Groth and Kim Thompson, who had maintained a somewhat tight editorial control over the just-failed series, were amenable to giving their writer/artist more free reign with his next project. He’d played things their way and it didn’t work. What harm could there be in trying things his way this time?. Forget commercial considerations, Clowes figured, they’re hardly relevant in the world of marginally-selling indie comics, anyway (or at least they weren’t at the time). If he was only going to get one more crack at this whole thing,he was going to do what he really wanted to do .

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What he really wanted to do, as it turns out, made its debut in Eightball #1, cover-dated August of 1989, and it was a book with no real set “format” — just a loose collection of stories that were in no way affiliated with each other apart from coming from the same mind and pencil (and, okay, pen). Clowes’ intentions were clear — he’d  be making it up as he went along, following his own muse, and the publishers could either take it or leave it.

They took it, and we should all be damn glad they did. In the first issue alone we got the opening salvo of the surreal David Lynch-ian nightmare that was “Like A Velvet Glove Cast In Iron,”  we met uber-stereotypical “young hotshot” comics creator Dan Pussey (and his boss, an octogenarian sleazeball named Dr. Infinity who was obviously based on Stan Lee), we were treated to the Jack T. Chick-on-crack religious fanatacism of “Devil Doll?” (later reprinted in  traditional tract format for inclusion inside a Jello Biafra spoken word album), and hey — Lloyd Llewellyn even made a brief return appearance to help bridge the gap.

It was amazing. It was astonishing. It was every other time-worn superlative my brain can’t think of right now. And you know what? It still is.

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Oh, sure, Clowes didn’t invent the single-creator anthology by a long shot — there were, in fact, several others running at the time — but he absolutely got the balance exactly right here. The long-form narrative grounds the book and ensures readers will be back for more. The shorter works take aim at easy and popular targets (Christian fundamentalists, the comic book industry) with as much flair and panache as they do well-deserved venom. Toss in a couple of one-or-two-page gag strips to keep the old-school underground fans happy (I particularly loved the visual adaptations of interviews with nursing home patients that Clowes cobbled together from David Greenberger’s Duplex Planet ‘zine), and you’ve got a winner.

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Okay, make that a modest winner. Eightball #1 wasn’t exactly the talk of the comics world when it hit, but it sold out its initial run of something like 5,000 copies and went back to press no less than five times. Good luck finding a first printing at anything like a reasonable price these days (still got mine! Hah!) No earth-shaking tremors reverberated out of it, by any means, but   it definitely went some way towards cementing the idea that, while the mainstream was definitely moribund on the whole, there were interesting things happening in comics at the margins. And they were about to get exponentially more interesting pretty quickly.

I talked in our first segment about the four creative “phases” Eightball went through in its 15-year history, and “phase one” began right here. For lack of a better term we’ll call if the “Velvet Glove Phase,” and we’ll take a nice, long look at the story that was at the heart of it in our next segment. Hope to see you all back here then!