Sally here with Ann Nocenti, Julia Wertz, Sarah Glidden, and many more women and comics and news!


Ann Nocenti

The Comics Beat has a great interview with the incredible Ann Nocenti (above). Edie Nugent sat down with her at NYCC to discuss her upcoming project –  the “sci-fi political thriller The Seeds with artist David Aja for the Dark Horses’ newly minted Berger Books imprint“, and her legendary career as a comics writer and editor.

She speaks of her experience working in comics in the 80s, compared to later on:

“Nocenti: What’s strange is that there were so few girls in the industry, that it was the opposite of sexism, I think. You know, I had Archie Goodwin and Denny O’Neill coming into my office talking to me about story–asking me if I wanted to write a story.

I had, you know, Larry Hama, Al Milgrom, he had all these wonderful men in comics.They were all really encouraging. Ralph Macchio gave me the Daredevil to write. Denny gave me my first story, and they were extremely encouraging of the idea that a woman wanted to make comics…even the idea that a female wanted to write Daredevil.

Nugent: So you felt industry support. Going all the way back.

Nocenti: I wouldn’t call it industry support so much as it was bullpen support. This is pre-Internet So everyone was right there in the office. I was mentored by Louise Simonson, who basically taught me everything. Across the hall, you had Joe Duffy writing Star Wars, and then in the bullpen, we had Marie Severin…a powerhouse. So between me and Marie’s generation, we did have sexism. I mean she did so much in the industry and in the business, and she’s kind of unrecognized.

She was right there on staff doing sketches when they needed them and covers when they needed them. So her generation–I think there was maybe more sexism than in the ’80s, ’cause you’re talking a post-’60s, ’70s culture, post-women’s liberation, you know, and so we were encouraged.

I probably I felt more sexism when I came back to comics at DC and I was working with Gotham, in the Bat family. All those guys [at DC] individually are really nice, but it definitely felt like a boy’s club.

She goes on to talk about The Seeds (which I can’t wait to see – David Aja’s art in Hawkeye was so good! so that paired with Ann’s writing?!) and close to the end of the interview she speaks eloquently about why comics always pull her back. It’s a great interview with a powerhouse of the comics industry in her own right.

Read the whole thing HERE.


From Julia Wertz’s Tenements, Towers & Trash

I can’t wait to get my hands on Julia Wertz‘s new comic, Tenements, Towers & Trash, which reviewers are calling “dazzling” among other sparkly things. She herself hasn’t been able to say much about the book or go on her planned tour for it, as the fires in CA have called her home to be with her family. But The New York Times and Hyperallergic both have reviews of the comic this week and plenty to say.

From Parul Sehgal’s passionate review on The New York Times:

The city rises majestically in these pages. The crowded panels evoke the jostle of urban life. Your eye doesn’t know where to settle; there’s so much to absorb. Wertz loves New York down to its guts: the pneumatic tubes that stretch the length of the island and were once used to send gusts of letters from one post office to another. She loves the arteries of the subways, the lungs of the parks. She goes uptown to sketch movie theaters in the Bronx and peers down to the bottom of the Hudson River, the “ watery grave” where illegal pinball machines were dumped by the city in the 1970s.

She unearths so many strange, wondrous facts that my exclamation marks in the margin resemble elaborate Morse code.

Read the rest HERE.

Hyperallergic offers more pages from the book to tantalize you in their review, and is equally glowing. Read that one HERE.


From Sarah Glidden’s The Art of War

The Nib is running Sarah Glidden‘s comic The Art of War, which was originally published in Spanish in El País Magazine. She draws herself (above) looking at Goya’s painting titled “3rd of May at Prado”. The comic is about the interaction between a viewer and a famous piece of art, and like all of Sarah’s work, is thoughtful and thought-provoking. Check it out HERE.


In other words/images


Connor Willumsen says ‘Cartooning is a lot like magic’ in this video, directed by Fatine-Violette Sabiri. It offers a glimpse into his head space and a look at his new comic, Anti-Gone (Koyama Press, 2017).

Read Brian Nicholson’s review of Anti-Gone, HERE.

Get a copy of Anti-Gone, along with two zines by Connor – a 20 page bootleg, and a special collage zine – as well as a unique Anti-Gone drawing, as part of the exclusive Connor Willumsen bundle from Comics Workbook – available HERE.


Suzy and Cecil – 10-20-2017 – by Sally Ingraham


Cozytown – 10-20-2017 – by Juan Fernandez

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