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Santoro strikes.

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Saturday JUNE 13th noon to six
COMICSCLASS2700
with FRANK SANTORO
“DISCOVER THE HIDDEN TEMPO OF COMICS”

Hey Everybody. Your friendly neighborhood loudmouth here, Frank Santoro. I’m doing a workshop class in New York City at the infamous Westbeth artists’ co-op on June 13th. Be there or be square. It’s gonna be an intense, small class of six people. Not for beginners. Come ready to draw.

The focus will be on the student’s contour line drawing and composition. This class will explore the process of improvisation within a rigorously structured page design. Meaning students will learn how to find a framework of harmonic points on the comics page. These points act like a “tuning fork” and provide page proportions which allow the drawings to unfold in sequence while firmly remaining “in key”.

Seriously. See, the problem I see with most comics is that often there is a real lack of a consistent narrative pace. Comics can be structured like songs and utilize tempo, rhythm, harmonies and melodies to change the pace of a story. It’s this invisible structure that will be explored, diagrammed and discussed.

And as for the drawing end of it, we will be drawing in a contour line style. No shading, just lines. And no color. Students will be making a manuscript, a “print dummy” of sorts for making their own 16 page zine. Each student will be “improvising” upon a pre-existing story structure designed by myself. Straight ahead, no-frills drawing and composition, transitions and sequencing will be the order of the day. I will be working with each student one on one to really explain how structure and improvisation can unlock one’s narrative vision.

Email me: capneasyATgmailDOTcom if you’re interested and I’ll fill you in on the details. It’s 40 bux. Noon to six with a lunch break. June 13th. Saturday. Space is limited to six people. Thanks.
[UPDATE] THE CLASS IS FULL . I’m making a wait list and hopefully will be doing this again soon, so please email me if you’re interested and I’ll let you know what’s up.

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Due to some perversion of my taste (and too much exposure to English literature grad students in college), I’m kind of partial to satires of tortured academic theory, like Frederick Crews’s The Pooh Perplex and its sequel Postmodern Pooh. (It’s an acquired taste, and I certainly don’t recommend it.)

Yesterday, on the Literary Saloon, I came across mention of a book that seems to be of the same kind, only tackling comics criticism instead of literary theory, at least if this review in The Economist is accurate. (It’s hard to tell for sure, since the publisher’s page doesn’t appear to indicate any satirical intent, and I’m not familiar with the author’s previous work.)

From the Economist review:

[T]he Castafiore Emerald, the author argues with sweeping confidence, is not just the oft-misplaced bauble belonging to a forceful but absent-minded opera singer: it is her clitoris. Switch on the “sexual sub-filter”, he explains, and the jewel’s real nature is clear. … Poor Captain Haddock’s plaster-covered leg, meanwhile, is “a sign of both castration and an erection”.

…

The book is sprinkled with enough pretentious jargon, factual error and illogicality to infuriate and baffle the unwary. But the result is a satire of which Hergé, himself the creator of a cast of immortal parodies, would indeed have been proud.

In any case, this book seems right up my alley, and whether genuine or parody, it’s probably a harbinger of things to come for comics. As graphic novels continue to garner attention in high-brow journals and universities institute more comics programs and departments, it’s only a matter of time before the medium gets the full Roland Barthes treatment on a regular basis.

This will inevitably lead to a lot of grumbling and hostility from longtime comics fans, who are unlikely to cut some English professor (whose familiarity with the medium begins and ends with the Fantagraphics catalog circa 2006 Spiegelman and Satrapi) any more slack than they give Scott McCloud. (This is not meant to imply that McCloud and the professors don’t deserve to be criticized.)

I, for one, though, welcome the wrong-headed, jargon-ridden, and pretentious comics scholarship of the near future with welcome arms. No matter how popular a particular work or artist may be, cultural oblivion is unavoidable without a legion of eggheads scrambling for tenure and over-examining an artwork’s every nuance in search of “subversive” intent and hidden signifiers.

Mistakes will inevitably be made, and dumb judgments will abound, but it also may keep Harvey Kurtzman in print for posterity. Comics fans won’t be able to do it alone, no matter how many variant covers they buy.

UPDATE: It’s probably worth mentioning that as far as I can tell, Tom McCarthy’s book has not been published in the United States, and I have no idea if it ever will be. FYI, for all five of you who may be interested.