![]() ![]() They want sump’n different!” Crumb gets his own back by portraying Pekar as a kvetch in a vest, scratching himself. ![]() It’s all here in ‘Young Crumb’ and ‘A Fantasy’, the only story reprinted from his first issue: “This’d be a new lease on life f’r you… You’re still pretty popular, but people are gettin’ tired o’ yer stuff. The one artist he couldn’t pull this with was Robert Crumb, already a celebrity, but one who was regularly cajoled into an increasing number of pages every issue based on their 1960s friendship. Although Pekar said otherwise, some artists who worked with him felt obliged to draw exactly what he laid down, irrespective of how a more experienced artist might interpret the material. ![]() This collection samples stories from the first nine issues of American Splendor his annually self-published black and white magazine, originating from between 19.įinancing the work himself, Pekar couldn’t afford to be choosy about who illustrated his stories, although was reportedly very pleased with some who’d make lovers of fine comics art cringe. This was all presented as realistically as possible, but while eventually incalculably influential, for a decade or so Pekar ploughed a unique furrow. Most autobiography inflates, but he took the opposite approach, relentlessly focussing on the mundane, the day to day conversation or overheard quip, and his own frustrated existence. The few autobiographical comics before 1976 were certainly nothing like the material written by Harvey Pekar. ![]()
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