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The Complete C Comics

The Complete C Comics

by Joe Brainard, foreword by Ron Padgett, essay by Bill Kartalopoulos

$45.00
$45.00
American Literature Comics & Graphic Novels Poets & Poetry
Format

“PEOPLE OF THE WORLD… RELAX!”

In the creative hotbed of 1960s New York, Joe Brainard was a whirlwind. He was a maker of paintings, assemblages, collages, book covers, poetry-reading flyers, and more. But some of his most exciting work was done with his friends. In 1964, the twenty-two-year-old Brainard turned his talents to rewiring the lowly comic book form into something new and surprising. He invited his friends Frank O’Hara, Ted Berrigan, John Ashbery, Kenneth Koch, Peter Schjeldahl, Barbara Guest, Ron Padgett, and others—all of them New York School poets—to collaborate with him on comics that they would write and he would draw.

The results were unlike any comics seen before. Previously available only on the rare-book market (at very high prices) but available here under one cover for the first time, the two issues of C Comics still feel as fresh as when the first page rolled off the mimeograph machine more than sixty years ago. Brainard’s energetic line and joyful humor charge across every page, illustrating O’Hara's recasting of a cowboy as a mash-note-writing lover, Padgett’s experiments with traditional cartoon sound effects (ROAR! GRRR! SKREE!), cameos by Ernie Bushmiller’s Nancy, and heaps of Dadaesque delights.

This edition includes a foreword from Padgett and an essay by comics historian Bill Kartalopolous, who details the creation (and creators) of C Comics. A masterpiece of collaboration and spontaneity, C Comics is a testament to the vastness of Brainard’s creativity and his ability to push any artistic form in a new and powerful direction.

Additional Book Information

Series: New York Review Books
ISBN: 9781681379876
Pages: 200
Publication Date:

Praise

For a long time, we’ve taken for granted the permeability between high and low culture. The Complete C Comics documents an instance when those barriers began dissolving, a bellwether moment when poets who weren’t supposed to versify on cartoons—and artists who weren’t expected to draw inspiration from Jughead, but Masaccio—did just that.
—Albert Mobilio, 4Columns

Brainard had the touch. He fought with self-doubt but his line never wavered. His mise-en-page was flawless . . . He was very social, loved having friends. So what could be more natural than to throw a party on the page? In C Comics he supplies the decor, the ambience, the dice, the game board; his invitees bring music and intoxicants. The party has been nonstop fun for sixty years.
—Lucy Sante, The New York Review of Books

C Comics was produced by Brainard and a repertory of friends just prior to the underground newspaper comics that emerged later in the 1960s. It was borne of a counter-art world, expressive and eccentric art and literary downtown experience at the time . . . The work is fascinating for what was on the minds of these soon-to-become established and canonical writers.
—Steven Heller, Print

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