By Bart Beaty, Benjamin Woo
Bart Beaty and Benjamin Woo paintings to historicize why it's that definite works or creators have come to outline the proposal of a "quality comedian book," whereas different works and creators were left on the fringes of serious research.
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Additional info for The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comic Books
Example text
18 But the thing about John the Baptist is that he was beheaded. 19 17 Charles McGrath, “Not Funnies,” New York Times Magazine, July 11, 2004. See also Chap. 9. 18 Heer, In Love with Art, 44. 19 Pierre Bourdieu, The Field of Cultural Production: Essays on Art and Literature, ed. Randal Johnson (Cambridge, UK: Polity Press, 1993), 30. MAUS BY ART SPIEGELMAN? 25 Lesser works and less well-established authors frequently attempt to ride Maus’s coattails to success by borrowing some of its aura or gravitas.
Existing on the periphery of the comics world when Pantheon Books released it in two volumes (1986 and 1991), it won only a few comics industry awards, yet it achieved a monumental breakthrough in the literary world when the National Book Critics Circle nominated it for prizes—something that was unprecedented for a comic book. In 1992, this advance was amplified when Spiegelman received a special citation from the Pulitzer Prize Committee, the first comic book to be so honored. This recognition catapulted Maus to prominence outside of the narrow confines of the comics world.
First, as we have already suggested, Crumb works almost exclusively in shorter forms. Second, the interpretive strategies that are dominant in humanistic studies of culture are confounded by the deeply troubling content of much of Crumb’s work. 5 We are excluding here reviews, interviews, and biographical profiles. See, for example, Claire Pelosse, “Le Procède Kafka en BD”, Langues Modernes 100:4 (October–December 2006), 16–19; Manuel de la Fuente Soler, “La memoria en viñetas: Historia y tendencias del cómico autobiográfico”, Signa: Revista de la Asociación Española de Semiótica 20 (2011), 259–276.