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{{Short description|Canadian cartoonist (born 1960)}} | |||
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{{Infobox person | {{Infobox person | ||
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|birth_date = {{Birth date and age|df=yes|1960|5|16}} | |birth_date = {{Birth date and age|df=yes|1960|5|16}} | ||
|birth_place = {{not a typo|]}}, ], Canada<!--grew up in Chateuguay, but was born in Montreal proper --> | |birth_place = {{not a typo|]}}, ], Canada<!--grew up in Chateuguay, but was born in Montreal proper --> | ||
|party = ] | |||
|nationality = Canadian | |||
|other_names = CWDB | |other_names = CWDB | ||
|occupation = {{Flatlist| | |occupation = {{Flatlist| | ||
* |
* Cartoonist | ||
* politician | |||
* Politician}} | |||
}} | |||
|awards = ] (2011)<ref></ref> | |||
}} | }} | ||
'''Chester William David Brown''' (born 16 May 1960) is a Canadian cartoonist. Brown has gone through several stylistic and thematic periods. He gained notice in ] circles in the 1980s for the surreal, scatological '']'' serial. After bringing ''Ed'' to an abrupt end, he ] in the early 1990s and was strongly associated with fellow Toronto-based cartoonists ] and ], and the ] trend. Two graphic novels came from this period: '']'' (1992) and '']'' (1994). Surprise mainstream success in the 2000s came with '']'' (2003), a historical-biographical graphic novel about rebel ] leader ]. '']'' (2011) drew controversy as a polemic in support of decriminalizing prostitution, a theme he explored further with '']'' (2016), a book of adaptations of stories from the Bible that Brown believes promote pro-prostitution attitudes among early Christians.{{citation needed|date=March 2022}} | |||
'''Chester William David Brown''' (born 16 May 1960) is a Canadian ] and, since 2008, the ]'s candidate for the ] of ] in Toronto. | |||
Brown draws from a range of influences, including monster and superhero comic books, ], and comic strips such as ]'s '']''. His later works employ a sparse drawing style and flat dialogue. Rather than the traditional method of drawing complete pages, Brown draws individual panels without regard for page composition and assembles them into pages after completion. Since the late 1990s Brown has had a penchant for providing detailed annotations for his work and extensively altering and reformatting older works. | |||
Brown has gone through several stylistic periods in his comics work. He gained notice in ] circles in the 1980s for the surreal, scatological '']'' serial. After bringing ''Ed'' to an abrupt end, he delved into confessional ] comics in the early 1990s, and was strongly associated with fellow Toronto cartoonists ] and ], and the contemporary ] trend. Two graphic novels came from this period: '']'' (1992) and '']'' (1994). Surprise mainstream success in the 2000s came with '']'' (2003), a historical-biographical graphic novel of rebel ] leader ]. '']'' (2011) was controversial as a polemic in support of decriminalizing prostitution. | |||
Brown at first ] his work as a ] called '']'' beginning in 1983; Toronto publisher ] began publishing the series as a comic book in 1986. The content tended towards controversial themes: a distributor and a printer dropped it in the late 1980s, and it has been held up at the ]. Since 1991, Brown has associated himself with ] publisher ]. Following ''Louis Riel'' Brown ceased serializing his work to publish graphic novels directly. He has received grants from the ] to complete ''Louis Riel'' and ''Paying for It''. | |||
Brown draws from a range of influences, including monster and superhero comic books, ], and comic strips such as ]'s '']''. His later works are known for a sparse drawing style and narratives with flat dialogue. Rather than the traditional method of drawing complete pages, he draws one panel at a time without regard for page composition, assembling the panels into pages after completion. Since the late 1990s Brown has had a penchant for providing detailed annotations for his work, and extensively altering and reformatting older works. | |||
Brown at first ] his work as a ] called '']'' beginning in 1983; Toronto publisher ] began publishing the series as a comic book in 1986. The content tended towards controversial themes: a distributor and a printer dropped it in the late 1980s, and it has been held up at the Canadian border. Since 1991, most of Brown's output has been published by ] publisher ]. Following ''Louis Riel'' Brown gave up on serializing his work, preferring to publish it directly as graphic novels. He has received grants from the Canadian government to complete ''Louis Riel'' and ''Paying for It''. | |||
==Life and career== | ==Life and career== | ||
===Early life=== | ===Early life=== | ||
Chester William David Brown was born on 16 May 1960 at the ] in Montreal, ], Canada.{{sfn|Epp|2002}} He grew up in ], a Montreal suburb with a large English-speaking minority.{{sfn|Bell|2006|p=144}} His grandfather was history professor Chester New, after whom Chester New Hall is named at ] in ], Ontario.{{sfnm|1a1=Epp|1y=2002|2a1=Bell|2y=2006|2p=164}} He has a brother, Gordon, who is two years his junior. His mother had ],{{sfn|Brown|2002|p=191}} and died in 1976{{sfn|Grace|Hoffman|2013b|p=xxxii}} after falling down the stairs while in the ].{{sfn|Brown|2002|p=191}} | |||
Though he grew up in a predominantly French-speaking ] and had his first mainstream success with ] of French-speaking ] rebel leader ], Brown says he does not speak French. He said he had little contact with francophone culture when he was growing up, and the French speakers he had contact with spoke with him in English.<ref name="GettingRiel1" /> | |||
Chester William David Brown was born on 16 May 1960 at the ] in Montreal, ], Canada.{{sfn|Epp|2002}} He grew up in ], a Montreal suburb with a large English-speaking minority.{{sfn|Bell|2006|p=144}} His grandfather was history professor Chester New, after whom Chester New Hall is named at ] in ], Ontario.{{sfnm|1a1=Epp|1y=2002|2a1=Bell|2y=2006|2p=164}} He has a brother, Gordon, who is two years his junior. His mother suffered from ],{{sfn|Brown|2002|p=191}} and died in 1976{{sfn|Grace|Hoffman|2013b|p=xxxii}} after falling down the stairs while in the ].{{sfn|Brown|2002|p=191}} | |||
Brown described himself as a "]y teenager" attracted to comic books from a young age, especially ones about ]es and monsters. He aimed at a career in ], and after graduating from high school in 1977 headed to New York City, where he had unsuccessful but encouraging interviews with ] and ].{{sfn|Bell|2006|p=144}} He moved to Montreal where he attended ]. The program did not aim at a comics career, and he ] after a little more than a year.{{sfn|Juno|1997|p=132}} He tried to find work in New York, but was rejected again. He discovered the ] scene that was developing in the early 1980s, and grasped its feeling freedom to produce what he wanted.{{sfn|Bell|2006|p=146}} At 19 he moved to ],{{sfn|Weisblott|2008}} where he got a job in a photography lab and lived frugally in ]. | |||
Though he grew up in a predominantly ]-speaking ] and had his first mainstream success with ] of French-speaking ] rebel leader ], Brown says he doesn't speak French. He said he had little contact with francophone culture when he was growing up, and the French speakers he had contact with spoke with him in English.<ref name="GettingRiel1" /> | |||
Brown described himself as a "]y teeneager" attracted to comic books from a young age, especially ones about ]es and monsters. He aimed at a career in ], and after graduating from high school in 1977 headed to New York City, where he had unsuccessful but encouraging interviews with ] and ].{{sfn|Bell|2006|p=144}} He moved to Montreal, where he attended ], but as the program did not aim at a comics career, he ] after a little more than a year,{{sfn|Juno|1997|p=132}} and tried once again to find work in New York, but was again rejected. He discovered the ] scene that was developing in the early 1980s, and grasped its feeling freedom to produce what he wanted.{{sfn|Bell|2006|p=146}} At 19 he moved to ],{{sfn|Weisblott|2008}} where he got a job in a photography lab and lived frugally in ]. | |||
===Toronto (1979–1986)=== | ===Toronto (1979–1986)=== | ||
At around twenty, Brown's interests moved away from superhero and monster comic books towards the work of ] and other ], '']'' magazine, and ]'s graphic novel '']'' (1978).{{sfn|Juno|1997|p=132}} He started drawing in an underground-inspired style,{{sfn|Bell|2006|p=144}} and submitted his work to publishers ] and ];{{sfn|Grace|Hoffman|2013b|p=xxxii}} he got an encouraging rejection when he submitted to ] and ]'s '']'' magazine. He became friends with film archivist ], and the two unsuccessfully planned to put out a comics anthology called ''Beans and Wieners'' as a showcase for local Toronto talent.{{sfn|Bell|2006|p=144}} | |||
In 1983 Brown's girlfriend Kris Nakamura introduced him to the small-press publisher John W. Curry (or "jwcurry"), whose example inspired the local small-press community.{{sfn|Bell|2006|p=144}} Nakamura convinced Brown that summer to print his unpublished work as ]s,{{sfn|Juno|1997|p=131}} which he did under his Tortured Canoe imprint.{{sfn|Bell|2006|p=144}} The sporadically self-published '']'' lasted seven issues as a ]. Brown soon found himself at the centre of Toronto's small-press scene.{{sfn|Bell|2006|p=144}} While he found it difficult at first, Brown managed to get the title into independent bookstores, the emerging ]s, and other countercultural retailers, and also sold it through the growing North American ] network.{{sfn|Bell|2006|p=144}} ''Yummy Fur'' had respectable sales through several reprintings and repackaging.{{sfn|Bell|2006|p=145}} | |||
At around twenty, Brown's interests moved away from superhero and monster comic books towards the work of ] and other ], '']'' magazine, and ]'s graphic novel '']'' (1978).{{sfn|Juno|1997|132}} He started drawing in an underground-inspired style,{{sfn|Bell|2006|p=144}} and submitted his work to publishers ] and ];{{sfn|Grace|Hoffman|2013b|p=xxxii}} he got an encouraging rejection when he submitted to ] and ]'s '']'' magazine. He became friends with film archivist ], and the two unsuccessfully planned to put out a comics anthology called ''Beans and Wieners'' as a showcase for local Toronto talent.{{sfn|Bell|2006|p=144}} | |||
Brown and a number of other cartoonists featured in a show called Kromalaffing at the Grunwald Art Gallery in early 1984. He had become a part of Toronto's avant-garde community, along with other artists, musicians and writers, centred around ].{{sfn|Bell|2006|p=145}} In 1986, at the urging of Brown's future friend ], ] publisher ] picked up ''Yummy Fur'' as a regular, initially bimonthly comic book. Brown quit his day job to work full-time on ''Yummy Fur''.{{sfn|Bell|2006|p=146}} | |||
In 1983 Brown's girlfriend Kris Nakamura introduced him to the small-press publisher John W. Curry (or "jwcurry"), whose example inspired the local small-press community.{{sfn|Bell|2006|p=144}} Nakamura convinced Brown that summer to print his unpublished work as ]s,{{sfn|Juno|1997|p=131}} which he did under his Tortured Canoe imprint.{{sfn|Bell|2006|p=144}} The sporadically self-published '']'' lasted seven issues as a ] made in Brown's spare time while working for a copy shop.{{Citation needed|date=March 2012}} Brown soon found himself at the centre of Toronto's small-press scene.{{sfn|Bell|2006|p=144}} While he found it difficult at first, Brown managed to get the title into independent bookstores, the emerging ]s, and other countercultural retailers, and also sold it through the growing North American ] network.{{sfn|Bell|2006|p=144}} ''Yummy Fur'' had respectable sales through several reprintings and repackagings,{{sfn|Bell|2006|p=145}} and had a positive review in '']'', a publication Brown looked up to.{{Citation needed|date=March 2012}} | |||
Brown and a number of other cartoonists featured in a show called Kromalaffing at the Grunwald Art Gallery in early 1984. He had become a part of Toronto's avant-garde community, along with other artists, musicians and writers, centred around ].{{sfn|Bell|2006|p=145}} In 1986, at the urging of Brown's future friend ], ] publisher ] picked up ''Yummy Fur'' as a regular, initially bimonthly comic book.{{Citation needed|date=March 2012}} Brown quit his day job to work full-time on ''Yummy Fur''.{{sfn|Bell|2006|p=146}} | |||
===Vortex and ''Ed the Happy Clown'' (1986–1989)=== | ===Vortex and ''Ed the Happy Clown'' (1986–1989)=== | ||
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The offensive content of ''Ed'' caused it to be dropped by one printer,{{sfn|Mackay|2005}}<ref name="D+QEd-5-notes1" /> and is suspected to be behind ]' decision to stop distributing ''Yummy Fur'' starting with issue #9.{{sfn|Davis|1989}} After ''The Comics Journal'' announced they would be investigating the issue, Diamond started distributing it again.<ref name="D+QEd-8-notes2" /> | The offensive content of ''Ed'' caused it to be dropped by one printer,{{sfn|Mackay|2005}}<ref name="D+QEd-5-notes1" /> and is suspected to be behind ]' decision to stop distributing ''Yummy Fur'' starting with issue #9.{{sfn|Davis|1989}} After ''The Comics Journal'' announced they would be investigating the issue, Diamond started distributing it again.<ref name="D+QEd-8-notes2" /> | ||
In 1989 the first ''Ed'' collection appeared, collecting the ''Ed'' stories from the first twelve issues of ''Yummy Fur'' with an introduction by '']'' writer ] and drawn by Brown. At this point, Brown had grown to lose interest in the ''Ed'' story{{sfn|Levin|1993|p=47}} as he gravitated toward the autobiographical approach of Pekar, ], and ],{{sfn|Grace|Hoffman|2013a|p=xvi}} and the simpler artwork of ].{{sfn|Køhlert|2012|p=381}} He brought ''Ed'' to an abrupt end in ''Yummy Fur'' #18 to turn to autobiography. | |||
Although delayed by a bindary refusing to bind it due to its content,<ref name="SuddenPanic15–16" /> i | |||
===Autobio and ''Drawn & Quarterly'' (1990–1992)=== | |||
In 1989 the first ''Ed'' collection appeared, collecting the ''Ed'' stories from the first twelve issues of ''Yummy Fur'' with an introduction by '']'' writer ] and drawn by Brown. At this point, Brown had grown to lose interest in the ''Ed'' story{{sfn|Levin|1993|p=47}} as he gravitated toward the autobiographical approach of Pekar, ], and ],{{sfn|Grace|Hoffman|2013a|p=xvi}} and the simpler artwork of ].{{sfn|Køhlert|2012b|p=381}} He brought ''Ed'' to an abrupt end in ''Yummy Fur'' #18 to turn to autobiography. | |||
The 19th issue of ''Yummy Fur''{{sfn|Pustz|1999|p=92}} began his autobiographical period. First came the strip "Helder", about a violent tenant in Brown's boarding house, followed by "Showing 'Helder'", about the creation of "Helder" and the reactions of Brown's friends to the work-in-progress.{{sfn|Grace|Hoffman|2013a|p=xviii}} With "Showing 'Helder'" Brown breaks from his earlier syle by giving the panels no borders and arranging them organically on the page—a style that was to characterize his work of this period.{{sfn|Grace|Hoffman|2013a|pp=xviii–xix}} He found his friends were uncomfortable with his writing about their lives, and soon turned to his adolescence for source material.{{sfn|Grace|Hoffman|2013a|p=xix}} | |||
===Autobio and Drawn and Quarterly (1990–1992)=== | |||
Brown began the first installment of what was to become the graphic novel '']'' in ''Yummy Fur'' #21, under the title ''Disgust''. The revealing, confessional story tells of the teenage Brown's feelings of guilt over his obsessive masturbating over the ] of '']'' magazine, and the difficulties he had relating to women even into adulthood.{{sfn|Bell|2006|p=154}} Critical and fan reception was strong, though it drew some criticism from those who saw it glorifying pornography. ''Playboy''{{'}}s publisher ] wrote Brown a letter of concern that Brown could feel such guilt in a post-] world.{{sfn|Grace|Hoffman|2013a|p=xx}} It appeared in a collected edition titled ''The Playboy'' in 1992.{{sfn|Grace|Hoffman|2013a|p=xx}} | |||
The 19th issue of ''Yummy Fur''{{sfn|Pustz|1999|p=92}} began his ]. First came the strip "Helder", about a violent tenant in Brown's boarding house; then "Showing 'Helder'", about the creation of "Helder" and the reactions of Brown's friends to the work-in-progress.{{sfn|Grace|Hoffman|2013a|p=xviii}} With "Showing 'Helder'" Brown breaks from his earlier syle by giving the panels no borders and arranging them organically on the page—a style that was to characterize his work of this period.{{sfn|Grace|Hoffman|2013a|pp=xviii–xix}} He found his friends were uncomfortable with his writing about their lives, and soon turned to his adolescence for source material.{{sfn|Grace|Hoffman|2013a|p=xix}} | |||
Around this time, Brown had become friends with the cartoonists Seth and ]. The three became noted for doing confessional autobio comics in the early 1990s, and for depicting each other in their works. In 1993, they did an interview together in ''The Comics Journal''{{'}}s autobiographical comics issue. Seth had joined the new Montreal-based comics publisher ], which had also started publishing Julie Doucet. D&Q's ] had been courting Brown to join as well, but Brown had felt loyal to Bill Marks for giving him his first break. When his contract came up in 1991, however, Oliveros offered Brown nearly double the royalty he was getting from Vortex. Brown moved to D&Q starting with ''Yummy Fur'' #25.{{sfn|Bell|2006|p=150}} | |||
Brown began the first installment of what was to become the graphic novel '']'' in ''Yummy Fur'' #21. The revealing story tells of the teenage Brown's feelings of guilt over his obsessive masturbating over the ] of '']'' magazine, and the difficulties he had relating to women even into adulthood.{{sfn|Bell|2006|p=154}} | |||
Around this time, Brown had become friends with the cartoonists Seth and ]. The three became noted for doing confessional autobio comics in the early 1990s, and for depicting each other in their works. In 1993, they did an interview together in ''The Comics Journal''{{'}}s autobiographical comics issue. Seth had joined the new Montreal-based comics publisher ], which had also started publishing Julie Doucet. D&Q's ] had been courting Brown to join as well, but Brown had felt loyal to Bill Marks for giving him his first break. When his contract came up in 1991, however, Oliveros offered Brown nearly double the royalty he was getting from Vortex.{{Citation needed|date=March 2012}} Brown moved to D&Q starting with ''Yummy Fur'' #25.{{sfn|Bell|2006|p=150}} | |||
===Vancouver and ''Underwater'' (1992–1997)=== | ===Vancouver and ''Underwater'' (1992–1997)=== | ||
]'' gradually becomes comprehensible as its protagonist acquires language.]] | ]'' gradually becomes comprehensible as its protagonist acquires language.]] | ||
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===Louis Riel and frequenting of prostitutes (1998–2003)=== | ===Louis Riel and frequenting of prostitutes (1998–2003)=== | ||
Brown's father died in 1998<ref name=":0" /> as he was putting together his collection of short strips, '']''. He lost interest in ''Underwater'', and had been reading about Métis resistance leader Louis Riel, and decided he wanted to do a biography on him. He wanted to do it as an original graphic novel, but Chris Oliveros convinced him to serialize it first.<ref name="PulseInterview2004" /> Drawn & Quarterly put out the ten issues of '']'' from 1999 until 2003, and with help from a ]$16,000{{sfn|Weisblott|2008}} grant from the ],<ref name="CanadaCouncil2001Grants" /> the finished annotated collection appeared in 2003, to much acclaim and healthy sales. In Canada it became a bestseller,{{sfn|Baker|Atkinson|2004}} a first for a Canadian graphic novel.{{sfn|Bell|2006|p=166}} | |||
], Brown gradually turned to ] ]] | |||
Brown's father died in 1998{{Citation needed|date=March 2012}} as he was putting together his collection of short strips, '']''. He lost interest in ''Underwater'', and had been reading about Métis resistance leader Louis Riel, and decided he wanted to do a biography on him. He wanted to do it as an original graphic novel, but Chris Oliveros convinced him to serialize it first.<ref name="PulseInterview2004" /> Ten issues of '']'' were put out starting in 1999, and with help from a ]$16,000{{sfn|Weisblott|2008}} grant from the ],<ref name="CanadaCouncil2001Grants" /> the finished collection, complete with annotations, appeared in 2003, to much acclaim and healthy sales, especially in Canada, where it became a bestseller,{{sfn|Baker|Atkinson|2004}} a first for a Canadian graphic novel.{{sfn|Bell|2006|p=166}} | |||
In 1999, after three years of celibacy, Brown decided he would start frequenting prostitutes. His open nature prevented him from hiding this fact from his friends, and the fact soon became widely known. After completing ''Louis Riel'', he embarked upon another autobiographical graphic novel that would detail his experiences as a ]. This time, the work would not be serialized, and would wait until 2011 to be published as '']''. | In 1999, after three years of celibacy, Brown decided he would start frequenting prostitutes. His open nature prevented him from hiding this fact from his friends, and the fact soon became widely known. After completing ''Louis Riel'', he embarked upon another autobiographical graphic novel that would detail his experiences as a ]. This time, the work would not be serialized, and would wait until 2011 to be published as '']''. | ||
In the early 2000s, Brown moved out from the place he shared with Lee and got himself a ], where he lived by himself, and was free to bring prostitutes home. Around this time, Joe Matt moved back to the |
In the early 2000s, Brown moved out from the place he shared with Lee and got himself a ], where he lived by himself, and was free to bring prostitutes home. Around this time, Joe Matt moved back to the US, and Seth moved to ], breaking up the "Toronto Three". | ||
===Libertarianism and ''Paying for It'' (2004–present)=== | ===Libertarianism and ''Paying for It'' (2004–present)=== | ||
While reading up on issues surrounding Louis Riel, Brown became increasingly interested in ]. His reading eventually took him to believe that countries with strong ] prospered, while those without |
While reading up on issues surrounding Louis Riel, Brown became increasingly interested in ]. His reading eventually took him to believe that countries with strong ] prospered, while those without them did not. This path gradually led him to espouse the ideology of ]. He joined the ] and ran as the party's candidate in the ] of ] in Toronto in the ] and ] federal elections.<ref name="WestAnnexNews" /><ref>{{cite web|title=Chester Brown's electoral history at parl.gc.ca|url=http://www.parl.gc.ca/About/Parliament/FederalRidingsHistory/hfer.asp?Language=E&Search=Cres&canName=chester+brown&canParty=0&ridProvince=0&ridName=&submit1=Search}}</ref> | ||
During the long wait between ''Louis Riel'' and ''Paying for It'', Brown |
During the long wait between ''Louis Riel'' and ''Paying for It'', Brown allowed Drawn & Quarterly to reprint ''Ed the Happy Clown'' as a serial comic book, with explanatory notes{{sfn|Wolk|2007|p=148}} that were becoming both more common and more detailed in Brown's work.{{sfn|Park|2011}} In 2007 Brown provided six weeks worth of strips to Toronto's '']'' magazine as part of the "Live With Culture" ad campaign. The strip features a male ] and a living human girl participating in various cultural activities, culminating in the two going to a movie theatre to watch ]'s yet-unmade ''Yummy Fur'' adaptation.<ref name="ZombiesTakeToronto" /> | ||
Brown's next graphic novel, ''Paying for It'', came out during the 2011 election, in which he was running.{{sfn|Wagner|2011}} Again he finished with the help of a Canada Council grant.{{sfn|Weisblott|2011}}<ref name="CanadaCouncil2005Grants" /> It was a ] promoting the ], and attracted praise for its artistry and bare-all honesty,{{sfnm|1a1=Mackay|1y=2011|2a1=Heer|2y=2011}} and criticism for its subject matter and Brown's perceived naïveté as he brushes aside concerns about ]{{sfnm|1a1=Kohler|1y=2011|2a1=Garner|2y=2011|2p=2}} and dismisses ] as a myth.{{sfnm|1a1=Randle|1y=2011|2a1=Brown|2y=2011|2pp=250–251|3a1=Mautner|3y=2011}} At about this time, Brown finally stated he didn't intend to finish his Gospel of Matthew, which had been on hiatus since 1997.{{sfn|Rogers|2011|loc=part 3}} | |||
In 2016 Brown followed up ''Paying for It'' with '']'', made up of adaptations of stories from the Bible that Brown believes promote pro-prostitution attitudes among early Christians, and argues for the decriminalization of prostitution.{{sfn|Donachie|2016}} Brown declared his research determined that ], was a prostitute, that early Christians practised prostitution, and that Jesus' ] should be read in a pro-prostitution light. Brown describes himself as a Christian who is "not at all concerned with imposing 'moral' values or religious laws on others" and believes that Biblical figures such as ] and ] "find favour with God because they oppose his will or challenge him in some way".{{sfn|Lehoczky|2016}} | |||
At about this time, Brown finally stated he didn't intend to finish his ''Gospel of Matthew'', which had been on hiatus since 1997.{{sfn|Rogers|2011|loc=part 3}} | |||
==Personal life== | ==Personal life== | ||
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===Religion=== | ===Religion=== | ||
Brown was brought up in a Baptist household,{{sfnm|1a1=Juno|1y=1997|1p=143|2a1=Hwang|2y=1998}} and in his early twenties he began adapting the Gospels.{{sfn|Juno|1997|p=143}} Brown later said that this "was a matter of trying to figure out whether {{interp|he|orig=I}} even believed the Christian claims—whether or not Jesus was divine".{{sfn|Epp|2002}} During this time, Brown went through periods where he considered himself an ] then a ]. Since then, Brown has consistently described himself as religious, but has alternated between periods of identifying as a Christian and simply believing in God.{{sfn|Hwang|1998}}<ref name="SethInterview" />{{sfn|Walker|2011}} As of 2016, Brown describes himself as a Christian.{{sfn|Lehoczky|2016}} | |||
Brown was brought up in a strictly Christian Baptist household.{{sfnm|1a1=Juno|1y=1997|1p=143|2a1=Hwang|2y=1998}} He considered himself a Christian until his early 20s, when he started to do a lot of reading on Christianity.{{sfn|Juno|1997|p=143}} | |||
Brown took on his retelling of the ] "trying to figure out what I believed about this stuff. It was a matter of trying to figure out whether I even believed the Christian claims{{emdash}}whether or not Jesus was divine."{{sfn|Epp|2002}} | |||
While doing the Gospels, Brown came to abandon Christianity, and spent time as an agnostic, before turning to Gnosticism. At the time he said, "I just realized that Christianity was something that didn't make sense to me".{{sfn|Hwang|1998}} He returned to it later,<ref name="SethInterview" /> but as of 2011 no longer considers himself a Christian, while considering himself religious and maintaining a belief in God.{{sfn|Walker|2011}} | |||
===Politics=== | ===Politics=== | ||
In the 1980s |
In the 1980s Brown expressed sympathy for ], although he has stated his understanding of politics was not deep.{{sfn|Weisblott|2008}} He considered himself an anarchist until, while researching ''Louis Riel'',<ref name=":0">{{Cite book|title=Chester Brown: Conversations|last1=Brown|first1=Chester|last2=Grace|first2=Dominick|last3=Hoffman|first3=Eric|publisher=University Press of Mississippi|year=2013|isbn=9781621039693|location=Jackson, Mississippi|pages=xxii}}</ref> he became interested in issues of property rights, especially influenced by his reading of ]'s ''The Noblest Triumph'', a book which argues that the West owes its prosperity to having established strong property rights.<ref name=":0" /> Brown thus gained an interest in ]—a belief that government should protect property rights (although, he says, not ]s), and otherwise should mostly keep out of people's lives. After attending a few meetings of the ], he was asked to run for ], and collected the 100 signatures necessary to appear on the ballot.{{sfn|Weisblott|2008}} | ||
Brown ran as the Libertarian Party's candidate for the ] (or constituency) of ] in the ].{{sfn|Weisblott|2008}} He came in fifth out of seven candidates. He stood in the same riding for the same party in the ],<ref name="Gleaner" /> coming in fifth out of six candidates.<ref name="WestAnnex2011ElectionResults" /> The 2011 election coincided with the release of '']'', in which Brown talks about his frequenting prostitutes. He was worried his promotion of that topic in the media would make the Libertarian Party uncomfortable with having him run, but his official Party agent and the Ontario representative assured him that, as libertarians, they believed in individual freedom, and would continue to support his candidacy.{{sfn|Rogers|2011|loc=part 5}} | |||
===Personal relations=== | ===Personal relations=== | ||
A longtime friend of fellow cartoonists ] and ], Brown has been regularly featured in their ] over the years, and collaborated with them on various projects. The three were often mentioned together, and have been called "] of ]"<ref name="HembeckDateline" /> and the "Toronto Three",{{ |
A longtime friend of fellow cartoonists ] and ], Brown has been regularly featured in their ] over the years, and collaborated with them on various projects. The three were often mentioned together, and have been called "] of ]"<ref name="HembeckDateline" /> and the "Toronto Three",<ref>{{Cite news|url=http://www.cbc.ca/news/entertainment/artists-honoured-for-comics-hailing-nostalgia-everyday-life-1.683885|title=Artists honoured for comics hailing nostalgia, everyday life|work=CBC News|access-date=2018-01-30|language=en}}</ref> forming "a kind of gutter ] trying to make it through their ]s in 1990s ]".{{sfn|Weisblott|2008}} Brown dedicated '']'' to Seth, and ''Paying for It'' to Matt. Seth ] his ] '']'' to Brown ("Best Cartoonist, Best Friend"). | ||
Brown had a long-term relationship with the musician, actress and media personality ] from 1992 until 1996. She is depicted in several of his comics. He moved to Vancouver for two years to be with her, and moved back to Toronto with her when she became a ] for ]. He also drew the cover for her 1996 ] '']''. Brown's relationship with Lee is the last ]/] relationship he had, as he explains in '']''. They remain good friends, and Brown has contributed artwork to her productions as recently as 2009's '']''. | Brown had a long-term relationship with the musician, actress and media personality ] from 1992 until 1996. She is depicted in several of his comics. He moved to Vancouver for two years to be with her, and moved back to Toronto with her when she became a ] for ]. He also drew the cover for her 1996 ] '']''. Brown's relationship with Lee is the last ]/] relationship he had, as he explains in '']''. They remain good friends, and Brown has contributed artwork to her productions as recently as 2009's '']''. | ||
==Work== | ==Work== | ||
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====Working method==== | ====Working method==== | ||
Brown does not follow the tradition of drawing his comics by the page – he draws them one ] at a time, and then arranges them on the page.{{sfn|Tousley|2005}} In the case of his acclaimed ]s '']'' and '']'', this allowed him to rearrange the panels on the page as he saw fit. In the case of ''I Never Liked You'', this resulted in a different page count in the book collection than was in the '']'' serialization. The panels were slightly rearranged again when the ''"New Definitive Edition"'' of ''I Never Liked You'' was released in 2002. Brown depicted himself making comics in this way in the story ''Showing Helder'' in ''Yummy Fur'' #20 (also collected in '']''). Despite drawing his panels individually, he says his "brain doesn't tend to think in terms of one image at a time", so that he has difficulty coming up with one-image covers.{{sfn|Rogers|2011|loc=part 2}} | |||
] expresses surprise at Brown's low-rent method of creating his comics (from Matt's '']'' ]] | |||
Brown does not follow the tradition of drawing his comics by the page – he draws them one ] at a time, and then arranges them on the page.{{sfn|Tousley|2005}} In the case of his acclaimed ]s '']'' and '']'', this allowed him to rearrange the panels on the page as he saw fit. In the case of '']'', this resulted in a different page count in the book collection than was in the '']'' serialization. The panels were slightly rearranged again when the ''"New Definitive Edition"'' of ''I Never Liked You'' was released in 2002. Brown depicted himself making comics in this way in the story ''Showing Helder'' in '']'' #20 (also collected in '']''). Despite drawing his panels individually, he says his "brain doesn't tend to think in terms of one image at a time", so that he has difficulty coming up with one-image covers.{{sfn|Rogers|2011|loc=part 2}} | |||
He has used a number of different drawing tools, including ] technical pens, ],<ref name="D+QEd-5-notes1" /> ] and ]es, the latter of which he has called his favourite tool,{{sfn|Grammel|1990|p=35}} for its "fluid grace".<ref name="D+QEd-5-notes1" /> For much of ''Ed the Happy Clown'', he had artwork printed from ] of his ], which was faster for him than ] the work, and produced a more spontaneous feel,{{sfn|Grammel|1990|p=35}} but in the end he turned away from this method, feeling it was "too raw".<ref name="D+QEd-5-notes1" /> | He has used a number of different drawing tools, including ] technical pens, ],<ref name="D+QEd-5-notes1" /> ] and ]es, the latter of which he has called his favourite tool,{{sfn|Grammel|1990|p=35}} for its "fluid grace".<ref name="D+QEd-5-notes1" /> For much of ''Ed the Happy Clown'', he had artwork printed from ] of his ], which was faster for him than ] the work, and produced a more spontaneous feel,{{sfn|Grammel|1990|p=35}} but in the end he turned away from this method, feeling it was "too raw".<ref name="D+QEd-5-notes1" /> | ||
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In an interview with ], Brown says his earliest childhood cartoon was an imitation of ]'s ''Little Nipper''.<ref name="SethInterview" /> He frequently mentions ] as amongst his foremost influences of his teenage years. From about the age of 20, Brown discovered the work of ] and other ] artists, as well as class comic strip artists such as ], whose influence is most evident in Brown's '']''. | In an interview with ], Brown says his earliest childhood cartoon was an imitation of ]'s ''Little Nipper''.<ref name="SethInterview" /> He frequently mentions ] as amongst his foremost influences of his teenage years. From about the age of 20, Brown discovered the work of ] and other ] artists, as well as class comic strip artists such as ], whose influence is most evident in Brown's '']''. | ||
Brown often talks of contemporaries ], ] and ]'s influence on his work, especially during his ] period. He also had been reading the '']'' around this time, and credit's the cartooning of ''Little Lulu'''s ] and Seth with his desire to simplify his style during this period.{{sfn|Juno|1997|p=136}} | Brown often talks of contemporaries ], ] and ]'s influence on his work, especially during his ] period. He also had been reading the '']'' around this time, and credit's the cartooning of ''Little Lulu''{{'s}} ] and Seth with his desire to simplify his style during this period.{{sfn|Juno|1997|p=136}} | ||
The stiff, stylized look of ]' comics, reprints from ] of which Brown had been reading around the time, was the primary influence on the style Brown used in '']''.{{sfn|Rogers|2011|loc=part 1}} | The stiff, stylized look of ]' comics, reprints from ] of which Brown had been reading around the time, was the primary influence on the style Brown used in '']''.{{sfn|Rogers|2011|loc=part 1}} | ||
==Bibliography== | ==Bibliography== | ||
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! scope="row"|'']'' | ! scope="row"|'']'' | ||
|1986–1995 | |1986–1995 | ||
|] (#1–24)<br />] (#25–32) | |] (#1–24)<br />] (#25–32) | ||
|style="text-align:center;"|32 | |style="text-align:center;"|32 | ||
| <!-- no notes --> | | <!-- no notes --> | ||
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! scope="row"|'']'' | ! scope="row"|'']'' | ||
|1995–1998 | |1995–1998 | ||
|] | |] | ||
|style="text-align:center;"|11 | |style="text-align:center;"|11 | ||
|Left incomplete | |Left incomplete | ||
|- | |- | ||
! scope="row"|'']'' | ! scope="row"|'']'' | ||
|1999–2003 | |||
|1999–2004 | |||
|] | |] | ||
|style="text-align:center;"|10 | |style="text-align:center;"|10 | ||
| <!-- no notes --> | | <!-- no notes --> | ||
Line 184: | Line 172: | ||
! scope="row"|'']'' | ! scope="row"|'']'' | ||
|2004–2006 | |2004–2006 | ||
|] | |] | ||
|style="text-align:center;"|9 | |style="text-align:center;"|9 | ||
|Reprinted material from ] with extra background information | |Reprinted material from '']'' with extra background information | ||
|} | |} | ||
Line 205: | Line 193: | ||
|{{ISBNT|978-0-921451-04-4}} | |{{ISBNT|978-0-921451-04-4}} | ||
| | | | ||
* |
*foreword by ] | ||
*incomplete | *incomplete | ||
|- | |- | ||
Line 216: | Line 204: | ||
*altered ending | *altered ending | ||
|- | |- | ||
! scope="row" |'']'' | ! scope="row" |'']'' | ||
|1992 | |1992 | ||
|] | |] | ||
|{{ISBNT|978-0-9696701-1-7}} | |{{ISBNT|978-0-9696701-1-7}} | ||
| <!-- no note --> | | <!-- no note --> | ||
Line 224: | Line 212: | ||
! scope="row" |'']'' | ! scope="row" |'']'' | ||
|1994 | |1994 | ||
|Drawn |
|Drawn & Quarterly | ||
|{{ISBNT|978-0-9696701-6-2}} | |{{ISBNT|978-0-9696701-6-2}} | ||
| <!-- no note --> | | <!-- no note --> | ||
Line 230: | Line 218: | ||
! scope="row" |'']'' | ! scope="row" |'']'' | ||
|1998 | |1998 | ||
|Drawn |
|Drawn & Quarterly | ||
|{{ISBNT|978-1-896597-13-3}} | |{{ISBNT|978-1-896597-13-3}} | ||
| <!-- no note --> | | <!-- no note --> | ||
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! scope="row" |'']'' | ! scope="row" |'']'' | ||
|2002 | |2002 | ||
|Drawn |
|Drawn & Quarterly | ||
|{{ISBNT|978-1-896597-14-0}} | |{{ISBNT|978-1-896597-14-0}} | ||
| | | | ||
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! scope="row" |'']'' | ! scope="row" |'']'' | ||
|2004 | |2004 | ||
|Drawn |
|Drawn & Quarterly | ||
|{{ISBNT|978-1-894937-89-4}} | |{{ISBNT|978-1-894937-89-4}} | ||
| <!-- no note --> | | <!-- no note --> | ||
|- | |- | ||
! scope="row" |'']'' | ! scope="row" |'']'' | ||
|2011 | |2011 | ||
|Drawn |
|Drawn & Quarterly | ||
|{{ISBNT|978-1-77046-048-5}} | |{{ISBNT|978-1-77046-048-5}} | ||
| | | | ||
Line 257: | Line 245: | ||
! scope="row" |'']'' | ! scope="row" |'']'' | ||
|2012 | |2012 | ||
|Drawn |
|Drawn & Quarterly | ||
|{{ISBNT|978-1-77046-075-1}} | |{{ISBNT|978-1-77046-075-1}} | ||
| | | | ||
*annotated | *annotated | ||
|- | |||
! scope="row" |'']'' | |||
|2016 | |||
|Drawn & Quarterly | |||
|{{ISBNT|978-1-77046-234-2}} | |||
| <!-- no note --> | |||
|- | |- | ||
|} | |} | ||
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===Title changes=== | ===Title changes=== | ||
Many of his books have undergone title changes, sometimes at the behest of his publisher, sometimes without his permission. ''Ed the Happy Clown: the Definitive Ed Book'' was given the ''Definitive'' title, despite the fact that he "didn't want to put that as the subtitle of the second edition. Vortex did it for marketing reasons."{{sfn|Arnold|2004}} ''The Playboy'' was originally titled ''Disgust'' and then ''The Playboy Stories'', and ''I Never Liked You'' was called ''Fuck'' (the German translation retains that title<ref>] product page for ''''</ref>). ''Underwater'' was originally intended to appear in ''Yummy Fur'', but Brown's new publisher felt they could attract more readers with a different title. ''Paying |
Many of his books have undergone title changes, sometimes at the behest of his publisher, sometimes without his permission. ''Ed the Happy Clown: the Definitive Ed Book'' was given the ''Definitive'' title, despite the fact that he "didn't want to put that as the subtitle of the second edition. Vortex did it for marketing reasons."{{sfn|Arnold|2004}} ''The Playboy'' was originally titled ''Disgust'' and then ''The Playboy Stories'', and ''I Never Liked You'' was called ''Fuck'' (the German translation retains that title<ref>] product page for '' {{webarchive|url=https://web.archive.org/web/20111001033015/http://www.reprodukt.com/product_info.php?products_id=308 |date=1 October 2011 }}''</ref>). ''Underwater'' was originally intended to appear in ''Yummy Fur'', but Brown's new publisher felt they could attract more readers with a different title. ''Paying for It'' carries the sense of a ] that Brown dislikes{{efn|"It suggests that not only am I paying for sex but I'm also paying for being a john in some non-monetary way. Many would think that there's an emotional cost – that johns are sad and lonely ... I haven't been 'paying for it' in any of those ways. I'm very far from being sad or lonely, I haven't caught an ], I haven't been arrested, I haven't lost my career, and my friends and family haven't rejected me." – Brown in 2011{{sfn|Brown|2011|p=259}} }}–he would have preferred to call the book ''I Pay for Sex''.{{sfn|Wagner|2011}} | ||
===Illustration=== | ===Illustration=== | ||
Brown has also done a certain amount of illustration work. In 1998, he did the cover to Sphinx Productions' ''Comic Book Confidential #1'';<ref name="LadyChatterly" /> in 2005 he did the cover to ''True Porn 2'' from ]; and he illustrated the cover for ]' Deluxe Classics edition of '']'' by ].<ref>Penguin Books' for ''Lady Chatterley's Lover'' (Deluxe Classics edition, 2007). ISBN |
Brown has also done a certain amount of illustration work. In 1998, he did the cover to Sphinx Productions' ''Comic Book Confidential #1'';<ref name="LadyChatterly" /> in 2005 he did the cover to ''True Porn 2'' from ]; and he illustrated the cover for ]' Deluxe Classics edition of '']'' by ].<ref>Penguin Books' {{Webarchive|url=https://web.archive.org/web/20110103230009/http://www.penguinclassics.co.uk/nf/Book/BookDisplay/0,,9780143039617,00.html?Lady_Chatterley%27s_Lover_D._H._Lawrence |date=3 January 2011 }} for ''Lady Chatterley's Lover'' (Deluxe Classics edition, 2007). {{ISBN|978-0-14-303961-7}}</ref> Brown illustrated the cover to the 11 July 2004, issue of '']'', an issue whose theme was ]s.<ref name="ICv2" /><ref name="InappropriateLaughter" /> He has done the cover for ]'s 1996 ] '']'' (to which he also contributed lyrics for one song),{{sfn|Carruthers}} and the poster for her film, '']''.{{sfn|Balkissoon|2010}} | ||
He has done the cover for ]'s 1996 ] '']'' (to which he also contributed lyrics for one song),{{sfn|Carruthers}} and the poster for her film, '']''.{{sfn|Balkissoon|2010}} | |||
Brown illustrated the cover to the 11 July 2004, issue of '']'', an issue whose theme was ]s.<ref name="ICv2" /><ref name="InappropriateLaughter" /> | |||
===Collaborations=== | ===Collaborations=== | ||
Brown provided the illustrations for the story "A Tribute |
Brown provided the illustrations for the story "A Tribute to ]" in ]'s '']'' #15 in 1990, and "How This Forward Got Written" in ''The New American Splendor Anthology'' in 1991. | ||
He ] ]'s ] for the story "Them Changes" in ]'s Real Stuff #6 in 1992, and shared artwork duties with ] on the story "The Not So Great Escape" in ''Real Stuff'' #16 in 1993. | He ] ]'s ] for the story "Them Changes" in ]'s '']'' #6 in 1992, and shared artwork duties with ] on the story "The Not So Great Escape" in ''Real Stuff'' #16 in 1993. | ||
He also ] ]'s ] for the story "It Came From ... Higher Space!" in ]'s '']'' #3 in 1993.<ref name="1963Annotations" /> | He also ] ]'s ] for the story "It Came From ... Higher Space!" in ]'s '']'' #3 in 1993.<ref name="1963Annotations" /> | ||
A jam piece with ] was included in the ''] World Tour Book'' in 1995.<ref name="CerebusWorldTourBook" /> | A ] piece with ] was included in the ''] World Tour Book'' in 1995.<ref name="CerebusWorldTourBook" /> | ||
==Recognition== | ==Recognition== | ||
Over the years, Brown has received four ]s and numerous Harvey and ] |
Over the years, Brown has received four ]s and numerous Harvey and ] nominations. ] placed {{Numero|38}} on the '']''{{'}}s list of the ]. Brown was inducted into the ], on 18 June 2011, at the ] in Calgary, ], Canada.<ref name="2011 Shuster Awards" /> Brown was one of the cartoonists to appear in the first volume of ]' two-volume ''The Best Comics of the Decade'' (1990. {{ISBN|978-1-56097-036-1}}). | ||
===Awards=== | ===Awards=== | ||
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===Nominations=== | ===Nominations=== | ||
{| class="wikitable |
{| class="wikitable" | ||
!colspan="4"|Award Nominations | !colspan="4"|Award Nominations | ||
|- | |- | ||
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== See also == | == See also == | ||
* ] | * ] | ||
* ] | * ] | ||
Line 417: | Line 406: | ||
==References== | ==References== | ||
{{Reflist|colwidth=25em|refs=<ref name="HarveysWebsite">{{Official website|http://www.harveyawards.org|name=Harvey Awards official website}}</ref><ref name="IgnatzWebsite">{{Official website|http://www.spxpo.com/ignatz-awards|name=Ignatz Awards official website}}</ref><ref name="ZombiesTakeToronto"> of ''Zombies Take Toronto'' at walrusmagazine.com. Retrieved 2011-04-10</ref><ref name="SethInterview">, hosted at . retrieved 2011-05-15</ref><ref name="CerebusWorldTourBook">] et al. ''Cerebus World Tour Book 1995'', pages 47–65. ], 1995. ISSN 0712-7774</ref><ref name="LadyChatterly">{{cite web | {{Reflist|colwidth=25em|refs=<ref name="HarveysWebsite">{{Official website|http://www.harveyawards.org|name=Harvey Awards official website}}</ref><ref name="IgnatzWebsite">{{Official website|http://www.spxpo.com/ignatz-awards|name=Ignatz Awards official website}}</ref><ref name="ZombiesTakeToronto"> {{webarchive|url=https://web.archive.org/web/20121211070010/http://walrusmagazine.com/blogs/2008/09/22/chester-browns-zombie-romance/ |date=11 December 2012 }} of ''Zombies Take Toronto'' at walrusmagazine.com. Retrieved 2011-04-10</ref><ref name="SethInterview"> {{Webarchive|url=https://web.archive.org/web/20110719024130/http://sequential.spiltink.org/dw2006/S%26CatDW2.mp3 |date=19 July 2011 }}, hosted at . retrieved 2011-05-15</ref><ref name="CerebusWorldTourBook">] et al. ''Cerebus World Tour Book 1995'', pages 47–65. ], 1995. ISSN 0712-7774</ref><ref name="LadyChatterly">{{cite web | ||
|date = 25 January 2010 | |date = 25 January 2010 | ||
|url = http://www.progressiveruin.com/2010/01/25/comic-book-confidential-1-sphinx-productions-1988/ | |url = http://www.progressiveruin.com/2010/01/25/comic-book-confidential-1-sphinx-productions-1988/ | ||
Line 423: | Line 412: | ||
|last = Sterling | |last = Sterling | ||
|first = Mike | |first = Mike | ||
|publisher = |
|publisher = Mike Sterling's Progressive Ruin | ||
| |
|access-date = 2011-04-10}}</ref><ref name="1963Annotations">{{Cite web | ||
|url = http://www.enjolrasworld.com/Annotations/Alan%20Moore/1963%20Annotations.htm | |url = http://www.enjolrasworld.com/Annotations/Alan%20Moore/1963%20Annotations.htm | ||
|title = Annotated 1963 Annotations | |title = Annotated 1963 Annotations | ||
| |
|access-date = 2011-05-19}}</ref><ref name="InappropriateLaughter">{{Cite web | ||
|title = Chester Brown on the NY Times Magazine Cover | |title = Chester Brown on the NY Times Magazine Cover | ||
|url |
|url = http://tjaxckson.tumblr.com/post/344143570/chester-brown-on-the-ny-times-magazine-cover-via | ||
|date |
|date = 20 January 2010 | ||
|publisher |
|publisher = Inappropriate Laughter | ||
| |
|access-date = 2011-05-26 | ||
|url-status = dead | |||
|archive-url = https://web.archive.org/web/20110831060104/http://tjaxckson.tumblr.com/post/344143570/chester-brown-on-the-ny-times-magazine-cover-via | |||
|archive-date = 31 August 2011 | |||
|df = dmy-all | |||
}}</ref><ref name="ICv2">{{Cite web | |||
|title = Cover Story on Graphic Novels in N.Y. Times Magazine: Will They Replace Traditional Novels? | |title = Cover Story on Graphic Novels in N.Y. Times Magazine: Will They Replace Traditional Novels? | ||
|url = http://www.icv2.com/articles/news/5300.html | |url = http://www.icv2.com/articles/news/5300.html | ||
|date = 13 July 2004 | |date = 13 July 2004 | ||
|publisher = |
|publisher = ICv2 | ||
| |
|access-date = 2011-05-26}}</ref><ref name="Harveys1990">{{Cite web | ||
|url = http://www.harveyawards.org/awards_1990win.html | |url = http://www.harveyawards.org/awards_1990win.html | ||
|title = 1990 Harvey Award Winners | |title = 1990 Harvey Award Winners | ||
| |
|access-date = 2011-11-16 | ||
|publisher |
|publisher = The Harvey Awards official website | ||
|url = |
|url-status = dead | ||
|archive-url = https://web.archive.org/web/20110928211952/http://www.harveyawards.org/awards_1990win.html | |||
|title = 2004 Harvey Award Winners | |||
|archive-date = 28 September 2011 | |||
|accessdate = 2011-11-16 | |||
|df = dmy-all | |||
|publisher = }}</ref><ref name="HembeckDateline">{{cite web | |||
}}</ref><ref name="Harveys2004">{{Cite web | |||
|url=http://www.harveyawards.org/awards_2004win.html | |||
|title=2004 Harvey Award Winners | |||
|access-date=2011-11-16 | |||
|publisher=The Harvey Awards official website | |||
|url-status=dead | |||
|archive-url=https://web.archive.org/web/20110907201600/http://www.harveyawards.org/awards_2004win.html | |||
|archive-date=7 September 2011 | |||
}}</ref><ref name="HembeckDateline">{{cite web | |||
|url = http://www.sparehed.com/2007/01/10/fred-hembecks-dateline/ | |url = http://www.sparehed.com/2007/01/10/fred-hembecks-dateline/ | ||
|title = Fred Hembeck's Dateline | |title = Fred Hembeck's Dateline | ||
|date = 11 January 2007 | |||
|publisher = }}</ref><ref name="D+QEd-5-notes1">Brown, ''Ed the Happy Clown'' #5, notes page 1</ref><ref name="D+QEd-8-notes2">Brown, ''Ed the Happy Clown'' #8, notes page 2</ref><ref name="D+QEd-9-notes1">Brown, ''Ed the Happy Clown'' #9, notes page 1</ref><ref name="GettingRiel1">Interview with ] </ref><ref name="CanadaCouncil2001Grants">. ], August 2002. page 29</ref><ref name="CanadaCouncil2005Grants">. ], August 2006. page 30</ref><ref name="PulseInterview2004"> with ] in ]. 2004-04-20. retrieved 2011-04-10</ref><ref name="WestAnnexNews">{{cite web | |||
|publisher = The Ephemerist}}</ref><ref name="D+QEd-5-notes1">Brown, ''Ed the Happy Clown'' #5, notes page 1</ref><ref name="D+QEd-8-notes2">Brown, ''Ed the Happy Clown'' #8, notes page 2</ref><ref name="GettingRiel1">Interview with ] </ref><ref name="CanadaCouncil2001Grants"> {{webarchive|url=https://web.archive.org/web/20120401151159/http://www.canadacouncil.ca/NR/rdonlyres/4F61691F-EBE6-41D0-906D-F57B96EEA0F3/0/on0102.pdf |date=1 April 2012 }}. ], August 2002. page 29</ref><ref name="CanadaCouncil2005Grants"> {{webarchive|url=https://web.archive.org/web/20120401151159/http://www.canadacouncil.ca/NR/rdonlyres/4F61691F-EBE6-41D0-906D-F57B96EEA0F3/0/on0102.pdf |date=1 April 2012 }}. ], August 2006. page 30</ref><ref name="PulseInterview2004"> {{webarchive|url=https://web.archive.org/web/20100924093320/http://www.comicon.com/ubb/ubbthreads.php?ubb=showflat&Main=28828&Number=328254 |date=24 September 2010 }} with ] in ]. 2004-04-20. retrieved 2011-04-10</ref><ref name="WestAnnexNews">{{cite web | |||
|url = http://westannexnews.wordpress.com/2011/05/03/trinity-spadina-2011-federal-election-results-chow-crushes-opposition/ | |url = http://westannexnews.wordpress.com/2011/05/03/trinity-spadina-2011-federal-election-results-chow-crushes-opposition/ | ||
|title = Trinity-Spadina 2011 federal election results: Chow crushes opposition |
|title = Trinity-Spadina 2011 federal election results: Chow crushes opposition | ||
|publisher = West Annex News | |||
|publisher = Westannexnews.wordpress.com | |||
|date = 1 May 2011 | |date = 1 May 2011 | ||
| |
|access-date = 2011-05-05}}</ref><ref name="Gleaner" >{{cite web | ||
|url = http://gleanernews.ca/index.php/2011/04/04/time-to-ask-your-federal-reps-in-trinity-spadina-some-questions/ | |url = http://gleanernews.ca/index.php/2011/04/04/time-to-ask-your-federal-reps-in-trinity-spadina-some-questions/ | ||
|title = Time to ask your west-downtown Toronto federal candidates some questions | |title = Time to ask your west-downtown Toronto federal candidates some questions | ||
|date = 4 April 2011 | |date = 4 April 2011 | ||
| |
|access-date = 2011-04-13 | ||
|publisher = Gleaner Community Newspapers}}</ref><ref name="WestAnnex2011ElectionResults">{{cite web | |publisher = Gleaner Community Newspapers}}</ref><ref name="WestAnnex2011ElectionResults">{{cite web | ||
|url = http://westannexnews.wordpress.com/2011/05/03/trinity-spadina-2011-federal-election-results-chow-crushes-opposition/ | |url = http://westannexnews.wordpress.com/2011/05/03/trinity-spadina-2011-federal-election-results-chow-crushes-opposition/ | ||
Line 463: | Line 467: | ||
|date = 3 May 2011 | |date = 3 May 2011 | ||
|publisher = West Annex News | |publisher = West Annex News | ||
| |
|access-date = 2012-03-03}}</ref><ref name="ChroniclingTheRevolutionary">{{Cite web |url=http://forum.newsarama.com/showthread.php?t=7360 |title=Chronicling the revolutionary:Chester Brown on Louis Riel |author=Daniel Epstein }}{{dead link|date=August 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref><ref name="2011 Shuster Awards">{{cite web | ||
|url = http://joeshusterawards.com/awards/about/2011-nominees/ | |url = http://joeshusterawards.com/awards/about/2011-nominees/ | ||
|title = Nominations for the 2011 Joe Shuster Awards}}</ref> | |title = Nominations for the 2011 Joe Shuster Awards| date=February 2011 }}</ref> | ||
<!-- end {{Reflist}} -->}} | <!-- end {{Reflist}} -->}} | ||
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{{Refbegin|colwidth=40em}} | {{Refbegin|colwidth=40em}} | ||
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|last = Wagner | ||
|first = Vit | |||
|url = http://www.thestar.com/news/books/article/982927--paying-for-it-a-comic-strip-memoir-about-being-a-john-by-chester-brown | |||
|title = ''Paying for It: A Comic-Strip Memoir About Being a John'' by Chester Brown | |||
|publisher = The Toronto Star | |||
|publisher = ] | |||
|first = Vit | |||
| |
|date = 29 April 2011 | ||
|url = https://www.thestar.com/news/books/article/982927--paying-for-it-a-comic-strip-memoir-about-being-a-john-by-chester-brown | |||
|title = Paying for It: A Comic-Strip Memoir About Being a John by Chester Brown | |||
|date |
|access-date = 2011-05-01 | ||
}} | |||
|accessdate = 2011-05-01}} | |||
* {{Cite interview | * {{Cite interview | ||
| |
|last = Walker | ||
|first = Benjamen | |||
|url = https://soundcloud.com/bwalker/the-difference-between-giving | |||
|title = The Difference Between Giving and Taking (a conversation with Chester Brown) | |||
|first1 = Benjamen | |||
|url = https://soundcloud.com/bwalker/the-difference-between-giving | |||
|last1 = Walker | |||
| |
<!--|subject = Chester Brown--> | ||
|type = Interview: Audio | |||
|title = The Difference Between Giving and Taking (a conversation with Chester Brown) | |||
|format = Audio | |||
|date = 17 May 2011 | |date = 17 May 2011 | ||
| |
|access-date = 2011-05-23 | ||
}} | |||
* {{cite web | * {{cite web | ||
| |
|last = Weisblott | ||
|first = Marc | |||
|title = Chester the Libertarian | |||
|date = 17 September 2008 | |||
|url = http://archives.eyeweekly.com/blog/post/39716--chester-the-libertarian | |url = http://archives.eyeweekly.com/blog/post/39716--chester-the-libertarian | ||
|access-date = 2011-05-05 | |||
|title = Chester the Libertarian | |||
}}{{dead link|date=November 2024|bot=medic}}{{cbignore|bot=medic}} | |||
|first = Marc | |||
|last = Weisblott | |||
|date = 17 September 2008 | |||
|accessdate = 2011-05-05}} | |||
* {{Cite web | * {{Cite web | ||
| |
|last = Weisblott | ||
|first = Marc | |||
|url = http://ca.news.yahoo.com/blogs/dailybrew/federal-election-candidate-publishes-comic-book-memoir-prostitutes-20110414-130003-613.html | |||
|title = Federal election candidate publishes comic book memoir about prostitutes | |title = Federal election candidate publishes comic book memoir about prostitutes | ||
|publisher = ] News | |||
|first = Marc | |||
| |
|date = 14 April 2011 | ||
|url = http://ca.news.yahoo.com/blogs/dailybrew/federal-election-candidate-publishes-comic-book-memoir-prostitutes-20110414-130003-613.html | |||
|publisher = ] News | |||
|date |
|access-date = 2011-05-01 | ||
}} | |||
|accessdate = 2011-05-01}} | |||
* {{cite book | * {{cite book | ||
| |
|last = Wolk | ||
| |
|first = Douglas | ||
| |
|author-link = Douglas Wolk | ||
|chapter = Chester Brown: The Outsider | |||
|first = Douglas | |||
|title = Reading Comics: How Graphic Novels Work and What They Mean | |||
|chapter = Chester Brown: The Outsider | |||
|pages = | |||
|title = Reading Comics: How Graphic Novels Work and What They Mean | |||
|publisher = ] | |||
|pages = 147–155 | |||
|year = 2007 | |||
|publisher = ] | |||
| |
|isbn = 978-0-306-81509-6 | ||
|chapter-url = https://archive.org/details/readingcomicshow00wolk/page/147 | |||
|isbn = 978-0-306-81509-6}} | |||
}} | |||
{{Refend}} | {{Refend}} | ||
==Further reading== | |||
*''Chester Brown: Conversations'' by Dominick Grace and Eric Hoffman, with notes by Chester Brown, University Press of Mississippi, 2013 | |||
==External links== | ==External links== | ||
{{External links|section|date=July 2019}} | |||
*{{gcdb|type=credit|search=Chester+Brown|title=Chester Brown}} | |||
*{{ |
* {{gcdb|type=credit|search=Chester+Brown|title=Chester Brown}} | ||
* {{comicbookdb|type=creator|id=5607|title=Chester Brown}} | |||
* at ]'s | |||
* at ]'s | |||
* | |||
* | |||
* | |||
* | * | ||
* | * | ||
* of Brown by ] | * {{Webarchive|url=https://web.archive.org/web/20110719024130/http://sequential.spiltink.org/dw2006/S%26CatDW2.mp3 |date=19 July 2011 }} of Brown by ] | ||
* in ] in 2008 | |||
* | |||
{{Chester Brown}} | {{Chester Brown|state=expanded}} | ||
{{Drawn |
{{Drawn & Quarterly}} | ||
{{Canadian cartoonists}} | {{Canadian cartoonists}} | ||
{{Inkpot Award 2010s}} | |||
{{Authority control}} | {{Authority control}} | ||
{{Persondata <!-- Metadata: see ]. --> | |||
| NAME = Brown, Chester | |||
| ALTERNATIVE NAMES = | |||
| SHORT DESCRIPTION = Canadian alternative cartoonist | |||
| DATE OF BIRTH = 1960-05-16 | |||
| PLACE OF BIRTH = Montreal, Canada | |||
| DATE OF DEATH = | |||
| PLACE OF DEATH = | |||
}} | |||
{{DEFAULTSORT:Brown, Chester}} | {{DEFAULTSORT:Brown, Chester}} | ||
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Latest revision as of 04:05, 17 November 2024
Canadian cartoonist (born 1960)
Chester Brown | |
---|---|
Chester Brown, at the 2009 Toronto Word on the Street festival | |
Born | Chester William David Brown (1960-05-16) 16 May 1960 (age 64) Montreal, Quebec, Canada |
Other names | CWDB |
Occupations |
|
Political party | Libertarian |
Awards | Inkpot Award (2011) |
Chester William David Brown (born 16 May 1960) is a Canadian cartoonist. Brown has gone through several stylistic and thematic periods. He gained notice in alternative comics circles in the 1980s for the surreal, scatological Ed the Happy Clown serial. After bringing Ed to an abrupt end, he delved into confessional autobiographical comics in the early 1990s and was strongly associated with fellow Toronto-based cartoonists Joe Matt and Seth, and the autobiographical comics trend. Two graphic novels came from this period: The Playboy (1992) and I Never Liked You (1994). Surprise mainstream success in the 2000s came with Louis Riel (2003), a historical-biographical graphic novel about rebel Métis leader Louis Riel. Paying for It (2011) drew controversy as a polemic in support of decriminalizing prostitution, a theme he explored further with Mary Wept Over the Feet of Jesus (2016), a book of adaptations of stories from the Bible that Brown believes promote pro-prostitution attitudes among early Christians.
Brown draws from a range of influences, including monster and superhero comic books, underground comix, and comic strips such as Harold Gray's Little Orphan Annie. His later works employ a sparse drawing style and flat dialogue. Rather than the traditional method of drawing complete pages, Brown draws individual panels without regard for page composition and assembles them into pages after completion. Since the late 1990s Brown has had a penchant for providing detailed annotations for his work and extensively altering and reformatting older works.
Brown at first self-published his work as a minicomic called Yummy Fur beginning in 1983; Toronto publisher Vortex Comics began publishing the series as a comic book in 1986. The content tended towards controversial themes: a distributor and a printer dropped it in the late 1980s, and it has been held up at the Canada–United States border. Since 1991, Brown has associated himself with Montreal publisher Drawn & Quarterly. Following Louis Riel Brown ceased serializing his work to publish graphic novels directly. He has received grants from the Canada Council to complete Louis Riel and Paying for It.
Life and career
Early life
Chester William David Brown was born on 16 May 1960 at the Royal Victoria Hospital in Montreal, Quebec, Canada. He grew up in Châteauguay, a Montreal suburb with a large English-speaking minority. His grandfather was history professor Chester New, after whom Chester New Hall is named at McMaster University in Hamilton, Ontario. He has a brother, Gordon, who is two years his junior. His mother had schizophrenia, and died in 1976 after falling down the stairs while in the Montreal General Hospital.
Though he grew up in a predominantly French-speaking province and had his first mainstream success with his biography of French-speaking Métis rebel leader Louis Riel, Brown says he does not speak French. He said he had little contact with francophone culture when he was growing up, and the French speakers he had contact with spoke with him in English.
Brown described himself as a "nerdy teenager" attracted to comic books from a young age, especially ones about superheroes and monsters. He aimed at a career in superhero comics, and after graduating from high school in 1977 headed to New York City, where he had unsuccessful but encouraging interviews with Marvel and DC Comics. He moved to Montreal where he attended Dawson College. The program did not aim at a comics career, and he dropped out after a little more than a year. He tried to find work in New York, but was rejected again. He discovered the alternative comics scene that was developing in the early 1980s, and grasped its feeling freedom to produce what he wanted. At 19 he moved to Toronto, where he got a job in a photography lab and lived frugally in rooming houses.
Toronto (1979–1986)
At around twenty, Brown's interests moved away from superhero and monster comic books towards the work of Robert Crumb and other underground cartoonists, Heavy Metal magazine, and Will Eisner's graphic novel A Contract with God (1978). He started drawing in an underground-inspired style, and submitted his work to publishers Fantagraphics Books and Last Gasp; he got an encouraging rejection when he submitted to Art Spiegelman and Françoise Mouly's Raw magazine. He became friends with film archivist Reg Hartt, and the two unsuccessfully planned to put out a comics anthology called Beans and Wieners as a showcase for local Toronto talent.
In 1983 Brown's girlfriend Kris Nakamura introduced him to the small-press publisher John W. Curry (or "jwcurry"), whose example inspired the local small-press community. Nakamura convinced Brown that summer to print his unpublished work as minicomics, which he did under his Tortured Canoe imprint. The sporadically self-published Yummy Fur lasted seven issues as a minicomic. Brown soon found himself at the centre of Toronto's small-press scene. While he found it difficult at first, Brown managed to get the title into independent bookstores, the emerging comic shops, and other countercultural retailers, and also sold it through the growing North American zine network. Yummy Fur had respectable sales through several reprintings and repackaging.
Brown and a number of other cartoonists featured in a show called Kromalaffing at the Grunwald Art Gallery in early 1984. He had become a part of Toronto's avant-garde community, along with other artists, musicians and writers, centred around Queen Street West. In 1986, at the urging of Brown's future friend Seth, Vortex Comics publisher Bill Marks picked up Yummy Fur as a regular, initially bimonthly comic book. Brown quit his day job to work full-time on Yummy Fur.
Vortex and Ed the Happy Clown (1986–1989)
Starting publication in December 1986, the first three issues of Yummy Fur reprinted the contents of the seven issues of the earlier minicomic, and Brown quit his job at the copy shop. Brown began to weave together some of the earlier unrelated strips into an ongoing surreal black comedy called Ed the Happy Clown. The bizarre misfortunes of the title character include being inundated in the faeces of a man unable to stop defaecating, being chased by cannibalistic pygmies, befriending a vengeful vampire, and having the head of his penis replaced by the head of a miniature Ronald Reagan from another dimension.
A counterpoint to the at-times blasphemous Ed serial, Brown also began to run straight adaptation of the Gospels, beginning with the Gospel of Mark in a subdued style. What appeared a natural target of satire for the author of Ed was instead a continuing attempt of Brown's to find what he really believed, having been raised a Christian Baptist. The adaptations later continued with the Gospel of Matthew and the apocryphal "The Twin" from the Gnostic text Pistis Sophia, and Brown went through periods of agnosticism and Gnosticism.
The offensive content of Ed caused it to be dropped by one printer, and is suspected to be behind Diamond Comic Distributors' decision to stop distributing Yummy Fur starting with issue #9. After The Comics Journal announced they would be investigating the issue, Diamond started distributing it again.
In 1989 the first Ed collection appeared, collecting the Ed stories from the first twelve issues of Yummy Fur with an introduction by American Splendor writer Harvey Pekar and drawn by Brown. At this point, Brown had grown to lose interest in the Ed story as he gravitated toward the autobiographical approach of Pekar, Joe Matt, and Julie Doucet, and the simpler artwork of Seth. He brought Ed to an abrupt end in Yummy Fur #18 to turn to autobiography.
Autobio and Drawn & Quarterly (1990–1992)
The 19th issue of Yummy Fur began his autobiographical period. First came the strip "Helder", about a violent tenant in Brown's boarding house, followed by "Showing 'Helder'", about the creation of "Helder" and the reactions of Brown's friends to the work-in-progress. With "Showing 'Helder'" Brown breaks from his earlier syle by giving the panels no borders and arranging them organically on the page—a style that was to characterize his work of this period. He found his friends were uncomfortable with his writing about their lives, and soon turned to his adolescence for source material.
Brown began the first installment of what was to become the graphic novel The Playboy in Yummy Fur #21, under the title Disgust. The revealing, confessional story tells of the teenage Brown's feelings of guilt over his obsessive masturbating over the Playmates of Playboy magazine, and the difficulties he had relating to women even into adulthood. Critical and fan reception was strong, though it drew some criticism from those who saw it glorifying pornography. Playboy's publisher Hugh Hefner wrote Brown a letter of concern that Brown could feel such guilt in a post-sexual revolution world. It appeared in a collected edition titled The Playboy in 1992.
Around this time, Brown had become friends with the cartoonists Seth and Joe Matt. The three became noted for doing confessional autobio comics in the early 1990s, and for depicting each other in their works. In 1993, they did an interview together in The Comics Journal's autobiographical comics issue. Seth had joined the new Montreal-based comics publisher Drawn & Quarterly, which had also started publishing Julie Doucet. D&Q's Chris Oliveros had been courting Brown to join as well, but Brown had felt loyal to Bill Marks for giving him his first break. When his contract came up in 1991, however, Oliveros offered Brown nearly double the royalty he was getting from Vortex. Brown moved to D&Q starting with Yummy Fur #25.
Vancouver and Underwater (1992–1997)
In 1992, Brown began a relationship with musician Sook-Yin Lee, and in 1993 moved to Vancouver to be with her. He stayed there with her until 1995, when Lee began as VJ at MuchMusic in Toronto, and the two moved back there together.
Brown moved away from autobio after the conclusion of Fuck, and for his next major project, Chris Oliveros convinced him to change the title, believing the title Yummy Fur was no longer a fitting one for the direction that Brown's work had taken, and that the title made the book harder to sell. His next work, Underwater, would appear under its own title, while continuing the Gospel of Matthew adaptation as a backup feature.
Underwater was an ambitious work. Its lead character, Kupifam, was an infant who was surrounded by an encoded gibberish-like language, which she comes to understand in bits and pieces. Fans and critics gave the series a lukewarm reception, with its glacial pacing and obscure narrative. Eventually, Brown came to feel he had gotten in over his head with the scope of the project. In early 1998, he decided to leave it in an unfinished state.
Partway through the series, in 1996, Brown and Lee broke up. They continued to live with each other, and have continued to be close friends. Brown came to decide that he no longer wanted to have exclusive relations with women, but also realized he lacked the social skills to pick up girls for casual sex. He spent the next few years celibate.
Louis Riel and frequenting of prostitutes (1998–2003)
Brown's father died in 1998 as he was putting together his collection of short strips, The Little Man. He lost interest in Underwater, and had been reading about Métis resistance leader Louis Riel, and decided he wanted to do a biography on him. He wanted to do it as an original graphic novel, but Chris Oliveros convinced him to serialize it first. Drawn & Quarterly put out the ten issues of Louis Riel from 1999 until 2003, and with help from a CAD$16,000 grant from the Canadian Council for the Arts, the finished annotated collection appeared in 2003, to much acclaim and healthy sales. In Canada it became a bestseller, a first for a Canadian graphic novel.
In 1999, after three years of celibacy, Brown decided he would start frequenting prostitutes. His open nature prevented him from hiding this fact from his friends, and the fact soon became widely known. After completing Louis Riel, he embarked upon another autobiographical graphic novel that would detail his experiences as a john. This time, the work would not be serialized, and would wait until 2011 to be published as Paying for It.
In the early 2000s, Brown moved out from the place he shared with Lee and got himself a condominium, where he lived by himself, and was free to bring prostitutes home. Around this time, Joe Matt moved back to the US, and Seth moved to Guelph, Ontario, breaking up the "Toronto Three".
Libertarianism and Paying for It (2004–present)
While reading up on issues surrounding Louis Riel, Brown became increasingly interested in property rights. His reading eventually took him to believe that countries with strong property rights prospered, while those without them did not. This path gradually led him to espouse the ideology of libertarianism. He joined the Libertarian Party of Canada and ran as the party's candidate in the riding of Trinity—Spadina in Toronto in the 2008 and 2011 federal elections.
During the long wait between Louis Riel and Paying for It, Brown allowed Drawn & Quarterly to reprint Ed the Happy Clown as a serial comic book, with explanatory notes that were becoming both more common and more detailed in Brown's work. In 2007 Brown provided six weeks worth of strips to Toronto's NOW magazine as part of the "Live With Culture" ad campaign. The strip features a male zombie and a living human girl participating in various cultural activities, culminating in the two going to a movie theatre to watch Bruce McDonald's yet-unmade Yummy Fur adaptation.
Brown's next graphic novel, Paying for It, came out during the 2011 election, in which he was running. Again he finished with the help of a Canada Council grant. It was a polemic promoting the decriminalization of prostitution, and attracted praise for its artistry and bare-all honesty, and criticism for its subject matter and Brown's perceived naïveté as he brushes aside concerns about human trafficking and dismisses drug addiction as a myth. At about this time, Brown finally stated he didn't intend to finish his Gospel of Matthew, which had been on hiatus since 1997.
In 2016 Brown followed up Paying for It with Mary Wept Over the Feet of Jesus, made up of adaptations of stories from the Bible that Brown believes promote pro-prostitution attitudes among early Christians, and argues for the decriminalization of prostitution. Brown declared his research determined that Mary, mother of Jesus, was a prostitute, that early Christians practised prostitution, and that Jesus' Parable of the Talents should be read in a pro-prostitution light. Brown describes himself as a Christian who is "not at all concerned with imposing 'moral' values or religious laws on others" and believes that Biblical figures such as Abel and Job "find favour with God because they oppose his will or challenge him in some way".
Personal life
Religion
Brown was brought up in a Baptist household, and in his early twenties he began adapting the Gospels. Brown later said that this "was a matter of trying to figure out whether [he] even believed the Christian claims—whether or not Jesus was divine". During this time, Brown went through periods where he considered himself an agnostic then a gnostic. Since then, Brown has consistently described himself as religious, but has alternated between periods of identifying as a Christian and simply believing in God. As of 2016, Brown describes himself as a Christian.
Politics
In the 1980s Brown expressed sympathy for left-wing politics, although he has stated his understanding of politics was not deep. He considered himself an anarchist until, while researching Louis Riel, he became interested in issues of property rights, especially influenced by his reading of Tom Bethell's The Noblest Triumph, a book which argues that the West owes its prosperity to having established strong property rights. Brown thus gained an interest in libertarianism—a belief that government should protect property rights (although, he says, not copyrights), and otherwise should mostly keep out of people's lives. After attending a few meetings of the Libertarian Party of Canada, he was asked to run for Parliament, and collected the 100 signatures necessary to appear on the ballot.
Brown ran as the Libertarian Party's candidate for the riding (or constituency) of Trinity—Spadina in the 2008 federal election. He came in fifth out of seven candidates. He stood in the same riding for the same party in the 2011 Canadian federal election, coming in fifth out of six candidates. The 2011 election coincided with the release of Paying for It, in which Brown talks about his frequenting prostitutes. He was worried his promotion of that topic in the media would make the Libertarian Party uncomfortable with having him run, but his official Party agent and the Ontario representative assured him that, as libertarians, they believed in individual freedom, and would continue to support his candidacy.
Personal relations
A longtime friend of fellow cartoonists Joe Matt and Seth, Brown has been regularly featured in their autobiographical comics over the years, and collaborated with them on various projects. The three were often mentioned together, and have been called "the Three Musketeers of alternative comics" and the "Toronto Three", forming "a kind of gutter rat pack trying to make it through their drawing boards in 1990s Toronto". Brown dedicated The Playboy to Seth, and Paying for It to Matt. Seth dedicated his graphic novel George Sprott to Brown ("Best Cartoonist, Best Friend").
Brown had a long-term relationship with the musician, actress and media personality Sook-Yin Lee from 1992 until 1996. She is depicted in several of his comics. He moved to Vancouver for two years to be with her, and moved back to Toronto with her when she became a VJ for MuchMusic. He also drew the cover for her 1996 solo album Wigs 'n Guns. Brown's relationship with Lee is the last boyfriend/girlfriend relationship he had, as he explains in Paying for It. They remain good friends, and Brown has contributed artwork to her productions as recently as 2009's Year of the Carnivore.
Work
Thematic subjects
Throughout his early years as a cartoonist he mostly experimented with drawing on the darker side of his subconscious, basing his comedy on free-form association, much like the surrealist technique Automatism. An example of such methods in Brown's work can be found in short one-pagers where he randomly selects comic panels from other sources and then mixes them up, often altering the dialogue. This produced an experimental, absurdist effect in his early strips.
Brown first discusses mental illness in his strip "My Mother Was A Schizophrenic". In it, he puts forward the anti-psychiatric idea that what we call "schizophrenia" isn't a real disease at all, but instead a tool our society uses to deal with people who display socially unacceptable beliefs and behaviour. Inspired by the evangelical tracts of Jack T. Chick, Brown left Xeroxes of these strips at bus stops and phone booths around Toronto so its message would reach a wider audience. It first appeared in Underwater #4, and is also reprinted in the collection The Little Man.
Brown's Louis Riel book was inspired by the alleged mental instability of Riel, and Brown's own anarchist politics, and he began his research for the book in 1998. Over the course of researching for the book, he shifted his politics over the course of several years until he was a libertarian. Regarding anarchy, Brown has said, "I'm still an anarchist to the degree that I think we should be aiming towards an anarchist society but I don't think we can actually get there. We probably do need some degree of government."
Art style
Brown's drawing style has evolved and changed a lot throughout his career. He's been known to switch between using Rapidograph pens, dip pens, brushes, pencils and markers for his black-and-white cartooning, and has used paints for some colour covers (notably in Underwater).
Working method
Brown does not follow the tradition of drawing his comics by the page – he draws them one panel at a time, and then arranges them on the page. In the case of his acclaimed graphic novels The Playboy and I Never Liked You, this allowed him to rearrange the panels on the page as he saw fit. In the case of I Never Liked You, this resulted in a different page count in the book collection than was in the Yummy Fur serialization. The panels were slightly rearranged again when the "New Definitive Edition" of I Never Liked You was released in 2002. Brown depicted himself making comics in this way in the story Showing Helder in Yummy Fur #20 (also collected in The Little Man). Despite drawing his panels individually, he says his "brain doesn't tend to think in terms of one image at a time", so that he has difficulty coming up with one-image covers.
He has used a number of different drawing tools, including Rapidograph technical pens, markers, crowquill pens and ink brushes, the latter of which he has called his favourite tool, for its "fluid grace". For much of Ed the Happy Clown, he had artwork printed from photocopies of his pencils, which was faster for him than inking the work, and produced a more spontaneous feel, but in the end he turned away from this method, feeling it was "too raw".
Drawing influences
In an interview with Seth, Brown says his earliest childhood cartoon was an imitation of Doug Wright's Little Nipper. He frequently mentions Steve Gerber as amongst his foremost influences of his teenage years. From about the age of 20, Brown discovered the work of Robert Crumb and other underground artists, as well as class comic strip artists such as Harold Gray, whose influence is most evident in Brown's Louis Riel.
Brown often talks of contemporaries Seth, Joe Matt and Julie Doucet's influence on his work, especially during his autobiographical period. He also had been reading the Little Lulu Library around this time, and credit's the cartooning of Little Lulu's John Stanley and Seth with his desire to simplify his style during this period.
The stiff, stylized look of Fletcher Hanks' comics, reprints from Fantagraphics of which Brown had been reading around the time, was the primary influence on the style Brown used in Paying for It.
Bibliography
Series
Title | Date | Publisher | Issues | Notes |
---|---|---|---|---|
Yummy Fur (mini-comic) | 1983–1986 | self-published | 7 | #1–6 compiled in one volume in February 1987 with an extra one-page strip |
Yummy Fur | 1986–1995 | Vortex Comics (#1–24) Drawn & Quarterly (#25–32) |
32 | |
Underwater | 1995–1998 | Drawn & Quarterly | 11 | Left incomplete |
Louis Riel | 1999–2003 | Drawn & Quarterly | 10 | |
Ed the Happy Clown | 2004–2006 | Drawn & Quarterly | 9 | Reprinted material from Yummy Fur with extra background information |
Books
Title | Year | Publisher | ISBN | Notes |
---|---|---|---|---|
Ed the Happy Clown: A Yummy Fur Book | 1989 | Vortex Comics | 978-0-921451-04-4 |
|
Ed the Happy Clown: The Definitive Ed Book | 1992 | Vortex Comics | 978-0-921451-08-2 |
|
The Playboy | 1992 | Drawn & Quarterly | 978-0-9696701-1-7 | |
I Never Liked You | 1994 | Drawn & Quarterly | 978-0-9696701-6-2 | |
The Little Man: Short Strips 1980–1995 | 1998 | Drawn & Quarterly | 978-1-896597-13-3 | |
I Never Liked You (Second Edition) | 2002 | Drawn & Quarterly | 978-1-896597-14-0 |
|
Louis Riel | 2004 | Drawn & Quarterly | 978-1-894937-89-4 | |
Paying for It | 2011 | Drawn & Quarterly | 978-1-77046-048-5 |
|
Ed the Happy Clown: A Graphic Novel | 2012 | Drawn & Quarterly | 978-1-77046-075-1 |
|
Mary Wept Over the Feet of Jesus | 2016 | Drawn & Quarterly | 978-1-77046-234-2 |
Title changes
Many of his books have undergone title changes, sometimes at the behest of his publisher, sometimes without his permission. Ed the Happy Clown: the Definitive Ed Book was given the Definitive title, despite the fact that he "didn't want to put that as the subtitle of the second edition. Vortex did it for marketing reasons." The Playboy was originally titled Disgust and then The Playboy Stories, and I Never Liked You was called Fuck (the German translation retains that title). Underwater was originally intended to appear in Yummy Fur, but Brown's new publisher felt they could attract more readers with a different title. Paying for It carries the sense of a double entendre that Brown dislikes–he would have preferred to call the book I Pay for Sex.
Illustration
Brown has also done a certain amount of illustration work. In 1998, he did the cover to Sphinx Productions' Comic Book Confidential #1; in 2005 he did the cover to True Porn 2 from Alternative Comics; and he illustrated the cover for Penguin Books' Deluxe Classics edition of Lady Chatterley's Lover by D. H. Lawrence. Brown illustrated the cover to the 11 July 2004, issue of The New York Times Magazine, an issue whose theme was graphic novels. He has done the cover for Sook-Yin Lee's 1996 solo album Wigs 'n' Guns (to which he also contributed lyrics for one song), and the poster for her film, Year of the Carnivore.
Collaborations
Brown provided the illustrations for the story "A Tribute to Bill Marks" in Harvey Pekar's American Splendor #15 in 1990, and "How This Forward Got Written" in The New American Splendor Anthology in 1991.
He inked Seth's pencils for the story "Them Changes" in Dennis Eichhorn's Real Stuff #6 in 1992, and shared artwork duties with Sook-Yin Lee on the story "The Not So Great Escape" in Real Stuff #16 in 1993.
He also inked Steve Bissette's pencils for the story "It Came From ... Higher Space!" in Alan Moore's 1963 #3 in 1993.
A jam piece with Dave Sim was included in the Cerebus World Tour Book in 1995.
Recognition
Over the years, Brown has received four Harvey Awards and numerous Harvey and Ignatz award nominations. The autobiographical comics from Yummy Fur placed No. 38 on the Comics Journal's list of the 100 best comics of the century. Brown was inducted into the Canadian Comic Book Creator Hall of Fame, on 18 June 2011, at the Joe Shuster Awards in Calgary, Alberta, Canada. Brown was one of the cartoonists to appear in the first volume of Fantagraphics' two-volume The Best Comics of the Decade (1990. ISBN 978-1-56097-036-1).
Awards
Year | Organization | Award for | Award |
---|---|---|---|
1990 | Harvey Awards | Chester Brown | Best Cartoonist |
1990 | Harvey Awards | Ed the Happy Clown | Best Graphic Album for the first edition |
1990 | U.K. Comic Art Award | Ed the Happy Clown | Best Graphic Novel/Collection for the first edition |
1999 | Urhunden Prizes | Ed the Happy Clown | Foreign Album |
2004 | Harvey Awards | Louis Riel | Best Writer |
2004 | Harvey Awards | Louis Riel | Best Graphic Album of Previously Published Work |
Nominations
Award Nominations | |||
---|---|---|---|
Year | Organization | Award for | Award |
1989 | Harvey Awards | Yummy Fur | Best Writer |
Best Cartoonist | |||
Best Continuing or Limited Series | |||
Special Achievement in Humor | |||
1990 | Chester Brown | Special Award for Humor | |
1991 | Yummy Fur | Best Continuing or Limited Series | |
"The Playboy Stories" in Yummy Fur #21–23 | Best Single Issue or Story | ||
Yummy Fur | Best Cartoonist (Writer/Artist) | ||
1992 | Best Cartoonist | ||
1993 | The Playboy | Best Graphic Album of Previously Released Material | |
1998 | Ignatz Awards | The Little Man | Outstanding Graphic Novel or Collection |
1999 | Harvey Awards | Special Award for Excellence in Presentation | |
1999 | Best Graphic Album of Previously Published Work | ||
2000 | Louis Riel | Best New Series | |
2002 | Ignatz Awards | Outstanding Artist | |
2003 | Harvey Awards | Chester Brown | Best Cartoonist |
Louis Riel | Best Continuing or Limited Series | ||
2004 | Ignatz Awards | Outstanding Graphic Novel or Collection | |
Outstanding Artist |
See also
Portals:References
- Inkpot Award
- ^ Epp 2002.
- ^ Bell 2006, p. 144.
- Epp 2002; Bell 2006, p. 164.
- ^ Brown 2002, p. 191.
- ^ Grace & Hoffman 2013b, p. xxxii.
- Interview with Dave Sim Part 1
- ^ Juno 1997, p. 132.
- ^ Bell 2006, p. 146.
- ^ Weisblott 2008.
- Juno 1997, p. 131.
- ^ Bell 2006, p. 145.
- Juno 1997, p. 135.
- Wolk 2007, p. 149.
- ^ Bell 2006, p. 154.
- Grace & Hoffman 2013a, pp. xvi–xvii.
- Mackay 2005.
- ^ Brown, Ed the Happy Clown #5, notes page 1
- Davis 1989.
- Brown, Ed the Happy Clown #8, notes page 2
- Levin 1993, p. 47.
- Grace & Hoffman 2013a, p. xvi.
- Køhlert 2012, p. 381.
- Pustz 1999, p. 92.
- Grace & Hoffman 2013a, p. xviii.
- Grace & Hoffman 2013a, pp. xviii–xix.
- Grace & Hoffman 2013a, p. xix.
- ^ Grace & Hoffman 2013a, p. xx.
- ^ Bell 2006, p. 150.
- Verstappen 2008.
- Bell 2006, p. 158.
- Brown 2011, p. 15; Brown 2011, pp. 262–264.
- ^ Brown, Chester; Grace, Dominick; Hoffman, Eric (2013). Chester Brown: Conversations. Jackson, Mississippi: University Press of Mississippi. pp. xxii. ISBN 9781621039693.
- Interview Archived 24 September 2010 at the Wayback Machine with Heidi MacDonald in The Pulse. 2004-04-20. retrieved 2011-04-10
- Provincial Profiles, 2001–2002: Grants to Ontario Archived 1 April 2012 at the Wayback Machine. Canada Council for the Arts, August 2002. page 29
- Baker & Atkinson 2004.
- Bell 2006, p. 166.
- "Trinity-Spadina 2011 federal election results: Chow crushes opposition". West Annex News. 1 May 2011. Retrieved 5 May 2011.
- "Chester Brown's electoral history at parl.gc.ca".
- Wolk 2007, p. 148.
- Park 2011.
- Review Archived 11 December 2012 at the Wayback Machine of Zombies Take Toronto at walrusmagazine.com. Retrieved 2011-04-10
- ^ Wagner 2011.
- Weisblott 2011.
- Provincial and Territorial Profiles, 2005–2006: Grants to Ontario Archived 1 April 2012 at the Wayback Machine. Canada Council for the Arts, August 2006. page 30
- Mackay 2011; Heer 2011.
- Kohler 2011; Garner 2011, p. 2.
- Randle 2011; Brown 2011, pp. 250–251; Mautner 2011.
- Rogers 2011, part 3.
- Donachie 2016.
- ^ Lehoczky 2016.
- Juno 1997, p. 143; Hwang 1998.
- Juno 1997, p. 143.
- Hwang 1998.
- ^ Seth Interviews Chester Brown Archived 19 July 2011 at the Wayback Machine, hosted at sequential.spiltink.org. retrieved 2011-05-15
- Walker 2011.
- "Time to ask your west-downtown Toronto federal candidates some questions". Gleaner Community Newspapers. 4 April 2011. Retrieved 13 April 2011.
- "Trinity-Spadina 2011 federal election results: Chow crushes opposition". West Annex News. 3 May 2011. Retrieved 3 March 2012.
- Rogers 2011, part 5.
- "Fred Hembeck's Dateline". The Ephemerist. 11 January 2007.
- "Artists honoured for comics hailing nostalgia, everyday life". CBC News. Retrieved 30 January 2018.
- Matheson 2004.
- Daniel Epstein. "Chronicling the revolutionary:Chester Brown on Louis Riel".
- ^ Grammel 1990, p. 35.
- Tousley 2005.
- Rogers 2011, part 2.
- Juno 1997, p. 136.
- Rogers 2011, part 1.
- inside front cover of Yummy Fur #1. Vortex Comics (1986)
- Bell 2006, p. 147.
- Arnold 2004.
- Reprodukt product page for Fuck Archived 1 October 2011 at the Wayback Machine
- Brown 2011, p. 259.
- Sterling, Mike (25 January 2010). "COMIC BOOK CONFIDENTIAL #1 (SPHINX PRODUCTIONS, 1988)". Mike Sterling's Progressive Ruin. Retrieved 10 April 2011.
- Penguin Books' product page Archived 3 January 2011 at the Wayback Machine for Lady Chatterley's Lover (Deluxe Classics edition, 2007). ISBN 978-0-14-303961-7
- "Cover Story on Graphic Novels in N.Y. Times Magazine: Will They Replace Traditional Novels?". ICv2. 13 July 2004. Retrieved 26 May 2011.
- "Chester Brown on the NY Times Magazine Cover". Inappropriate Laughter. 20 January 2010. Archived from the original on 31 August 2011. Retrieved 26 May 2011.
- Carruthers.
- Balkissoon 2010.
- "Annotated 1963 Annotations". Retrieved 19 May 2011.
- Sim, Dave et al. Cerebus World Tour Book 1995, pages 47–65. Aardvark-Vanaheim, 1995. ISSN 0712-7774
- "Nominations for the 2011 Joe Shuster Awards". February 2011.
- ^ "1990 Harvey Award Winners". The Harvey Awards official website. Archived from the original on 28 September 2011. Retrieved 16 November 2011.
- Hammarlund 2009; Hahn 2006.
- ^ "2004 Harvey Award Winners". The Harvey Awards official website. Archived from the original on 7 September 2011. Retrieved 16 November 2011.
- ^ Harvey Awards official website
- ^ Ignatz Awards official website
Notes
- "It's really just a code. Simple letter substitution." – Brown in 2008
- "I was an anarchist when I began the strip and I knew the story would make the government look bad. ... But in doing all the research for this book , I learned a lot about general political theory. I came to realize that anarchy is completely unworkable, which I sort of suspected all along." – Brown in 2004
- "It suggests that not only am I paying for sex but I'm also paying for being a john in some non-monetary way. Many would think that there's an emotional cost – that johns are sad and lonely ... I haven't been 'paying for it' in any of those ways. I'm very far from being sad or lonely, I haven't caught an S-T-D, I haven't been arrested, I haven't lost my career, and my friends and family haven't rejected me." – Brown in 2011
Works cited
- Arnold, Andrew D. (12 April 2004). "Keeping It 'Riel'". Time magazine. Archived from the original on 13 May 2011. Retrieved 1 May 2011.
- Baker, John F.; Atkinson, Nathalie (17 May 2004). "The World Needs More Canada". Publishers Weekly. 251 (20). Retrieved 15 February 2012.
- Balkissoon, Denise (11 June 2010). "Sook-Yin Lee: Candid with the camera — except for one thing". The Toronto Star. Retrieved 25 May 2011.
- Bell, John (2006). Invaders from the North: How Canada Conquered the Comic Book Universe. Dundurn Press Ltd. ISBN 978-1-55002-659-7.
- Brown, Chester (2002). I Never Liked You (2nd ed.). Drawn & Quarterly. ISBN 978-1-896597-14-0.
- Brown, Chester. Ed the Happy Clown. Drawn & Quarterly. Nine issues (February 2005 – September 2006)
(notes pages unnumbered, counted from first page of notes)
- Brown, Chester (2011). Paying For It. Drawn & Quarterly. ISBN 978-1-77046-048-5.
- Carruthers, Sean. "Wigs 'n' Guns". AllMusic. Retrieved 19 May 2011.
- Davis, Erik (January 1989). "Ed's Big Boy". Spin. 4 (10): 13. Retrieved 7 April 2011.
- Donachie, Mike (14 April 2016). "Mary Wept Over The Feet of Jesus: Chester Brown tackles prostitution in Biblical times". Metro News. Metro International. Archived from the original on 2 May 2016. Retrieved 30 April 2016.
- Epp, Darell (29 January 2002). "Two-Handed Man interviews cartoonist Chester Brown". twohandedman.com. Archived from the original on 9 May 2008. Retrieved 2011-04-23.
- Garner, Dwight (24 May 2011). "A Graphic Memoir That Earns the Designation". The New York Times. Retrieved 28 April 2012.
- Grace, Dominick; Hoffman, Eric (2013a). "Introduction". In Grace, Dominick; Hoffman, Eric (eds.). Chester Brown: Conversations. University Press of Mississippi. pp. vii–xxxi. ISBN 978-1-61703-868-6.
- Grace, Dominick; Hoffman, Eric (2013b). "Chronology". In Grace, Dominick; Hoffman, Eric (eds.). Chester Brown: Conversations. University Press of Mississippi. pp. xxxii–xxxiv. ISBN 978-1-61703-868-6.
- Grammel, Scott (April 1990). "Chester Brown (interview)". The Comics Journal (135). Fantagraphics Books: 66–90.
- Hahn, Joel (2006). "Urhunden Prize". Comic Book Awards Almanac. Retrieved 2 May 2011.
- Hammarlund, Ova (20 September 2009). "Seriepris until Joakim Pirinen och Jan Lööf". www.serieframjandet.se Seriefrämjandet. Archived from the original on 22 November 2011. Retrieved 2 May 2011. (in Swedish)
- Heer, Jeet (19 May 2011). "A Chester Brown Notebook". The Comics Journal. Retrieved 29 April 2012.
- Hwang, Francis (23 December 1998). "Graven Images". City Pages. Archived from the original on 4 October 2012. Retrieved 1 April 2014.
- Juno, Andrea (1997). "Interview with Chester Brown". Dangerous Drawings. Juno Books. pp. 130–147. ISBN 0-9651042-8-1.
- Kohler, Nicholas (2 May 2011). "Romantic love is the last thing he wants". Maclean's. Retrieved 3 May 2011.
- Køhlert, Frederik Byrn (2012). "I Never Liked You: A Comic-Strip Narrative". In Beaty, Bart H.; Weiner, Stephen (eds.). Critical Survey of Graphic Novels: Independent and Underground Classics. Salem Press. pp. 378–381. ISBN 978-1-58765-950-8.
- Lehoczky, Etelka (16 April 2016). "God And Sex Workers — Plus Cartoons — In 'Mary Wept'". NPR. Archived from the original on 17 April 2016. Retrieved 2 May 2016.
- Levin, Bob (October 1993). "Chester Brown". The Comics Journal (162): 45–49.
- Mackay, Brad (18 July 2005). "Special Ed". Canadian Broadcasting Corporation. Archived from the original on 8 September 2005. Retrieved 14 November 2011.
- Mackay, Brad (30 April 2011). "Sex and the single cartoonist". The Globe and Mail. Archived from the original on 8 May 2011. Retrieved 1 May 2011.
- Matheson, Emmet (2004). "Chester Brown". Riel: a comic-book hero. CBC Digital Archives. Retrieved 18 June 2008.
- Mautner, Chris (8 April 2011). "Robot Reviews: Paying for It". Comic Book Resources. Archived from the original on 11 November 2011. Retrieved 11 April 2011.
- Park, Ed (2 May 2011). "Text Appeal". Toronto Standard. Retrieved 5 May 2011. (followup at The Comics Journal, Notes to a Note on the Notes of Chester Brown)
- Pustz, Matthew J. (1999). Comic Book Culture: Fanboys and True Believers. University Press of Mississippi. ISBN 978-1-57806-201-0.
- Randle, Chris (6 May 2011). "Book Review: Paying For It, by Chester Brown". The National Post. Archived from the original on 30 January 2013. Retrieved 7 May 2011.
- Rogers, Sean (9 May 2011). "A John's Gospel: The Chester Brown Interview". The Comics Journal. Retrieved 1 April 2014. part 2 3 4 5 6 7 8.
- Sim, Dave (2003). "Getting Riel (interview)". Cerebus (295–297). Aardvark-Vanaheim. Also available online: parts 1 2 and 3.
- Tousley, Nancy (1 March 2005). "Interview: Chester Brown: Louis Riel's comic-strip biographer". Canadian Art. Archived from the original on 21 March 2012. Retrieved 19 April 2012.
- Verstappen, Nicolas (August 2008). "Chester Brown". du9.org. Retrieved 1 April 2014.
- Wagner, Vit (29 April 2011). "Paying for It: A Comic-Strip Memoir About Being a John by Chester Brown". The Toronto Star. Retrieved 1 May 2011.
- Walker, Benjamen (17 May 2011). "The Difference Between Giving and Taking (a conversation with Chester Brown)" (Interview: Audio). Retrieved 23 May 2011.
- Weisblott, Marc (17 September 2008). "Chester the Libertarian". Retrieved 5 May 2011.
- Weisblott, Marc (14 April 2011). "Federal election candidate publishes comic book memoir about prostitutes". Yahoo! News. Retrieved 1 May 2011.
- Wolk, Douglas (2007). "Chester Brown: The Outsider". Reading Comics: How Graphic Novels Work and What They Mean. Da Capo Press. pp. 147–155. ISBN 978-0-306-81509-6.
Further reading
- Chester Brown: Conversations by Dominick Grace and Eric Hoffman, with notes by Chester Brown, University Press of Mississippi, 2013
External links
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- Chester Brown at the Grand Comics Database
- Chester Brown at the Comic Book DB (archived from the original)
- News Briefs featuring Chester Brown at Drawn & Quarterly's website
- Time.com interview with Chester Brown
- CBC Arts Online article about Chester Brown's Ed The Happy Clown series
- Chester Brown induction into CBC Arts Online's Alternative Canadian Walk of Fame
- Audio interview Archived 19 July 2011 at the Wayback Machine of Brown by Seth
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