Twisted Sisters: A Collection of Bad Girl Art (Penguin graphic fiction) by Diane Noomin |
by Phoebe Gloeckner
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by Aline Kominsky-Crumb
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by Aline Kominsky Crumb
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The Diary of a Teenage Girl: An Account in Words and Pictures by Phoebe Gloeckner |
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Editorial Reviews
Amazon.com Review
In the mid-1970s, disillusioned by the politics of the Wimmin's Comix Collective, Diane Noomin and Aline Kominsky-Crumb formed Twisted Sisters Comics, which featured women cartoonists. Now Noomin is back at it with her second Twisted Sisters book, Drawing the Line. This collection features new work by Aline Kominsky-Crumb, Dame Darcy, Mary Fleener, Carol Lay, Penny Moran Van Horn, Krystine Kryttre, Carol Tyler, Carol Swain, and Noomin herself. The artists cover subjects ranging from sex, personality problems, rape, and miscarriages to cannibalism and the virgin birth. --This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
A terrific collection of women's cartoons from Drawn & Quarterly's Twisted Sisters series, these stories by some of today's best women artists cover the spectrum of style, tone and content. The two most notable pieces are by the wives of some of comicsdom's favorite men-Aline Kominsky-Crumb, married to R. Crumb, and Diane Noomin, married to Zippy creator Bill Griffith-and feature their husbands as characters. Drawn matter-of-factly in a simple style, Noomin's story is a personal and poignantly funny account of a woman named Diane's four miscarriages and includes her rambunctious main character, Didi Glitz, as the shrink supervising Diane's embryonic struggles. Also worth seeing is Fiona Smyth's refreshing, primitive drawing in "Late" and M.K. Brown's richly surreal, campy "White Girl Dreams." Many stories deal with such issues as teen pregnancy and hustling, and horrible accounts of sexual abuse, especially P. Gloeckner's disturbing "Minnie's 3rd Love," about teen drug users in San Francisco in the 1970s. But there is also an unmistakable sense of sorority and solidarity in these pages that, while unifying the work as "women's art," also allows the artists to show off their individual styles and histories. The lighthearted pieces-Mary Fleener's surfing story, Caryn Leschen's infidelities and the willowy rendering of the Lilith fable by new-toonist-in-town Dame Darcy-are nice breaks from the trials of being a woman in toons.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
In the mid-1970s, disillusioned by the politics of the Wimmin's Comix Collective, Diane Noomin and Aline Kominsky-Crumb formed Twisted Sisters Comics, which featured women cartoonists. Now Noomin is back at it with her second Twisted Sisters book, Drawing the Line. This collection features new work by Aline Kominsky-Crumb, Dame Darcy, Mary Fleener, Carol Lay, Penny Moran Van Horn, Krystine Kryttre, Carol Tyler, Carol Swain, and Noomin herself. The artists cover subjects ranging from sex, personality problems, rape, and miscarriages to cannibalism and the virgin birth. --This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
A terrific collection of women's cartoons from Drawn & Quarterly's Twisted Sisters series, these stories by some of today's best women artists cover the spectrum of style, tone and content. The two most notable pieces are by the wives of some of comicsdom's favorite men-Aline Kominsky-Crumb, married to R. Crumb, and Diane Noomin, married to Zippy creator Bill Griffith-and feature their husbands as characters. Drawn matter-of-factly in a simple style, Noomin's story is a personal and poignantly funny account of a woman named Diane's four miscarriages and includes her rambunctious main character, Didi Glitz, as the shrink supervising Diane's embryonic struggles. Also worth seeing is Fiona Smyth's refreshing, primitive drawing in "Late" and M.K. Brown's richly surreal, campy "White Girl Dreams." Many stories deal with such issues as teen pregnancy and hustling, and horrible accounts of sexual abuse, especially P. Gloeckner's disturbing "Minnie's 3rd Love," about teen drug users in San Francisco in the 1970s. But there is also an unmistakable sense of sorority and solidarity in these pages that, while unifying the work as "women's art," also allows the artists to show off their individual styles and histories. The lighthearted pieces-Mary Fleener's surfing story, Caryn Leschen's infidelities and the willowy rendering of the Lilith fable by new-toonist-in-town Dame Darcy-are nice breaks from the trials of being a woman in toons.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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