From Publishers Weekly
Gloeckner is a legendary figure in underground comics. Her short, powerfully candid and visually explicit autobiographical graphic narratives vividly re-create the sexual victimization of her childhood and adolescence. Her first full-length book combines new work in color and in black-and-white, including the title story, along with older, shorter narrative comics dating back to 1976. (An appendix reprints her disturbing medical illustrations for J.G. Ballard's avant-SF classic The Atrocity Exhibition.) Abandoned by her father and sexually victimized by her alcoholic mother's lovers, the teenage heroine of "Minnie's 3rd Love" endures a "week-long nightmare of sex and drug-taking" among the hustlers and addicts of 1974 San Francisco. In the ruefully humorous "Quaker School Q-Ties," girls team up to embarrass, and disgust, boys in their grade school. Gloeckner's drawings combine a labored precision with a wild, often satirical expressiveness; her protagonists can resemble sad, angry toy dolls. Undergound comics master R. Crumb's introduction combines glowing praise and a typically embarrassing confession: "I, too, lusted after the young, budding artist-cartoonist."
Copyright 1998 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
Review
About suffering they were never wrong, The Old Masters," wrote Auden, lines that come to mind upon reading R. Crumb's introduction to Phoebe Gloeckner's largely autobiographical collection, A Child's Life; in it, he assesses her story
Minnie's Third Love as "one of the comic-book masterpieces of all time." The old master is indeed right. Subtitled
Nightmare on Polk Street, the tale Chronicles Gloeckner's teenage persona (usually called Minnie, but also Mary, Penny, and other variations) on the run from home, where she has been psychologically and sexually abused by her mother's boyfriend. Combining observational precision with hallucinatory perspective, Gloeckner maps the emotional labyrinth of childhood trauma in such detail that she is somehow able to find her way out of it." --
Eric Lorberer, Rain Taxi, Vol. 3, No. 3, Fall 1998Gloeckner's unsparing memory and painstakingly detailed pen-and ink drawings of family dysfunction, childhood cruelty, and queasy sex make for seriously disquieting reading. The book takes us through the years with Gloeckner's alter ego Minnie, whose childhood is dominated by her overbearing, ogling stepfather and whose adolescence is spent on the streets of San Francisco in a morass of unsavory drugs and even less savory men. The unwelcome sexualization of young girls forms the center of every story in
A Child's Life, not to mention the very introduction, in which cartoonist R. Crumb slobbers over the artist ("I'm just like all the other despicable males that appear in these comic stories...I, too, desired to subject the beautiful, intense young girl to all sorts of degrading and perverse sexual acts...") In Gloeckner's hands, the disturbing subject matter translates into absorbing art that's hard to wrap your eyes around, but unforgettable once you do. --
Andi Zeisler and Lisa Miya-Jervis, Bitch, Vol. 3 No. 3, Winter 1998Phoebe Gloeckner's
A Child's Life and Other Stories is as perfect a publishing project as we're likely to see this calendar year: it collects short stories, both new and previously-published, from a period of over 20 years; the stories are consistently interesting and some are downright excellent; and the experience of reading all of the work in one place creates an artistic whole greater than the sum of its parts. --
Tom Spurgeon, The Comics Journal, No. 207, September 1998
--This text refers to an out of print or unavailable edition of this title.