Instead of complaining about the limitations of comics, and the sad position they hold in America's art culture, I would like to discuss a book that should be on every top 5 list of the best comics of 1999. Julie Doucet's "My New York Diary" was one of my favorite books of the year, and I encourage you all to give it a try if you've been interested in what I've had to say about comics during the past few months in this column. It's published by Drawn and Quarterly, and retails for $12.95. Enjoy this review:

"My New York Diary" represents Julie Doucet's best, most focused, and most compelling work to date. Already one of alternative comics most popular creators, this is quite an accomplishment. Retreating from (but not entirely abandoning) the surreal, and dream like elements of her mini comics and early Dirty Plotte issues, we are treated to a more traditional sort of auto-bio comic. But, instead of following the rules of countless other auto-bio creators, who try endlessly to duplicate the style of R. Crumb and Harvey Pekar (with inconsistent results, to say the least), Doucet does it her way. With her strikingly cartoony, packed to the limit panels (almost as packed as a Will Elder story in Mad, a comparison that I haven't heard yet), Doucet's artwork is some of the most recognizable in comics. The cover to Dirty Plotte, er, excuse me Purty Plotte #10, says it all: an urban skyline, drawn nowhere near the traditional sense, but somehow capturing the exact feeling of an urban jungle.

In addition to the memorable "The First Time" (where we begin to see just how great a storyteller she is) and "Julie in Junior College" (an issue length story about Julie's challenges in Junior college), the focus of MNYD is the three issue story line from Purty Plotte #'s 10-12. (I should note that the two additional stories are great on their own, so don't think that this collection is only MNYD).

Julie has moved to New York to be with her new boyfriend, who seems perfect from the get go. She leaves Montreal for the big apple, and falls in love with the beauty of the city. But, her boyfriend become increasingly possessive, and jealous of her success as a cartoonist (which is his profession as well). Between constant drug use, and occasional epileptic fits, Julie realizes she must leave the apartment, and finds her own place (not so easy in New York).

This sounds like pretty standard, tired subject matter in the hands of any other storyteller. But, Doucet is able to chronicle the emotion of herself and her boyfriend, in a way that remains unique throughout the tale. Doucet's writing style doesn't spell everything out for us, which is refreshing. The dialogue is also great, and while it may seem disorienting at first, the quick and unsure way in which the characters speak is soon proven to be very realistic. The realism is contrasted well with Doucet's visuals, which are a personal favorite of mine, as well as instances where Doucet takes back to the reader.

Another theme in MNYD is that of Doucet's rising career, with honors such as a Harvey Award being sent to her, meeting with Art Spiegelman at a "Raw" party, getting good illustration jobs, etc., while her boyfriend continues to struggle. Thus, despite her success, Doucet is forced to stay on the same emotional level as her neurotic boyfriend.

MNYD is a true work of art, from a creator who may have the most energy and raw talent in all of comics.

Copyright © 2000 Austin English All Rights Reserved

Austin English was born in San Francisco where he continues to reside to this day. His interviews with alternative cartoonists have appeared throughout the Internet, most notably at www.indymagazine.com. He also has a self-published mini-comic entitled The Tenth Frame available for just $1.00. You can contact him at three1145@aol.com, or P.O. Box 460584 San Francisco, CA 94146-0584.

<art> JOHN LINTON ROBERSON was born January 22, 1969, in Seattle, but raised in Charleston, SC, much to his regret. In 1987 he entered the Goodman School of Drama at DePaul University, Chicago at the time the third-best dramatic conservatory in America. John shared with famous alumni Linda Hunt and Daryl Hannah the distinction of failing his second-year evaluation, after which he pursued a seven-year career as a playwright, taking the blame for such productions as Suspension of Disbelief(Clone Theatre Co., 1989), and The Instinctive Hatred of Reality(Screaming Theatre, 1992).

In 1997, totally disillusioned with the marginal medium of theatre, John went back to his first choice of comics, adapting his black comedies for the medium in the quarterly satirical comic PLASTIC, (called by no less than the Comics Journal's Tom Spurgeon "unpleasant and boring.") which he publishes through his Bottomless Studio imprint (members.delphi.com/JOHNROBERSON/index.html). Currently running the "Epic Tale of Love, Art & Explosives," Vitriol, future projects include the blasphemous Stained Glass and the religious satire Jubilee. He is engaged to collaborator Kelly Pillsbury(Ribbed For Her Pleasure) and is very pleased to be here at Spark-Online. He can be contacted about how to get Plastic, or other stuff, at JLRoberson@excite.com.