Month: March 2012 (page 1 of 2)

Women’s History Month: Edwina Dumm, 1893-1990

Edwina Dumm is one of our heroes here at the Cartoon Library, and we are extremely proud to have her collection in our archives. Beyond being an Ohio native–born in Upper Sandusky, in 1893–Edwina was the first woman in America to be employed as a fulltime editorial cartonist, on our own Columbus Daily Monitor.   Her work was first published on August 7th, 1915 and her first signed cartoon appeared on November 27th, 1915.   Dumm was a political cartoonist before she was able to vote, since the 19th Amendment granting women that right did not pass until 1920.

Home-made scrapbooks of Edwina Dumm's newsprint clippings, and a sleeved clipping from one of them. From the Edwina Dumm Collection, The Ohio State University Billy Ireland Cartoon Library & Museum (click to englarge)

When the Monitor ceased in 1917, Edwina took the opportunity to fulfill her dream of moving to New York City to be an artist. Upon her arrival, she went to see newspaper columnist George Matthew Adams who had founded his own syndication service. Dumm showed him her strip “Meanderings of Minnie.”  Adams liked it immediately  and offered her a contract.  She changed the characters in the strip to become “Cap Stubbs and Tippie”, and it debuted in 1918. The strip was a huge success, and ran for nearly half of a century. Edwina also enjoyed success as an illustrator, creating a cover for Life magazine in January of 1930, and illustrating several books including Burges Johnson’s Sonnets from the Pekinese. In 1978, she became the first woman to receieve the Gold Key Award from the National Cartoonist Society Hall of Fame.

Edwina Dumm's Tippie and "Cap" Stubbs strip from November 2, 1951. From the Edwina Dumm Collection, The Ohio State University Billy Ireland Cartoon Library & Museum

Edwina retired from cartooning in 1966 at the age of 73, and passed away in New York City in April of 1990. To find out more about Edwina Dumm and see further samples of her work, please visit our Edwina Dumm Digital Exhibit.

Women’s History Month: Barbara Shermund, 1899-1978

My name is Caitlin McGurk, and I love Barbara Shermund.

"I was just thinking Freddie, what would you ever do without me?" Barbara Shermund original. Part of the International Museum of Cartoon Art Collection, The Ohio State University Billy Ireland Cartoon Library & Museum (click to enlarge)

One of the first female cartoonists at The New Yorker, Barbara was one of the most edgy, whimsical, and cutting cartoonists of the past century– yet you have probably never heard of her. It’s as entertaining and exhilirating to go through the Barbara Shermund collection here at The Billy Ireland Cartoon Library & Museum as it is frusrating- how have we forgotten such a brilliant pioneer of early feminist gag cartoons? A quick google search for Barbara will retrieve a few art auctions of her work, Hilda Terry’s Wikipedia page, some extremely brief single-paragraph biographies, and one lovely but short rememberance by cartoonist Michael Maslin.

Luckily, New Yorker cartoonist Liza Donnelly’s incredible book Funny Ladies: The New Yorker’s Greatest Women Cartoonists and Their Cartoons pays homage to Shermund again and again, and sheds some light on who she was. Letters between Shermund and cartoonist friend Eldon Dedini deconstruct the mystery, and just looking at her originals here at the Cartoon Library tell their own story.

"Evelyn, speak more respecftfully to your father!" "Oh mother, don't be so pre-war!" Barbara Shermund original. Part of the International Museum of Cartoon Art Collection, The Ohio State University Billy Ireland Cartoon Library & Museum(click to enlarge)

Born in San Francisco in 1899, the daughter of a sculptor and an architect, Shermund was encouraged in her talents and attended The California School of Fine Arts. At 26, she moved to New York City where she began working for The New Yorker within its first four months of existence–both writing and drawing cartoons herself in the beginning. Contributing 8 covers for the magazine and hundreds of cartoons, Shermund’s humor was esstential for the times, and she later went on to become a mainstay at Esquire.

Donnelly writes of her, “She drew mostly about the New Woman, demonstrating an understanding of the newfound independence while not being afraid to poke fun at her. Her women were alternately clueless and strong, depending on the cartoon. This was the state of women at the time–some were experimenting, coming out of the home, and speaking their mind. Meanwhile flappers among them showed disdain for an education and just wanted to have fun. What comes through in many of the cartoons is that Shermund’s women did not need men”

With a sense of humor that hits you quick but is hard to pin down throughout the entirety of her career (her work changed quite drastically once she stopped writing her own gags), this transcience seemed to pervade most aspects of her life. Although she arrived in NYC in 1925, Shermund did not have a set address until much later in her life. She was considered the most well-travelled New Yorker cartoonist of the time, constantly taking off for another city or country, or spending her time staying with friends between Manhattan and Woodstock, NY. Without ever having a formal studio space, she preferred drawing at the kitchen table.

As seen in some of the pieces I’ve included in this post, Shermund’s characters were alive and astute. They spoke their mind about sex and marriage, smoked cigarettes and made fun of everything at a time when it was not so proper or common to see young women doing so. She was among the first three women to be seriously considered and eventually accepted as a member of the boys club that was the National Cartoonist Society in 1950. In Hilda Terry’s witty letter to the NCS requesting their admittal (Terry, Shermund, and Edwina Dumm), she suggests that they change their name to the National Men’s Cartoonist Society. Assertive and ambitious while still maintaining a charmingly sly repose, these strong women truly paved the way for their successors- and seemed to have fun doing so.

"Well, I guess women are just human beings after all." Barbara Shermund original. Part of the International Museum of Cartoon Art Collection, The Ohio State University Billy Ireland Cartoon Library & Museum (click to enlarge)

There is still much to uncover about Shermund’s life, and I’d like to thank Liza Donnelly for writing such a glorious and well-researched book that includes a bit of her history. We at the Cartoon Library would love to someday have an exhibit of Shermund’s work,  and if any readers have more information on her we would love for you to share it!

To see a few more of my favorites from her collection of hundreds of originals, you can search for Barbara Shermund by name in our Cartoon Image Database.

-Caitlin McGurk

Women’s History Month: Who Runs the Cartoon Library?

Since our founding in 1977 by Lucy Shelton Caswell, the patron saint of cartoon-care, the Billy Ireland Cartoon Library & Museum has been curated by women. It is no secret that the world of cartooning is largely a man’s world, especially 30+ years ago when the Cartoon Library was first formed. With so much of the negative news and attention surrounding the treatment, representation, and position of many women in comics- it is an extra point of pride for us as females to celebrate running the largest collection of cartoon art in the world.

In the beginning of January 2011, the indomitable Jenny Robb became the head curator after Lucy’s retirement. Jenny had come to us from the Cartoon Art Museum in San Francisco, where she was the head curator for five years, starting in 2000. With a background in history and museum studies, Jenny is a leading authority on political and editorial cartoon art, and an endless source of knowledge and passion for the form.  As Jenny carries us through the transition of expansion into Sullivant Hall, she has pushed to bring on two new curators to help guide the way and help support the growth of our collection. One being myself (Caitlin McGurk), and the other Wendy Pflug- who I am thrilled to introduce below.

The hard workin' Wendy Pflug

Wendy came on as the Associate Curator at the Cartoon Library just this past December of 2011. In the day-to-day, Wendy is essentially responsible for managing our entire collection. To prepare for our big move, she is doing a collection survey which consists of reviewing every single collection we have received since the 1970s, and assessing how we have cataloged it and how we provide access to it.  An important part of this process is devising plans for arranging unprocessed collections: is maintaining the original order important for a specific collection, or is there another arrangement that would intuitively make for the highest ease of access? Where would a researcher look first? When working with a collection of the magnitude of the Cartoon Library, being able to understand what we have, how much we have, and what needs to be done to make it available and findable is essential in prioritizing the work process, though not at all simple. She hopes to have a complete survey by 2013.  On top of Wendy’s collection assessment focus, she is also working with our Japanese Subject Specialist to devise a new collection development policy for our Manga collection of 17,000 volumes.

Wendy graduated from the University of Michigan with an MLIS in Archives and Records Management in 2004, and has worked with a fascinating range of archival collections since then. These have included The History Factory in Virginia, where she was contracted to catalog and organize the archives of a pharmaceutical company–Abbott Labs–including over 5,000 pharmaceutical samples. She has also worked for the African American Jazz Preservation Society of Pittsburgh as an archivist, with the records of the UE Union, and more. With an obvious thirst for learning about and mastering such unique collections in the past, diving into a cartoon art archive was just another welcomed challenge. Wendy feels that: “Processing is a puzzle- you have all of these separate pieces, but when you figure out how to put them together you can construct someone’s entire life, or the history of a corporation. Every piece matters, and you need each one to make sense of the rest.” She describes herself as a “generalist” or a “tour guide”, using her career as a way to spend life learning and understanding the history of others and the human condition. That is the humble and inspiring attitude of a natural-born librarian, and we are all absolutely thrilled to have her on board with us!

Now to quickly introduce- myself!

I’m Caitlin McGurk, the Visiting Curator here at the Billy Ireland Cartoon Library & Museum. I started this dream position a little over a month ago on February 1st, and couldn’t be happier to be here. My focus is on outreach and engagment, to further cultivate and raise awareness of our collection. This spans everything from running our social networking sites and blog, to working with contemporary cartoonists to keep our collection modernized, teaching classes at the Cartoon Library, assisting in the scheduling, planning and designing of exhibits, and more. With our upcoming move to Sullivant Hall, I hope to greatly increase our public presence, and someday turn Columbus into the top destination in America for cartoonists and comic fans alike! Hey, you never know.

Me (Caitlin McGurk) and my boyfriend, Alfred E. Neuman.

As an avid comics fan and cartoonist/zinester myself, when going into school for my MLIS degree I was absolutely fixated on working with the comics medium- someway, somehow! The prophecy was fulfilled, and my professional experiences as a librarian have just about all involved working with comics. These include Marvel Comics, Columbia University’s Bulliet Comics Collection, The Center for Cartoon Studies, and more. I have also written for Diamond Comics’ Bookshelf magazine for educators and librarians, self published my own works, and try to remain active in the comics community at large. Becoming a comics librarian was the best idea I have ever had.

Thanks for keeping up with our blog, and I hope you’ll check back to find updates about female comics creators and contributors for the rest of Women’s History month!

Women’s History Month: Hannah Humphrey, fl.1745-1818

Although not a cartoonist herself, without Hannah Humphrey the career of venerated satirical caricaturist James Gillray may have taken a much different, and quite possibly shorter path. The younger sister of print shop owner William Humphrey, Hannah most likely learned the trade from helping her brother out with his business.  In those days, cartoons were sold separately as individual prints and were only rarely included in periodicals.

"Company Shocked at a Lady getting up to Ring the Bell" by James Gillray, published by Hannah Humphrey in 1804. Part of the Hale Scrapbook of the Draper Hill Collection, The Ohio State University Billy Ireland Cartoon Library

Hannah Humphrey opened up her own print shop on Old Bond Street in London, which grew into the most successful print shop in the city. Humphrey remained an independent and self-sufficient woman throughout her entire life, a business owner at a time where it was very uncommon for a female to have her own shop. Often, she went by “Mrs.” instead of “Miss” to protect her reputation and cover the fact that she never married from becoming scandalous.

In 1791, James Gillray began to work exclusively for Humphrey- and even took up residence in one of the apartments above her shop. As business grew she relocated the shop twice–first to New Bond Street and then St James Street–followed in both cases by Gillray. Because Humphrey was his exclusive publisher, the only way to buy or see a Gillray print at that time would be to visit her shop. In the Gillray piece below, we see an outside view of Humphrey’s print shop, where she hung the prints in the window for advertisement and entertainment.

"Very Slippy-Weather" by James Gillray, published by Hannah Humphrey in 1808 showing the outside of Humphrey's print shop. Image from Diana Donald's "The Age of Caricature", The Ohio State University Billy Ireland Cartoon Library & Museum

In 1806 Gillray’s eyesight began to fail, and he fell into a suicidal depression. Although he was no longer able to work due to his handicap, Hannah looked after Gillray until his death in 1815.

Found in the Collection: The Gag Master!

Looking to finally cash in on that Funny Money, but fresh out of ideas? Presenting, The Gag Master! Over 30,000 hilarious gag possibilities!

This delightful relic from 1963 accompanied Glenn Bretthauer’s How To Make Money With Simple Gags: A Complete Course in Gag Writing!, the cover of which can be seen below. One spin, and you too could be riding that G-Nib of success to the big paycheck in the stars.

Cover from Brett's "How To Make Money With Simple Gags," from the L.D. Warren Collection, The Ohio State University Billy Ireland Cartoon Library & Museum.

Here’s how it works folks: the largest pink disc gives you drawings of 50 CHARACTERS who are sure to be ripe for shenanigans, such as: Bathing Beauty, Witch Doctor, Nagging Wife (did Bill Hoest use this?), Drunk, Plumber, Chinese Laundryman (yeah, we know), Mailman, etc. The second-to-largest wheel in blue contains 25 drawings of PLACES for these characters to interact, such as: Airport, Orchestra Pit, Barber Shop, Courtroom, Department Store, Small Island, etc. Lastly, the small yellow center wheel contains 25 different BASICS OF HUMOR, including: Failure To Accept Custom, Animals Doing Human Things, Loss of Dignity (hilarious!), Curiosity, Absent Mindedness, Doing Things The Hard Way, and so on.

Brett recommends the “ROTATE AT RANDOM” method, though he notes that it’s one of “many” (unnamed) methods for using the ‘master.

A testimony by one Gag Master convert describes it as “a thrilling mental sport and a real challenge to one’s brain and imagination.”  Here at the Cartoon Library we hope that you too will be inspired to build a life of opulence by joining the ranks of other money-making behemoths through the fine art of gag writing.

[Special thanks to Tom Gammill for help with this post.]



Teaching in the Cartoon Library

During the winter quarter this year at OSU, we had the pleasure of hosting 9 classes from a variety of disciplines at the Cartoon Library. Each class was interested in exploring the significance and potential of comics and cartoons within the scope of their subject.

Curator Jenny Robb talking about editorial cartoons to Professor Soland's History 398: Introduction to Historical Thoughts & Methods

Among these classes were Prof. Ben Owen’s English 110: First Year English Composition; Prof. Suzanne Silver’s Art 470: Intermediate Drawing and Art 670: Advanced Drawing; Prof. Barry Shank’s Pop Culture Studies; Prof. Caitlin Stokes’ Art 205; Prof. Soland’s History 398: Introduction to Historical Thought and Methods;  Prof. Christine Ballengee Morris’ Art Education 367.01: Ethnic Arts, and Nicholas Hetrick’s World Literature class from Wellington High School.  Several of these classes also used our materials for specific assignments.

English 110.02: First-Year English Composition – Comics and Culture 

As a first-level composition course, the focus of Professor Owen’s class is on academic writing and revision. An introduction class that many of us are very familiar with from undergraduate studies, but with a unique spin on it: the focus is entirely on comics. The class explored everything from newspaper strips to web comics, graphic novels to avant-garde anthologies.

In Prof. Owen’s syllabus, he explains: “The medium of comics is one of clarity and compression—conveying the largest amount of information in the smallest space possible. When done well, a comic can convey a world of ideas without the reader even noticing.” … “The principle of analysis is that you can find out the most about an object by looking carefully at its individual parts and examining how those parts work together. Comics make for a particularly rewarding subject in this regard, because behind their deceptively simple, apparently kid-friendly surfaces, we can find out a great deal about the secrets of space, time, life, art, the universe, and everything. Moreover, at a time when culture is increasingly visual, and the basis of literacy has more and more to do with understanding how to present information spatially, comics offer sophisticated models for thinking and writing in space.”

During English 110’s trip to the Cartoon Library, they took a look at materials ranging from Kramer’s Ergot 7 to Winsor McCay’s Little Nemo in Slumberland. Having read Scott McCloud’s Understanding Comics in class, their goal was to analyze one of the pieces pulled for them in the Cartoon Library in the context of one of McCloud’s theories about the medium, such as how the gutter is the defining feature of comics, how time works on a page, identification through simplification of ideas, etc. The end result is a two-page paper that looks at how the cartoonist uses the tools of the comics format to convey his or her message, and whether or not McCloud’s claims apply.  Students can either agree with McCloud and use the comic they selected as a primary source and Understanding Comics as their evidence, or disagree with McCloud, using Understanding Comics as their primary source and the comic as their evidence.  The purpose of Prof. Owen’s field trip and assignment is to get his students to look at a unique medium and position themselves in an academic debate on the subject.


Art 470 & 670: Intermediate & Advanced Drawing – Narrative, Art & Language

Professor Suzzane Silver brought both her Intermediate Drawing and Advanced Drawing classes to the Cartoon Library to take a look at language and narrative in comics. Most of the students were brand new to the medium, and became exposed to originals of George Herriman’s Krazy Kat, Andrei Molotiu’s Abstract Comics anthology, Lynd Ward’s woodcut novels, the work of Kevin Huizenga, originals from Walt Kelly’s Pogo, and much more.

In the syllabus for Prof. Silver’s class trip to the Cartoon Library, she asks the students to “Create a series of drawings involving a form of narrative or anti-narrative. What is the relationship of narrative to the structure of the page? Is the structure sustained or subverted?”  The students took a particular interest in the Abstract Comics anthology, and the concept of using nonrepresentational shapes on a page in a way that presents a story arc, without any formal narrative in play. Their assignment included researching and presenting about an artist from a list provided by Prof. Silver including Henry Darger, Raymond Pettibon, Duchamp, Art Spiegelman.

If you are a professor and would like to bring your class into the Billy Ireland Cartoon Library & Museum, we would love to have you–no matter the discipline! We are constantly finding new and exciting ways to connect comics and cartoon art to nearly every subject matter. We ask that you give us a minimum of one month advance notice to arrange a class visit or library tour, in order to make it the best possible experience for you and your students.  Contact us at and include the course name and number, your goals or objectives for the visit, the number of students and your preferred date or dates.  If you are interested in viewing specific materials, use our Search Tools to locate the object title, creator, and finding number or consult with a library staff member.


Will Eisner Week: Joe Dope

Corporal Will Eisner. Photo from The Will Eisner Collection, of The Ohio State University Billy Ireland Cartoon Library & Museum

In early 1942, Eisner was drafted into the war- leaving behind his trusted assistants to work on The Spirit during his time on duty. While away, he was given a number of assignments for camp newspapers, and eventually began to work with the Hollabird Depot on a publication called Army Motors. As cartoonist for the magazine, Eisner used his medium to teach G.I.’s about preventative maintenance in their own language. It was there that he developed Joe Dope, an educational comic strip revolving around the clumsy Joe and his mishaps, framed to teach army safety lessons. Eventually, Eisner and Joe Dope moved on to PS, The Preventive Maintenance Monthly, a U.S. Army magazine on proper equipment maintenance. Eisner remained the artistic director from the magazine’s inception in 1951 through 1972.

Below is an original Joe Dope illustration by Eisner, circa 1944 for Army Motors.

Joe Dope. Original illustration from The Will Eisner Collection, of The Ohio State University Billy Ireland Cartoon Library & Museum


Thank you all for keeping up with us during Will Eisner Week! We hope you will come check out Will’s collection at The Billy Ireland Cartoon Library & Museum sometime soon. For a closer look at the holdings, you can view the finding aid here.

We’ll resume our normal posting format come Tuesday. Have a great weekend!

Will Eisner Week: Researching Religion in Eisner’s Work

Interview with Martin Lund, Researcher at the Cartoon Library February 7-22, 2012

Swedish Ph. D. Candidate Martin Lund

Martin Lund is a Ph.D. candidate in Jewish Studies at the Centre for Theology and Religious Studies at Lund University in Sweden.  He arrived at the Billy Ireland Cartoon Library & Museum on February 7th, 2012 with a two-week research request to view the collection of Will Eisner’s papers.  These 7 boxes contain Eisner’s personal and business correspondence, articles, and commercial publications.

Caitlin McGurk: Thanks for making time to talk with me! Can you tell me a bit about your Ph.D. thesis work, and what you’re hoping to gain from using the Eisner collection?

Martin Lund: The general subject of my thesis is “Jewish Cultural Memories in and of American Comics”. I’m looking specifically at Jerry Siegel and Joe Shuster’s original run on “Superman”, Will Eisner, and Chris Claremont’s “Uncanny X-Men”.

CM: Interesting choices – why those creators specifically?

ML: I chose them for the fact that they worked in mainstream comics… comics that were created for and have reached a much broader audience. I didn’t want to write about more alternative creators like Art Spiegelman or Harvey Pekar whose works are created with more of an outspoken intention to reflect the Jewish experience. Instead, I was looking to find something less obvious. The three main focuses of my thesis are 1- How, if at all, is the fact that they (Siegel, Shuster, Eisner, and Claremont) were Jewish reflected in their work? 2- How is this fact argued in recent writings on Jews in comics? 3- How do similarities and discrepancies between these two issues reflect and effect contemporary American Jewish identity politics?

CM: I see, so you’re looking at other critical works that address this topic as well?

ML: Yes. In fact, a lot of my inspiration came from reading material on similar issues, but ones I felt were not as critical and contextualized as they could be. A lot of the work on Jews in comics that I will be studying is… I guess you can label it post-Michael Chabon’s fantastic novel “The Amazing Adventures of Kavalier and Clay”, because of the effect the book seems to have had on the discourse. I want to read both collections of material from a cultural history and sociology perspective, and through this hopefully further the understanding of how comics reflect and are said to reflect the American Jewish experience in the past century.

CM: This all sounds fascinating! So, have you found any especially interesting gems in the Eisner collection so far?

ML: Oh, I’d say just about all of it is fascinating – to me at least! There is a lot of old business correspondence in there between “Jerry” Iger, Eisner, and E.M. (“Busy”) Arnold from the studio days of working on “The Spirit”. The way that Arnold criticizes Eisner’s work is hilarious – very harsh and matter-of-fact. Another amazing thing to see is all of the fan mail and his correspondence with some of the greats. His exchange of letters with Harvey Kurtzman, recommendations from Art Spiegelman, and even a few lines from Brian Michael Bendis, a creator who is (I think very deservedly) famous in his own right today, thanking Eisner for the inspiration he provided. In his responses to many now-famous creators who sent him samples of their work, Eisner often gives them an artistic tip or two.

CM: Haha, excellent. I assume you’ve found what you’ve been looking for in the Eisner holdings – can you talk a bit about how you’re analyzing all of the material? What do you look for in particular to support your thesis?

ML: I look for keywords and topics in his personal writings – like anything pertaining to his views on life, or of course to Judaism or Jewishness in general. A lot of what I’ve found is along the lines of what Eisner said in other places, about not considering himself a particularly Jewish writer, but instead insisting that he just “wrote what he knew”. He appears like more of an observer – reporting the human experience through the lens that he knows, which, he writes, happens to be Jewish culture. He refers to himself as a Jewish Frank McCourt. He also mentions in one correspondence about “The Spirit” that only Jules Feiffer considered “The Spirit” to be Jewish, even underlining the word “only”.

CM: I’m really glad to hear it was fulfilling research! So, have you used comics in your religious studies research before, or do you plan to again? I think it’s a very unique discipline to apply comics to, so all of this has been fascinating to hear about.

ML: Comics and religion are what I want to study, for as long as I’m able to. I’ve actually been working on another piece during my stay in Columbus, totally unrelated to my thesis, about Jack Chick’s “Chick Tracts”. They are definitely a private obsession of mine. I’m looking at Chick’s use of stereotypes – the division of humanity into what he calls the saved and the lost – and how he uses these in his tracts for propaganda purposes.

CM: As a New Yorker, I’ve amassed quite a collection of Chick Tracts myself. High entertainment! Both of the projects you’re working on sound incredible – please keep us posted on when they are available. Thank you so much for taking the time to talk with me, and for coming all the way from Sweden to use our collection!

Will Eisner Week: Gre-Solvent

Drawn by a 19 year old Will Eisner as a commercial job for the cleaning product “Gre-Solvent”; without the strip below Eisner & Iger Studio (also known as Syndicated Features Corporation) may have never existed.

"Gre-Solvent" Advertisement drawn by Will Eisner. From The Will Eisner Collection, of The Ohio State University Billy Ireland Cartoon Library & Museum

In 1936 after the dissolve of Samuel Maxwell “Jerry” Iger’s Wow, What a Magazine!, Iger and Eisner teamed up with the plan of forming a studio that would produce comics “on demand”. Comic publishers at the time had previously focused on reprints of newspaper strips, while Eisner & Iger were able to bring something new to the table: full feature comic stories created specifically for their publication.

As legend has it, Iger was hesitant about the finances it would require to start up a company. Eisner convinced him otherwise by using the $15 he had received for drawing the “Gre-Solvent” ad to pay the first 3 months rent for an office space (rent being $5 per month). Thus emerged Eisner & Iger Studio, and an opportunity for young cartoonists they hired such as Jack Kirby, Wallace Wood, and Jules Feiffer to first enter the field.

Will Eisner Week: ReadAloud – A Contract With God

In honor of Will Eisner’s birthday (March 6th), Caitlin McGurk (that’s me!) and graduate student Ben Owen will be reading aloud from Eisner’s A Contract With God in Thompson Library, Room 150A from 3:00-4:00pm. We will be reading the story Cookalein- a tale of interweaving relationships between tenement residents from the Bronx, as they leave the city for their summer vacation in the Borscht Belt.

Please join us, and have an excellent Will Eisner Day!

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