David Peterson on Robert Crumb’s The Book of Genesis Illustrated

In the Review of Biblical Literature, David Peterson of Emory University offers a judicious review of The Book of Genesis Illustrated by R. Crumb (New York: Norton, 2009). Key graf:

The illustrations themselves are interesting, often compelling. The depiction of light juxtaposed with darkness—in yin and yang fashion—is as powerful in its way as is Michelangelo’s fresco in the Sistine Chapel. Joseph, while dreaming, with his eyes open conveys a clarity of vision. The expression on Dinah’s face, after Hamor tells her that he loves her, seems just right, as does Abraham embracing Isaac at the end of Gen 22. Crumb depicts nighttime and dark moments well, such as Abraham asleep (Gen 15). The destruction of Sodom is classic.

Still, there is a certain sameness, a leveling. Crumb has clearly attempted to offer a vaguely Semitic profile to the cast of characters. One might have hoped for fewer beards and ragged hair on the men and a greater variety in the formful presentation of major female characters. Crumb captures well angry and upset people (e.g., Cain, Lamech, Esau, Dinah’s brothers); less strident characters do not receive their due. God, when angry, looks a bit like an angry Charlton Heston (so Gen 20). When the emotional purport of the story is different, that is, with a level of pathos (Gen 18) or angst (Gen 20), the portraiture does not capture the subtlety. In addition, one might have hoped for a lighter touch in certain stories. Genesis 24 breathes different air than those narratives that surround it. Crumb’s visual depiction does not convey that distinction. (It may be that the cartoon idiom presents limitations at this point.)

It is typical of the cartoon idiom to have a sameness about it. That of course is simultaneously a cartoon narrative’s strength and weakness. Here is a slideshow of Genesis 1-3.

The Book of Genesis Illustrated by R. Crumb was released in October of last year to almost universal critical acclaim. As I wrote back in October, “The loathing Crumb inspires in a few, the accolades he receives from others, cast shadows and light on his most recent work . . . Crumb is a satirist. Satirists offend. Satirists offend by exaggerating truth.”

Crumb is one of the brightest stars in the firmament of the underground comic movement, a genre and a subculture that many people are unfamiliar with, or if they are familiar with them, refuse to admit to. As Deep in the Heart of Brooklyn recently put it, Crumb’s “influence has been immeasurable, from the first issue of Zap Comix in 1968; to his most recognized comic, Keep on Truckin’, which became a widely distributed fixture of pop culture in the late 1970s; [to] the adventures of his notorious characters Devil Girl, Fritz the Cat, and Mr. Natural.” It is no wonder that Crumb’s Genesis has topped many bestseller lists, including #1 on the New York Times: Graphic Books list. Peterson makes no mention of this context in his review. Without some familiarity with the artistic subculture and associated counterculture from which it comes, Crumb’s Genesis is hard to decipher. The volume is Crumb’s attempt to relate his entire imaginary oeuvre to the Book of Books, the rhythms and dramas of which he feels at home with. As Peterson points out, Crumb is capable – very capable – of capturing some of Bereishit’s rhythms and dramas. Even then, however, only insofar as they remain within the range of experiences connatural to his artistic expression.

The original drawings of the book are currently on display at the David Zwirner Gallery in New York. Go here for details. They were recently on view at the Hammer Museum in Los Angeles, California, will travel to the Portland Art Museum, Portland, Oregon, in June - September 2010. Terry Gross interviewed Crumb for NPR a few years ago (here). 

Comments

[Seth Sanders]

Great post. By having to represent whole faces and bodies, Crumb is forced into a Midrashic position. Abraham's facial expression upon hearing God's command to sacrifice Isaac is worth the price of entry by itself. And yet, inevitably, the whole thing is indeed very Crumb. Cartoonish? I'd say the same thing about Rubens' two versions of Samson and Delilah.

[JohnFH]

I adore cartoons. Which is why I love not only Crumb, but also Escher and Chagall.