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Amy and Jordan, by Mark Beyer
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For those of you who thought the comic strip was dead by the end of the twentieth century, here are 292 pieces of proof that you were wrong. Mark Beyer was breathing delirious, heartbreaking, otherworldly life into it by means of Amy and Jordan. Obviously, you weren’t reading New York Press.
But I sure was. Voraciously. Back in 1989, when I discovered that Beyer’s strips were appearing regularly in this new “alternative weekly” paper, I quickly became hooked, and a thought seized me: I had to clip and save them–they were exquisite poems of urban despair, dreamy and nightmarish. I was already a fan of Beyer’s talent based on his book Agony (Pantheon, 1988), but these new strips revealed, week by week, a whole new dimension to his work–an ingenious reinvention of panel-design that redefined what a comic strip could be. As with Peanuts, it helps to try and picture these in the context which they first appeared in order to appreciate just how profoundly they emerged from anything else on the newspaper page. Even the “outré” NYP ads and listings which often ran alongside them were hopelessly dull by comparison. One of its most impressive aspects was the way Form served the Content–no matter how eccentric the layout got, it somehow never confused the narrative. And what narrative: it was as if Candide had been transported to the East Village and split in two like an amoeba and holed up in a squat on Avenue C. Along with giant bugs from outer space.
So I did clip and save them, and put them into an envelope, which was then placed in a shoebox with a lot of other envelopes (receipts, receipts!), which was shoved to the back of the closet of my sixth-floor walk-up studio apartment, which I moved out of three years later and in the process I unwittingly threw them all away. Which frankly is just the sort of thing that Amy and Jordan would do. Drat. “Oh well,” I thought, once I’d realized it, “at some point someone will collect and publish them, and I’ll get them back that way.” And that was that.
Fast forward more than ten years, to the spring of 2002. During a panel of cartoonists I was chairing in Philadelphia, a member of the audience asked what Mark was working on and where he was. No one seemed to know. The discussion was transcribed and published in The Comics Journal that summer, and in the fall Mark contacted me with the best possible news: He’d read the panel transcript and wanted to publish again. And the Amy and Jordan strips had never been comprehensively collected. So now, as an editor, I was able to grant my own wish.
Amy and Jordan ran from 1988 through early 1996. After that, Beyer put cartooning aside to pursue other projects. This book signals his return to the realm of comics, which he says he wants to start making again. We can only hope he does. For now, I’m just thankful I finally have my Amy and Jordan collection back. –Chip Kidd, NYC, 10/03
- Sales Rank: #956701 in Books
- Published on: 2004-05-11
- Released on: 2004-05-11
- Original language: English
- Number of items: 1
- Dimensions: 5.03" h x 1.35" w x 11.27" l,
- Binding: Hardcover
- 288 pages
From Publishers Weekly
Generally acknowledged as one of the most important artists in underground comics history, Beyer is also one of the medium's most under-published. His last major book, Agony, was released in the late 1980s, and his other books have been released in small editions by independent publishers. This volume collects his 1988â€"1996 comic strip, Amy and Jordan, previously syndicated in only a handful of free weeklies across America. Amy and Jordan exist in a nightmarish urban landscape, and go from one awful situation to another with a combination of tragedy and laughter. Any good luck that comes their way is immediately negated by a horrible event. In one strip, Jordan learns his "good luck gland is damaged, and only the bad luck gland is working." But Beyer doesn't trivialize the horror of urban life and is never flippant; instead, his tone is accepting and humorous. Amy and Jordan always come back to keep exploring their world, no matter what happens. Beyer's work is universal at its heart, exaggerating the humor, paranoia, depression and exaltation we all feel sometimes. Every strip is unique and reads equally well as a whole composition or individual panels; the panels range from medallions on a patterned page to triangles in a zigzag pattern and everything in between. Each is a concise gem of storytelling and drawing. This work is a major release by one of the masters of the form, and is a must-have for anyone interested in the potential for profound art in the comics medium.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Combine the tribulations of Job with the cartoonlike resilience of Wile E. Coyote, and you've got Amy and Jordan, a hapless but undaunted couple whose urban existence involves a never-ending assault from marauding bands of demons, rampaging kitchen utensils, and roach-infested teddy bears as well as commonplace poverty and violence. Even their ramshackle home is no refuge, for the apartment itself attacks them for being slovenly occupants. Fed up with their jobs and, frequently, one another, they exist in a state of placid depression marked by deadpan equanimity. Beyer's self-taught style is as distinctive as the strip's existential despair. His primitive graphics match the characters' primal concerns with ever-shifting character designs, wildly imaginative compositions, and inventive panel treatments. Cherishing Beyer's unique capacity for juxtaposing the horrific and the mundane, devout fans have eagerly awaited this collection of strips originally published in alternative newspapers more than a decade ago. They will happily echo the malevolent children who subject Amy and Jordan to further torment: "It's so much fun torturing Amy and Jordan." Gordon Flagg
Copyright © American Library Association. All rights reserved
Review
"Beyer’s work is universal at its heart, exaggerating the humor, paranoia, depression and exaltation we all feel sometimes. Every strip is unique and reads equally well as a whole composition or individual panels; the panels range from medallions on a patterned page to triangles in a zigzag pattern and everything in between. Each is a concise gem of storytelling and drawing. This work is a major release by one of the masters of the form, and is a must-have for anyone interested in the potential for profound art in the comics medium.” –Publishers Weekly (starred review)
Most helpful customer reviews
1 of 2 people found the following review helpful.
Averting the eyes is important, but just as impossible
By Brenna Collins
A self-taught outsider in the sequential arts realm, Mark Beyer's graphical work has been notorious for appearing in free urban weeklies from the late 1980s to early 1990s. His best known work consists of a surreal, subterranean-inspired comic strip series. Collected for the first time (outside of crumbling newspaper clippings stashed in a shoebox in some dark hiding place), Beyer's quasi-popular "Amy & Jordan" strip has finally made it to store shelves, in black-and-white hardcover format. Indeed, while the tome is a bleak, gothic compilation which almost certainly isn't for everyone, it is (at its nicest) morbidly compelling.
Each strip is a study in urban alienation, with no oasis for Jordan or his sadistically-inclined roommate Amy throughout. The dead-end lives of the two protagonists continue unabated as the outside world invades and attacks them from the inside, page after agonizing page. Dealing with such light-hearted and universal subjects as premature death, prolonged starvation and mortal childhood illness, Beyer pries open every dismal, dry-rotted cask of the imagination, slyly smirking the whole while. The reader becomes a part of the assault, eyes incapable of averting, all the while whimpering, "Please... no more!"
And no two Amy & Jordan strips are alike, thanks to Beyer's unique paneling techniques. Every strip features its own style of frame, as if each panel were a piece of art interdependent of the other, yet isolated from all other strips within the book.
For fans who like their independent comic strips macabre (such as James Kochalka's now defunct Deadbear: Circus Detective) Amy & Jordan is the perfect compliment.
2 of 2 people found the following review helpful.
Misery Loves Company
By OAKSHAMAN
Some people find it odd that "Amy and Jordan" is among my all time favorite comic strips. Many people just don't "get" the constant stream of depression, misery, and atrocity. From the start I saw the underlying truth of the situations, which is the basis of any good creation- comic strip or otherwise. This is an examination of the existential absurdity of modern urban life. This is an ode to the constant stream of irritation and suffering in a totally alienated and alienating blighted urban landscape.
Yet, the completely self absorbed characters of Amy and Jordan aren't all that sympathetic. They are as self-absorbed as all the monsters and sociopaths around them. You get the idea that the only reason that terrible things are happening to them are that they haven't had the chance to do it to others first. The constant theme is that life is an ordeal without meaning or purpose. Even children are sadistic monsters that will torture you if they can. It is repeatedly stated that you can trust no one. When supernatural elements such as the angel of death, demons, or ghosts pop up they are also shown to be just extensions of this same theme.
And yet, it seems to me that there is a lesson here. The universe is largely what you make it- or at least limit your perceptions to see it as. If you choose to see suffering as meaningless then it is meaningless. If your concerns are exclusively materialistic and meaningless then that is how the world will in turn react to you. If you are totally wrapped up in your own self-absorbed little ego then the universe will inflict a synchronistic string of disasters on you, both great and small, until that ego is beaten down- and you see behind it all.
I find it significant that the artist states, as himself, in the last strip of the collection that creative ideas are not invented but exist on other planes of existence and that artists merely connect with them and reinterpret them for a new generation. In that case, what is being connected with here is the upper rings of Hell- and Beyer and Dante are showing us the same thing in their own unique way.
As for the critics of the artist's unique drawing style- it is no more highly stylized and consistent than, say, Schulz work on "Peanuts." This book itself has a truly unique design different from any other collection of strips that I am familiar with. My only criticism is that 1) the strips are not in consistent chronological order, 2) there are no page numbers (makes it impossible to suggest an individual strip to anyone,) and there is one duplicate strip.
2 of 3 people found the following review helpful.
Makes Dark Look Light
By Robert Crisp
Brilliant! This book is a compelling argument against the use of anti-depressants. I can't think of anyone who compares with Beyer. Feiffer seems like Norman Vincent Peale next to him. The artistry is as bizarre as the writing. Not for weak hearts or minds.
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