Cover

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Title Page, Other Works by the Author, Copyright

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Contents

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pp. v-vi

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Introduction

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pp. vii-xvi

Seth, born Gregory Gallant in Canada in 1962, is one of the most significant artists to emerge in the alternative comics boom of the 1980s, as a cartoonist, designer, and comics historian. As we have discussed elsewhere (see the introduction to Chester Brown: Conversations [2013]), the 1980s was a fascinating transitional period for the comics...

Chronology

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p. xvii

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Interview

Michael Strafford

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pp. 3-6

Seth’s interview was conducted [at the UK Comic Art Convention in 1985] by Michael Strafford and comes from the second issue of his cassette magazine Comicast. Seth: I came to Toronto, Canada, about five years ago. Before that I’d always wanted to be a comic book illustrator with fairly typical ideas of what I wanted to do. I had piles of horror strips, and...

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An Interview with Seth

Dylan Williams

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pp. 7-67

Seth: My very first influences in comics or cartooning, the first things that interested me in it, would be a combination of a few newspaper strips. The first would be Peanuts, of course. Peanuts has been a lifelong interest, and I don’t think a point will ever come where I don’t love it as much as I do now. Around that same time, there was a Canadian...

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An Interview with Seth

Bryan Miller

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pp. 68-76

Bryan Miller: In Clyde Fans Simon obsessively collects penny postcards. Not so dissimilarly, the protagonist of It’s a Good Life collects cartoons and books of cartoons. What draws you to the theme of collecting? Seth: It is hard for me to even envision a character who doesn’t collect things. Collecting is such an integral part of my life that it seems natural that any character I write will collect. I have tried to...

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Seth Interview

Dave Sim

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pp. 77-88

Sim: I guess the first question that I have is—since we already have the Chester [Brown] and Joe [Matt] interviews pointing out that you’re not a great one for input creatively—was that always the case? Was there ever a time when you asked other people for advice on your work? Seth: Yeah, I would say when I was...

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Retro Man

Gerald Hannon

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pp. 89-99

He wears forties suits and hides away in his basement concocting a comic book town called Palookaville. For Seth, it can be hard to tell where the fantasy ends and the real world begins. When the telephone rings in his apartment, it actually rings. It doesn’t warble or twitter electronically, or give you a blast of the latest hip hop hit. It rings the way telephones used to ring in the movies...

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On Cartooning

Rebecca Bengal

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pp. 100-110

POV: The ligne claire (“clear line”) style Hergé employed when drawing the iconic characters of Tintin contrasts with the unusually realistic landscapes and backgrounds of the worlds Tintin visits and inhabits. As Scott McCloud pointed out in his book Understanding Comics, this contrast gives the effect of allowing the comic reader to “mask themselves...

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Talking to Seth

Thom Ernst

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pp. 111-120

Q: Gregory Gallant is a sophisticated and respectable enough name—why change to Seth? A: I wouldn’t change it now, if it were up to me. It was a decision made long ago. Like most comic book people I had a relatively isolated childhood. I was a kid who spent a lot of time by himself, didn’t get along well with the other kids. I grew up in a small town, and when I...

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Comics Reporter Sunday Interview: Seth

Tom Spurgeon

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pp. 121-144

I’m a great fan of the cartoonist and designer Seth, whose comics I’ve come to enjoy more and more over the years. He has what would be for many artists a decade’s worth of projects either recently out or imminent: George Sprott, 1894–1975, a book-length expansion of his New York Times Sunday Magazine novella and a work that features some of his...

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Interview with Seth

Eric Hoffman, Dominick Grace

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pp. 145-222

Editor’s Note: Our interview with Seth began with a discussion concerning Seth’s attendance of the Small Press Expo in Bethesda, Maryland, the previous weekend. Seth remarked on the incredible talent of young comics artists he met, in addition to the casualness with which they explore certain themes, in particular superhero and other...

Index

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pp. 223-230