TAXI signing tour NL/BE

Hi everyone,

I’ve started my Summer signing tour for the Dutch edition of TAXI! Below are the places where you can find me. I’ll be happy to sign your copy with a drawing and autograph. Bringing (other) books from home to sign, is also OK. I hope to see you there!

  • June 8: Stripwinkel Jopo de Pojo, Haarlem (NL) 14:00-17:00
  • June 14, 15, 16: Animecon, Ahoy, Rotterdam (NL) all days
  • June 22: Stripwinkel Het Besloten Land, Leuven (BE) 14:00-17:00
  • June 28: Stripwinkel Het Beeldverhaal, Amsterdam (NL) 17:00-19:00

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Days of Sand – the research

Discovering the Dust Bowl

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In April and May of 2019, I made a very special trip through the United States. I was doing research for my upcoming graphic novel Days Of Sand (Jours de Sable) which takes place in Oklahoma and California in the 1930s. My partner Bob joined me, as we interviewed experts and visited museums along the way. But mostly, we enjoyed seeing the real locations where the characters of the book would have lived. In this blog, a selection of photos will accompany a retrospect of our ten days on the road. The trip was funded by the travel grant given by the Dutch Literature Fund (www.letterenfonds.nl) and the book will be published by Dargaud and Scratch Books in 2021.

The synopsis

United States, 1935. John, a young photographer from New York, is hired to document the lives of poor Oklahoma farmers in the midst of the terrible dust storms, the so-called Dust Bowl. During his travels, John meets an old wheat farmer and his family. The farmer’s pregnant daughter Betty poses for John, and tells him her husband Roy left in order to find a job in California. He is not the only one: many farmers are leaving the area in search of a better life. When a dust storm hits the area, John is unable to get back to the motel in time, and the pregnant girl invites him over to stay. As the heavy storms grow bigger, John is trapped, and he finds himself in a tragedy bigger than he could have ever imagined.

background2Concept art from the graphic novel

The historic events that inspired the story of “Days of Sand”

The Dust Bowl and migration of the Okies
In 1929, the American stock market crashed, and the Great Depression hit the United States. While everybody’s eyes were focused on Wall Street, other areas of the country had to deal with something way more frightening. Oklahoma, Kansas and Texas were the center of the so-called Dust Bowl: a series of dust storms that tormented the land and its farmers. In a couple of years, these storms would turn the American Great Plains into an American Sahara. The reason for this ecological disaster was mostly man-made: By transforming the grassland area into farmland, the entire eco-system changed. After a period of severe drought, dust started to rise up from the soil, forming huge clouds in the air: Black Blizzards. Thick layers of dust settled in the wooden homes. Schools distributed oxygen masks for the children to breathe. Dust clouds would black out the sun completely, and witnesses described it as ‘midnight without the stars’. Many people in the affected areas died of famine and dust pneumonia.

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Dust clouds and black blizzards hitting the Dust Bowl area

127Cars “drowned” in sand

Meanwhile, in the west, Californian farmers were looking for new cheap labor after the Mexican Repatriation. When the Dust Bowl-stricken farmers heard of this labor void, many took their belongings and drove to California in search of jobs. But the Californians were not prepared for the hundreds of thousands of people that would come their way. There simply wasn’t enough work for everyone. The Dust Bowl refugees had no homes and camped in makeshift squatter camps, or in their car. Often they would have to sell their belongings just to be able to feed their children. They were discriminated heavily, and the Californians called them Okies, meaning ‘scum’. Many farmers wished they had never left.

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A family on the road to California, looking for work

125Eighteen-year-old mother from Oklahoma, now a California migrant, March 1937

The government finally took control when so-called government camps were built in California. Here, the farmer families from the Dust Bowl could live in tents, and they could use running water and bathrooms. Still, most of the Dust Bowl refugees could not get into the government camps at all. There was only limited space, while the number of incoming people continued to grow.

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A government camp in California

Ironically, the only solution to this situation was triggered by World War II. Many boys were sent out to Europe to fight, others were offered jobs in factories to produce machinery for the war overseas. The farmers ended up as factory workers. Not many returned to Oklahoma. The Dust Bowl itself ended as rains returned to the area, and farmers decided to change their ways of farming. More grasslands were kept, and new irrigation methods were invented.

John Steinbeck and Dorothea Lange
John Steinbeck’s novel The Grapes of Wrath (1939) became the most well-known depiction of the Dust Bowl refugees. The heartbreaking story of the Joad family facing the hardships on the road to California touched every person who read it. The book was a huge success and became even more famous when a movie starring Henry Fonda was made in 1940. The book and the film changed the country’s viewpoint on the refugees from Oklahoma completely, and it was one of the major works for which Steinbeck received the Nobel Prize in 1962. But not only Steinbeck has shaped our view of the Dust Bowl refugees.

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Photographer Dorothea Lange played a huge role in the way we think of the period visually. Her many black-and-white photographs were commissioned by the Resettlement Administration (which later became the Farm Security Administration, the FSA.) This agency was created to help farmers, by resettling them to modern homes and better farmland. The agency hired photographers to document the farmers and their living conditions. Most famous is the photograph Migrant Mother, a portrait made in 1936 by Dorothea Lange. In the photo, Florence Owens Thompson, a migrant woman living on the road, holds her three children while staring in the distance. There is no father in sight. The consequences of poverty are clearly visible: Florence was only 32 years old when the picture was taken, but because of her frown and wrinkles, she looks like an older woman. The photo became the icon of poverty worldwide, and it is considered one of the greatest photographs ever made.

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Migrant Mother, 1936, by Dorothea Lange

Why a roadtrip?


Although the graphic novel Days of Sand will be fiction, it is based on the true events that took place during the Dust Bowl in Oklahoma. The visual references found online were not sufficient to create a complete image of that time. Because I’m making drawings, I needed more visual input. I also wanted to talk to the people who have experienced the Dust bowl or are related to it; and I wanted to talk to people who had researched the period before me. We also wanted to experience the trip that the Okies made westwards, to California, and see what they saw. That trip would give us the ultimate insight in what it was like to be a Dust Bowl refugee in the 1930s.

Global itinerary

  • Part 1: April 27 Oklahoma City History Center, Oklahoma
  • Part 2: April 28, 29, 30 Cimarron County, Oklahoma
  • Part 3: May 1  till May 4 Roadtrip to Bakersfield, California
  • Part 4: May 5 Sunset Migrant Camp, Bakersfield, California
  • Part 5: May 6 John Steinbeck Centre, Salinas, California
  • Part 6: May 8 Dorothea Lange Collection in the Oakland Museum of California

0Blowing Dust Area, a sign we saw on the road to California. I just had to take a picture!

Part 1: April 27:
Oklahoma City
History Center

In the weeks before our departure, I had contacted several experts on the subject to ask them if I could interview them while visiting the US. One of the most enthusiastic responses came from historian Jeffrey Briley, who works at the Oklahoma History Center. Jeffrey was a photographer himself, which was very useful. When we visited the Center on our first day, he had dug up a whole collection of old cameras from the archives. With our plastic gloves on, we were allowed to handle the cameras carefully and look at them from up close. We talked about what cameras the photographers would use in the field, and how they worked. We talked about negatives, film, cassettes and more. The whole interview was recorded. The rest of the day was spent in the research library of the History Center, looking up photos, newspaper articles and interviews about the Dust Bowl. It was a very succesful day, and we enjoyed our visit a lot.

123Jeffrey Briley and me in the Oklahoma History Center archives, with the many cameras!

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A chance to see many cameras from the thirties up close – very close.

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So many different models of cameras, and all of them had different stories.

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Here I’m searching the computers of the Oklahoma History Center for reference material. Lots of photos and newspaper articles were found, as well as some books that we bought at the bookshop within the Center. A day well spent! And that was only the first day.

Part 2: April 28, 29, 30:
Cimarron County

Later that day, we drove from Oklahoma City to the so-called pan handle (which is named after the shape of the region, see map below). This is where most dust storms would hit.

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The history of this part of Oklahoma is unique and very interesting. In the 1930s, the panhandle (or ‘No Man’s Land‘) endured disaster upon disaster, when plagues and drought entered the region. Around 1934, it became the center of the Dust Bowl. As a result, most farmers left the Cimarron County region. Today, we can still see lots of abandoned houses and sheds and barns. Windmills are peeping and cracking, while no water is pumped anymore. These scenes are perfect material for reference and on our way to Boise City, the main city in the panhandle, we had to stop multiple times to take photographs.

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A typical Dust Bowl scene we saw; a shed and a rusty old windmill…

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…Not so different from this Dust Bowl photograph from Dalhart Texas, 1938.

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Close-up of the rusty windmill. It was one of the many we’d see along the way.

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This made my heart skip a beat: Real tumbleweed! In a book about the Dust Bowl, one of the witnesses said that the tumbleweed would get trapped in the fences back then, and the dust would pile up against it. This is why lots of the cattle walked over the fences and got lost. It was so great to see the tumbleweed get tangled up in the fences in real life, just like the book pointed out.

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More tumbleweed tangled up in the fences, and the orange-brown plains of dry grass, which reminded me of the paintings of Andrew Wyeth (second picture) everytime.

111An old shed, abandoned, but it perfectly captures the atmosphere that many of the old Dust Bowl photos have.

110The old shed again, with dried out soil. Not as sandy as it would have looked in the thirties, but still it’s clear that the absence of rain is having its effect on the land.

108Another abandoned Dust Bowl house. The houses would often stand next to a tree or a couple of trees. For shade? Or were they planted there by the inhabitants?

107View of the road towards the panhandle, or ‘No Man’s Land’ as it used to be called. No wonder…

106Cattle in the field, not escaping this time!

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Flora & Fauna of the Great Plains. Very useful to know what kind of grass and plants are growing in the fields. I can’t just make something up…

102Here I’m taking a look at the colour of the soil. Yes, thorough research! It is important, because the colour of the dust clouds would change with the direction the sand was blowing from. If it came from the south, (for example) it would have been more red, from the north it was brown. By the colour of the clouds, the farmers could say about the storm: “There’s a visitor from Kansas today” or “We have a visitor from Oklahoma”.

Oklahoma wildlife!

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Oklahoma wildlife: a wild turkey, a dead coyote, pronghorns, a vulture, and jackrabbits. All of these animals were present during the Dust Bowl, though some may have left temporarily as a result of the storms. Seeing these animals up close (or from far away) was incredible. I will definitely draw all of them in the book.

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The jackrabbits became a huge plague in the 1930s, because their natural predators had left the area (see photo above). I was thrilled to see real jackrabbits on this trip, as they are going to play an important part in the story (spoilers)!

95We had a typical Oklahoma snack, which was also eaten during the thirties: Biscuits. They look like scones, but the texture is slightly different. The biscuits were featured in the Grapes of Wrath, as the Joads main meal on the road (served mostly with gravy). Although we weren’t expecting the biscuits to still be around at all, they turned up at every breakfast buffet in Oklahoma. They tasted delicious. And of course I had to take a photo for reference!

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Trying to fit in the American farmer’s lifestyle!

The Cimarron Heritage Center

On Monday, we arrived at the Cimarron Heritage Center in Boise City, Oklahoma. This was one of the highligths of the trip. It’s partly indoors, partly outdoors, has many buildings on its site and it has an astonishing collection of artifacts from the Dust Bowl.

The most interesting building for me was the restored Dust Bowl House. This was an old school that became a family’s home during the Dust Bowl. The house was renovated, but only slightly, and most of the objects in the house were original. Even the dust on the table was original Dust Bowl dust!

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One of the things I hadn’t realized up till visiting this house, was how much trouble I will have in making a book in full-colour, while the only photographed and filmed reference that is left, is black-and-white. How would I ever find out if a blanket was bright red or grey? How would I know if their table cloths were white, perhaps or more violet?
By visiting this house, a lot of my questions were answered.

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This bedroom wall in the house was covered with old yellow newspapers, which was something I had seen already on many photographs from that time (see below). The reason the people put these newspapers up on the wall, was that the dust was so tiny that it would simply come through the wooden boards of the house. With the newspapers, much more dust was kept out.

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Newspapers on the wall in an old Dust Bowl home. Also notice the homemade little rug on the floor, similar to the one in the museum’s home. Now I have an idea what the actual colours of that rug would look like!

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Do you notice the colour on the walls? It’s yellow. Till then, I had figured the walls would probably have been brown (wood) or white. With this in mind, I met the museum’s curator Jody Risley, and asked her what colours were used for interiors. She told us right away that in the thirties there were only two colours of paint that were used on interior walls: bright yellow and turquoise. It was such an interesting fact! And so useful, since I need to draw many 30’s houses in my book.

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Photo of an interior taken during the Dust Bowl years. Below a picture of the Dust Bowl house in Boise City.

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And another important detail: The cups and plates were all turned upside down. This was done to prevent the dust from settling on the plates before eating a meal or drinking.

83Cans from the thirties. It may seem like a detail, but it is very useful for my research.

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As the families didn’t have much money to spend, pillow cases and curtains were all made of the same fabric: Grain and seed sacks. The children’s clothing was made of these sacks as well; mothers made dresses for their girls and shirts for their boys.

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Here it’s clear that somebody had laid his head down for a while, because of the visible “dust crown” on the pillow. Each morning, when the people woke up, dust would have settled everywhere except where they slept. So on each pillow, a crown of dust had formed around the person’s head. A beautiful visual detail that I will definitely use in the book.

79Objects in the cupboards that reflect the time they lived in.

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In another building at the Cimarron Heritage Center site, there was a huge collection of old tractors and farm equipment. Another gold mine for me, as the story would feature farmers working on the land. I looked up the tractors from the 1930s and took pictures. The commonly used tractors in that area were John Deere’s.

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The next building had a huge collection of old cars, which was again very useful. I asked Jody Risley which cars would have been used to travel to California and she pointed out two models (as seen on the pictures). The most popular cars at that time were Buick and Ford. For example, a Ford Model A Sedan. It had to be a car that could carry big families and lots of luggage. Often the families would build an extra floor on top of the car to be able to take more belongings with them.

73Checking out the interior!

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Outside, we briefly visited the other buildings, like the old toilet house that belonged to the Dust Bowl house.
Then unexpectedly, there was another highlight of the trip, though it may not seem like much. In the exhibition building, there was a box of original Dust Bowl dust, found in the attic of a farmer’s house. It was incredible to see it, feel it. The dust was much tinier than grains of sand. It was soft, greyish and quite cold. It seems surreal that this dust can have such an impact on people’s lives, and even kill children.

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The dust bowl dust up close.

Part 3: May 1st  till May 4th  :
Roadtrip to Bakersfield

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After this incredible visit, we drove further on to the west. This time we were headed to California, down Route 66, the “Mother Road” that all the migrants from Oklahoma took. Of course, these days the highway doesn’t follow the exact same route completely, but we definitely got a good look at the landscape and how it changed. The trip took about 4 days and it was breathtaking.

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The further west, the more the plains turned into canyons and red rocky mountains.

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An old stranded car; All brown because of the rust, it forms a beautiful visual proof of a time where thousands of people hit the road in search of a better life.

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An elk grazing by the road, near the Grand Canyon.

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Desert cactus, in the Mojave Desert Preserve.

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And finally, after 4 days, we arrived in Bakersfield. We were looking for the famous hill that the Joad family from the Grapes of Wrath drove down, when they saw the blooming orchards. But unfortunately, that hill never came. We did find the orchards as we drove further through the city. It was May, and the first migrant workers started working on the field, mostly Mexicans, as some residents explained to us later. They were doing the work that the Oklahoma migrants would have done 90 years earlier.

56Professor Dodd and his wife (left, and right), with me and professor Garcia in the middle.

One of the people I interviewed in Bakersfield was history professor Dr. Douglas Dodd, seen left on the photo here, who specializes in environmental history. Doug kindly invited us to his home on the evening prior to the interview. He had organized a special kind of barbecue for his university colleagues that night: deep-pit. This was brought in with the Okies, and it consists of a hole in the ground where the meat is cooked in. Unfortunately, there was no hole in the ground this time! But it was delicious either way, and we had an amazing evening. All the people at the party helped us with what they knew about the Oklahoma migrants. The interview with Douglas went very well. He was able to give a better perspective on the arrival of the Okies in Bakersfield, and the consequences of their migration.

Part 4: May 5th :
Sunset Migrant Camp

We stayed in Bakersfield a little longer, because here we would visit The Sunset Migrant Camp. This was a government camp for the Oklahoma refugees coming from the Dust Bowl. The camp had running water, a camp school, tents, and even a swimming pool, which the children dug themselves. The camp was featured in the Grapes of Wrath (as the Weedpatch Camp). These days, the camp is renovated and still in use for todays migrant workers. Two women are still maintaining the original buildings: Sharon Garrison and her daughter. Sharon was born in the camp. It was very special to talk to the Garrisons and to hear their experiences first-hand, surrounded by this place, full of history.

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Steinbeck had visited the migrant camp often, and of course his books were there!

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Interviewing Sharon in the public space of the camp.

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Memorabilia from the old Sunset Migrant Camp days.

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The stop-sign that stood originally by the entrance of the camp, and that was featured in the movie of The Grapes of Wrath.

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Waiting as an old original building is opened up, where families stayed.

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Looking at the original beds and furniture of the cabin. It was very hot, and we were told a family would usually not stay inside during the day because the heat would be unbearable.

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Photo of the two oldest camp buildings. The upper one is made in May 2019, the other one in the 1930s by Dorothea Lange. As you can see, although the bright green houses have been moved to a different location, they have hardly changed at all; only the Coca Cola sign has been removed.

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Sketching in the shade of the Sunset Migrant Camp.

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Plaque: “From the people of Oklahoma – the Okies – who found a home here and helped build California”

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One last picture before we left Bakersfield, on the road between the green orchards. This is where so many migrants wanted to go, and it felt special to have reached that destination and see the “promised land” with our own eyes. Next stop: The John Steinbeck Centre in Salinas, California!

Part 5: May 6th :
John Steinbeck Centre

The most famous depiction of the Okie history is the novel The Grapes of Wrath. It was a call to action: Steinbeck wanted the government to make the migrant’s lives better. Besides that incredible novel, Steinbeck wrote many essays about the people as well. He was close friends with Tom Collins, the manager of the Sunset Migrant Camp, and he visited the place often. I was curious how much of Steinbeck’s work was truthful, and how much was fiction. In this search, archivist Lisa Josephs helped us out with all the information we needed. She had gathered newspaper articles, magazines, interviews, letters and oral history about the period. It was a fascinating day, with once again a lot of information to process.

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Lisa shows me where Steinbeck lived on an old map of Salinas, from 1934, completely handdrawn!

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Reading the letters from Steinbeck and going through the many things Lisa had given us. On the CD player, we listened to an interview with people talking about Steinbeck.

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The most interesting was this transcripted interview of a nurse who worked in the Sunset Migrant Camp. She gave incredibly detailed descriptions about the people living there. She talked about their religious practices, the diseases they often had, at what age they would usually get pregnant (young! 16!)… The details were amazing and they will help me a lot in creating a truthful image of the people of that time.

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35A very special newspaper: An original copy where Steinbeck’s essay “California’s Harvest Gypsies” was published in. He got a lot of space, and there was a huge photo too – and this was even before The Grapes of Wrath came out.

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In the exhibition space of the Steinbeck Centre, more information and objects about the subject could be found. There was even another car! We didn’t stay long, as we were about to leave for the last chapter of our trip. We left Salinas, but we couldn’t resist visiting Monterey as well. Steinbeck’s book Cannery Row is about that city, and it felt only right to visit, even shortly.

Part 6: May 8th : 
Dorothea Lange Collection in the Oakland Museum of California

It seemed like we saved the best for last: The Dorothea Lange Collection in the Oakland Museum of California. I had scheduled an interview with Drew Johnson who worked at the museum, but who is also co-author of books on Dorothea Lange’s life and work. If there was anyone in the Oakland area that I had to interview about Lange’s work, it was Drew.

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Before we visited the actual archives, Drew and I sat down for an interview about Dorothea’s work – and many questions were answered. Drew mentioned how Dorothea would often stay in motor courts, which were a kind of motels, when she was travelling and making her photographs. This was one of the things I wanted to find out during the trip! I also asked him many other questions, for example, why she would always shoot black and white (while colour photography was already available) and how much freedom she had, while working for the government.

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After the interview I followed Drew to the archives. This is where the objects from Dorothea Lange’s private collection were stored. We had access to endless albums of contact sheets, correspondence with the FSA, and field notes. We realized, while browsing through the albums, that these were photos that most people had not seen before. In exhibitions, only a selection of Lange’s best-known work is shown. We felt so privileged, and honoured, to spend time in this amazing place.

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Going through the albums of contact sheets and field notes.

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One of the albums with contact sheets, which were small photos, the size of the negatives.

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Contact sheets up close: A squatter’s camp under a bridge and a packed car.

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Field notes of Dorothea Lange. Never would she “steal” a photograph: she would always talk with the people before taking a shot. She wanted to get to know them a bit, and make them feel at ease. After the conversation, she would write down information about the families she photographed.

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There were so many contact sheets. And each one of them was a historic document of time.

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It was amazing to see the people from the Dust Bowl through Dorothea Lange’s eye.

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Some of these incredible shots were never shown in exhibitions.

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A family on the road.

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The size of the contact sheets reveals what type of camera she used: Some were large format, some were small format cameras.

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A photocopy of a portrait of a family hitchhiking. Look at the woman. She is wearing sunglasses and her outfit is so beautiful and different from the other farm-wear. A gorgeous picture – timeless – and it shows Dorothea’s talented eye for composition too.

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This album contained copies of correspondence between Dorothea Lange and (mostly) Roy E. Stryker, her employer at the FSA Photography Division, who hired her to take the photos in California. So interesting!

An unexpected bonus! In the downstairs exhibition area, an old migrant car was restored and packed with the stuff that Dust Bowl families would take with them. As you can see, kitchen gear and plates were also brought initially, even chairs and and tables, but often the people had to sell most of their stuff to survive.

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And…. That’s the last photo! I hope you enjoyed this look behind the scenes. The trip took only around 10 days, but because of all the new input, it felt more like we spent weeks on the road! Next, I will mostly organize the photos, notes and audio that I gathered on the trip. I will start drawing as soon as possible – that’s the fun part!

Concept art from the book

I can’t resist posting some artwork that I made so far, to show you what the book will eventually look like. Here are some pictures that I’ve drawn as early concept art. They will probably not appear in the book, but they are made as a study.

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Family on the road to California

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A deep red Dust Bowl storm

grass_sitting_v2The main characters looking at the dust settling in the distance

Below is a first page (which will probably not end up in the book):
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So, when will this book be available? A rough planning: This year, the storyboards and line-art will be done. Next year, the colours. This means that the book will come out in 2020/2021. I will post some artwork along the way. Stay tuned for more! And thanks for reading till the end 🙂

  • Aimée

 

TAXI in stores in Holland today!

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Great news: The Dutch edition of  TAXI  officially hits stores in Holland today! English readers will have to wait a bit longer: The book will come out in US/UK/Canada by September 10, 2019. About the book:
“TAXI is De Jongh’s first autobiographic graphic novel, based on taxi rides she had in four cities: Los Angeles, Paris, Jakarta, and Washington, DC. As the drivers slowly open up about their personal lives, de Jongh does too, even when it means challenging her own ideas and prejudices. Through these vulnerable and often humorous moments, de Jongh finds common ground with the people driving her. TAXI is an ode to taxi drivers everywhere.”

If you’re in Holland, you can get your copy now, from Tuesday May 27th onwards at any comic book store. Good to know: it might take another day for all shops to have the book in store. Signing sessions in the Netherlands and Belgium will be announced soon. For more info, press, signing sessions, and inquiries about rights and licensing, contact my publisher Scratch Books: info@scratchbooks.nl

What others say about TAXI:

“I love it. The way it flows. The lush and fluid brushwork. The fullness of all the characters. The humanity. Bravo.” – Craig Thompson (Blankets, Habibi)

“This beautifully woven series of vignettes from the brilliant Aimee De Jongh are a necessary and poignant reminder of our common humanity.”
– Joe Sacco (Palestine, Footnotes in Gaza)

“TAXI! perfectly embodies comics’ unique power, as parallel narratives echo each other to craft an expansive, empathetic view of humanity. De Jongh is worthy of much wider acclaim as a quiet master of light and shadow, subtlety and environment. Highly recommended.”
– Nate Powell (March, Swallow Me Whole)

Here are some pages from the book. Enjoy! To see a couple more, visit my (NEW!) website here! http://www.aimeedejongh.com/taxi.html

Original title: TAXI! verhalen vanaf de achterbank / Languages: Dutch, English / 96 Pages / Black and White / All ages / Rights and Licensing: Scratch Books (NL)

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Berlin: exhibition “Zeich(n)en der Zeit: Comic-Journalismus weltweit”

Tonight, in Berlin, the exhibition “Zeich(n)en der Zeit: Comic-Journalismus weltweit“ opens in the Museum für Kommunikation. It features work from my comic Europe’s Waiting Room, and many more of my worldwide graphic journalism colleagues. And look! My alter-ego appeared on the front page of Der Tagesspiegel today. Toll  If you’re in Berlin, check it out!60955093_2555173461194228_583553461296037888_n

Read more about the exhibition here: https://www.tagesspiegel.de/berlin/comic-journalismus-im-museum-reporter-mit-dem-zeichenstift/24357610.html

TCAF 2019

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TCAF – The Toronto Comic Arts Festival 2019
EEN VERSLAG DOOR AIMÉE DE JONGH

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Op 11 en 12 mei 2019 vond het stripfestival TCAF (Toronto Comic Arts Festival) plaats. Dit festival is in de loop der jaren uitgegroeid tot het grootste evenement voor alternatieve strips (“indie comics”) en graphic novels in Canada. Dit jaar mocht ik op uitnodiging van mijn uitgevers Conundrum Press (CAN), Selfmadehero (UK) en het Nederlands Letterenfonds aanwezig zijn om de Nederlandse strip te vertegenwoordigen, maar ook om mijn nieuwe boeken Blossoms in Autumn en Taxi! te presenteren. Beide boeken zijn in het Engels vertaald, en dit was de eerste keer dat ze in Canada te koop waren. Voor beide had ik zowel zaterdag als zondag signeersessies bij de stands van de uitgevers, maar ik mocht ook aan twee panels deelnemen: Spotlight Aimée de Jongh en Characters of Age. Andere aanwezige Nederlandse tekenaars dit jaar waren Mei-Li Nieuwland, Margreet de Heer, Yiri T. Kohl en Typex. Veel auteurs noemden ons al spottend “The Dutch invasion” of “The Dutch wave”. Het betekent dat Nederland eindelijk iets te zeggen heeft in de Noord-Amerikaanse stripwereld.

59927487_2335104113194352_8731483494166822912_nTCAF van bovenaf. Op elke verdieping staan standsFoto: Margreet de Heer

TCAF – Het publiek
Dit was de tweede keer dat ik TCAF mocht bezoeken, en de eerste keer (in 2017) had een verpletterende indruk op me gemaakt. Het is voor mij één van de leukste stripfestivals van dit moment, in eerste plaats door het aanbod. Er zijn enkel uitgevers en stripmakers – verwacht dus geen merchandise stands met T-shirts van superhelden, cosplay-kostuums of signerende acteurs uit TV-series. TCAF is een festival voor de makers, en dit is ook waarom veel tekenaars de beurs verkiezen boven andere comic-cons. Een ander aspect dat TCAF zo aantrekkelijk maakt, is het publiek. Hoewel de bezoekers van stripbeurzen in Nederland, België en Frankrijk nog vooral bestaan uit oudere mannelijke bezoekers die de strips uit hun jeugd zoeken, trekt TCAF een bijzonder gevarieerd publiek. Opvallend is het aantal jongere bezoekers. Eén blik in het gangpad, en ik zie vooral een gevarieerde groep mensen tussen de 16 en 30 jaar. Het grootste gedeelte is vrouw. Opvallend zijn ook het grote aantal bezoekers van verschillende afkomsten (people of colour), een verfrissend beeld in vergelijking met de vooral door witte mannen bezochte Europese stripbeurzen. De organisatie van TCAF maakt er bovendien een persoonlijke missie van om een podium te bieden aan makers en fans van queer comics, oftewel strips over de LHGBT-community. Dit zie je direct terug in het pubiek; het is kleurrijk, verrassend, exentriek, en creatief. Het is een doelgroep die zich normaal in Europa niet in stripwinkels vertoont. Maar hier in Canada zijn strips júist een manier waarop zij zich kunnen uiten, het is een medium waarin zij hun persoonlijke verhalen kwijt kunnen. En de stripgemeenschap vormt een creatieve, open community waarin zij geaccepteerd worden. TCAF is gratis, en vindt plaats op een toplocatie (de Toronto Reference Library in het hart van de stad). Dit draagt zeker bij aan het bizar grote aantal bezoekers: 25.000 dit jaar. Maar voor mijn gevoel is het “community gevoel” de grootste trekpleister.

tcaf_referencelibrary_1Een deel van het festival: De begane grond en eerste verdieping. Foto: TCAF

TCAF – De makers
TCAF biedt een podium voor nieuwe, jonge stripmakers en hun werk. Dat betekent niet dat het niveau amateuristisch is, in tegendeel zelfs. De deelnemende stripmakers zijn enkele van de beste en meest inspirerende auteurs die ik ken. Dit jaar waren o.a. Craig Thompson, Jillian Tamaki en Seth hoofdgasten. Ook de Japanse horror-tekenaar Junji Ito, die tot de grootste mangatekenaars van deze eeuw behoort, was te gast. Het is moeilijk om indie comics in één zin te omschrijven. Veelal zijn de strips geïnspireerd door animatiefilms en door manga. Maar een groot deel komt ook voort uit de absurdistische underground zines, of het zijn geprinte versies van populaire webcomics op internet. Het is een eclectische mix met niet één esthetiek. Eerder heerst er een gevoel van alles mag. Waar de ene stripmaker letterlijk stripboekjes verkoopt, richt een ander zich op de verkoop van postkaarten of prints met eigen ontwerp. Dit jaar was ook Europe Comics te gast; een overkoepelende organisatie waar de grootste Europese uitgevers samenwerken (o.a. Dupuis, Dargaud en Lombard). Met Europe Comics zijn ze in staat om hun werk overzichtelijk te presenteren, om zo de Noord-Amerikaanse markt te veroveren. Het was interessant om te zien hoe de Europese strips qua tekenstijlen nog erg vastzitten in een bepaald Franco-Belgisch stramien, naast de Canadese en Amerikaanse stripmakers, die alle vrijheid nemen om te maken wat ze willen.
Wat nog een jaloersmakende trend is op TCAF, is de manier waarop ze zich inzetten voor de professionalisering van de stripsector. Tijdens het festival worden er tientallen interessante panels georganiseerd waarin wordt gediscussieerd over het stripvak. Zo was er een panel waarin striptekenaars reageerden op de verfilmingen van hun boeken, en was er een workshop over het letteren van strips, en werd er gepraat over hoe moeilijk het is om een stripbiografie te maken. Op de vrijdag voor het festival organiseert TCAF ook nog eens The Word Balloon Academy, een dag los van het festival, vol lezingen over het beroep en alles wat erbij komt kijken: van jezelf promoten op social media, tot het benaderen van een uitgever, tot belastingaangifte voor kleine ondernemers. Belangrijk om te melden is dat deze lezingendag gratis is. Je hoeft je alleen op de website aan te melden. Het is voor makers een perfecte leerzame start van het festivalweekend.

 

Nieuwe boeken
Voor mij draaide TCAF dit jaar om twee boeken die voor het eerst in Canada verschenen. Ten eerste Blossoms in Autumn, de Engelse vertaling van L’Obsolescence Programmée de Nos Sentiments. Het boek gaat over de ontluikende liefde van twee zestigers in de herfst van hun leven. Het Engelse boek is uitgegeven bij de Britse uitgever Selfmadehero, die al eerder mijn The Return of the Honey Buzzard publiceerden. Het tweede boek dat mij naar TCAF bracht was Taxi!, bij de Canadese uitgeverij Conundrum Press van Andy Brown. Het boek is autobiografisch, en gaat over vier taxiritten die ik heb gehad in Jakarta, Los Angeles, Washington DC en Parijs. De Engelse editie zal officieel pas in september verschijnen, maar het leek de uitgever zonde om TCAF te missen. Daarom besloot hij het boek al op TCAF te presenteren als een exclusieve pre-release. Bovendien werd het boek gepromoot in het programmaboek van TCAF en op de website. Door deze aandacht verkocht het ontzettend goed. Taxi! zag ik tijdens TCAF zelf ook voor het eerst; en dat was een heel bijzonder moment. Het is precies geworden zoals ik het in gedachten had!

IMG_1393Eindelijk mocht ik mijn boek “Taxi!” vasthouden!

Dag-tot-dag verslag: Vrijdag 10 mei
Mijn eerste ontmoeting in Toronto was op vrijdag 10 mei, toen ik samen met stripmakers Margreet de Heer en Yiri T. Kohl uitgenodigd werd door het Nederlands Consulaat-Generaal in Toronto. Jorn Leeksma en zijn collega’s onthaalden ons, met een grote glimlach, omdat wij de eerste striptekenaars waren die hun kantoor bezochten. Jorn is zelf ook stripverzamelaar en we hadden dus genoeg om over te praten. Eén van de dingen die hij ons vertelde was dat het Consulaat Generaal onder andere als taak heeft om de Nederlandse creatieve industrie in Toronto (en Canada) te promoten. Dat geldt dus ook voor de Nederlandse stripwereld, iets waar ik me tot dan toe niet bewust van was. We gaan de komende tijd dus nadenken over de mogelijkheden – wie weet in samenwerking met een volgende editie van TCAF. Het was al met al een hele nuttige en leuke ontmoeting. En er moest natuurlijk een groepsfoto gemaakt worden!

IMG_1308Striptekenaars op bezoek bij het Nederlands Consulaat-Generaal in Toronto. V.l.n.r.: Margreet de Heer, Jorn Leeksma, Aimée de Jongh, Yiri T. Kohl

De tweede afspraak die dag was een gesprek met de Nederlandse striptekenares en illustratrice Mei-Li Nieuwland, en de Amerikaanse podcaster Jimmy Aquino. Jimmy zou ons dat weekend beide voor zijn podcast Comic News Insider interviewen en wilde ons van tevoren ontmoeten in het Marriott Hotel, waar alle auteurs verbleven. Na een gezellig gesprek met Jimmy hebben Mei-Li en ik nog een lezing bijgewoond op de Word Balloon Academy, waar twee tekenaars hun ervaringen met social media deelden. Na de lezing trok ik me terug in mijn hotelkamer om even bij te komen van de drukke dag, terwijl Mei-Li haar interview met Jimmy Aquino had in de lobby. Rond 18:00 moesten we ons alweer haasten naar de volgende afspraak: de TCAF Kick-Off. Dit evenement is de jaarlijkse officiële opening van het festival en het was compleet uitverkocht. De kick-off bestond uit een 2-uur lang durend gesprek met de Japanse horrormeester Junji Ito, bekend van zijn bloedstollende mangareeks Uzumaki. Als je denkt dat dat saai is, heb je het mis. Deze serie behoort tot mijn absolute favorieten en ik was daarom erg blij dat we plekken hadden bemachtigd. Hoewel Ito alleen Japans sprak, was er een tolk die voor hem alles in het Engels vertaalde. Zij was eigenlijk de ster van de avond; ze had een groot gevoel voor humor, waardoor we regelmatig huilend van het lachen op onze stoelen zaten. We verwachtten een discussie over lugubere jeugdtrauma’s en diepe analyses van Ito’s werk, maar we kregen een luchtig gesprek over zijn werkwijze, zijn geschiedenis als tandarts en de invloed van zijn strips op zijn familie. Over Ito’s inspiratie zei hij simpelweg: “My wife is scary”.

IMG_1322Het interview met Junji Ito (midden) en een tekening uit zijn belangrijkste werk, Uzumaki.

Dag-tot-dag verslag: Zaterdag 11 mei
Zaterdag was de eerste en meteen ook drukste dag van TCAF. Wat ik toen nog niet wist, was dat het op zondag moederdag was, waardoor velen besloten hadden enkel op zaterdag te komen. De gangpaden waren daarom extra vol, en het maakte het moeilijk om van de ene naar de andere plek te komen. Gelukkig had ik een plekje achter de tafels van mijn uitgevers. Op zaterdagochtend signeerde ik Blossoms in Autumn bij Selfmadehero, en na de lunch mocht ik aanschuiven bij Conundrum Press om TAXI! te signeren. Beide boeken werden hartelijk onthaald door de lezers en ik had ook goede gesprekken met auteurs die tegelijkertijd signeerden. Ook Typex en Margreet de Heer waren druk bezig met het signeren van hun boeken (Typex’ Andy en Love: A Discovery in Comics). Rond 15:00 mochten zij aanschuiven bij het panel Dutch Comics, gemodereerd door Mark Nevins. In dit panel werd er in een uur tijd in vogelvlucht naar de stand van de Nederlandse strip gekeken, een wereld die voor de meeste Canadezen natuurlijk totaal onbekend is. Tom Poes, Bommel, maar ook Peter Pontiac, Erik Kriek en de strip Dating For Geeks passeerden de revue. Na een uur was duidelijk dat de Nederlandse strip een rijke geschiedenis heeft en zich nog steeds ontwikkelt.

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Signeren bij Conundrum Press. Foto: Jody Culkin, Publishers Weekly

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Signeren op de drukke zaterdag. Een rij! Foto: Conundrum Press

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Mark Nevins, Typex en Margreet de Heer bespreken de Nederlandse strip “Dating For Geeks” in het panel over Nederlandse strips.

Na het panel over Dutch Comics was het eindelijk tijd voor mijn eigen eerste panel, namelijk Spotlight: Aimée de Jongh. Hierin interviewde Jimmy Aquino mij een uur lang over mijn laatste twee boeken, mijn stripverslag over Lesbos en over mijn debuut The Return of the Honey Buzzard. Het gesprek werd tegelijkertijd opgenomen voor zijn podcast Comic News Insider, deze aflevering zal later online verschijnen. Jimmy en ik hadden een vlot en leuk gesprek. Hij eindigde met een reeks trivia vragen waar ik regelmatig geen antwoord op wist, maar hilarisch was het wel.

IMG_1383Het panel Spotlight: Aimée de Jongh

60009427_10157830832761554_8916959981807337472_oJimmy Aquino en ik na het panel Spotlight: Aimée de Jongh. Foto: Jimmy Aquino

Hoewel de beurs nu zijn deuren sloot, was de dag nog lang niet voorbij. Met Mei-Li had ik namelijk nog een bijzondere ontmoeting de bar van het hotel, met Craig Thompson en zijn broer Phil. Craig Thompson is de auteur van het magistrale boek Blankets, een graphic novel die mij als tiener enorm gevormd heeft en die tot mijn favoriete graphic novels aller tijden behoort. Het was bijzonder om hem te ontmoeten en met hem te praten over zijn nieuwe project, Ginseng Roots. Om 20:00 was het tijd voor de laatste afspraak van de dag: een etentje met mijn uitgever Selfmadehero en hun distributeur Abrams Books. Mei-Li en ik namen plaats naast de auteur en illustrator Brian Selznick, die bekend is geworden met het boek The Invention of Hugo Cabret, verfilmd als Hugo door Martin Scorcese. Hoewel het mijn eerste kennismaking was met Selznick’s werk, ben ik inmiddels groot fan! We hebben de hele avond gepraat, over ons werk, over boekverfilmingen en over al onze toekomstige projecten. Het was een aangenaam gesprek en ik hoop hem zeker nog eens te zien. Met een aantal stripauteurs sloten we de avond af met een borrel in de hotelbar. Een relaxte afsluiting van een dag vol nieuwe indrukken.

Dag-tot-dag verslag: Zondag 12 mei
De laatste dag van TCAF, en tevens moederdag, wat in Canada groots gevierd wordt. Het was daarom een stuk rustiger op de beursvloer. Mijn dag begon vroeg, want om 10:30 nam ik deel aan het panel Characters of Age met auteurs Ezra Claytan Daniels, Julian Hanshaw en de bekende Canadese stripmaker Seth. Daar werd opnieuw een Nederlandse connectie gelegd, maar dit keer eentje die ik niet zag aankomen: Op Seth na hadden álle panelleden los van elkaar aan projecten gewerkt met Submarine, een animatie- en productiehuis in Amsterdam. Sterker nog, we hadden alledrie samengewerkt met dezelfde contactpersoon: Remco Vlaanderen. Het was een bizar toeval omdat we elkaar tot dan toe helemaal niet kenden. We moesten daarom wel even een foto maken als bewijs voor Remco, met ook de opdracht om nu met Seth een project te maken, natuurlijk!

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Het Submarine-team: Ezra Claytan Daniels, Aimée de Jongh, Julian Hanshaw bij het panel Characters of Age

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Seth, Ezra Claytan Daniels, Aimée de Jongh, Julian Hanshaw bij het panel Characters of Age

IMG_1364 (Edited)Characters of Age panel. Met v.l.n.r. Ezra Claytan Daniels, Seth, Aimée de Jongh, Julian Hanshaw en moderator Brigid Alverson.

Het panel Characters of Age was één van de hoogtepunten van het festival voor mij. Het onderwerp was het ontbreken van oudere hoofdfiguren in strips, en waarom we als stripmakers zo geobsedeerd zijn door de jeugd. Ik mocht aan het panel deelnemen omdat het boek Blossoms in Autumn vertelt over het liefdesleven van de twee zestigjarige hoofdpersonen. En ook de andere auteurs in het panel hadden nieuwe boeken uit waarin leeftijd en ouderdom een rol speelde. Moderator Brigid Alverson wist van al onze boeken één boeiend en vlot verhaal te maken, waar ik veel bewondering voor had. Al snel verplaatste de discussie zich naar het onderwerp van herinneringen, en hoe wij als mens een narratief proberen te maken van het leven dat achter ons ligt. Vervolgens praatten we over de perceptie van leeftijd; waarom je je zo oud als je leeftijd voelt (of juist niet) en of leeftijd er eigenlijk toe doet. Vooral Seth had bijzondere bijdragen die nog lang zijn blijven hangen. Gelukkig is het gesprek opgenomen door twee bibliothecarissen uit Toronto, die een archief en blog maken over specifiek strips over ouderen. De audio zal daar t.z.t. geplaatst worden.

De dag eindigde met signeersessies bij Conundrum Press en Selfmadehero. Rond 15:00 kon ik eindelijk voor het eerst daadwerkelijk de beurs oplopen om zélf rond te kijken. Het enige boek dat op mijn lijst stond was Pope Hats #6, het nieuwe stripalbum van het Canadese talent Hartley Lin, die ik al eerder ontmoet had. Ik zocht hem op en hij signeerde een boek voor mij, wat meteen de enige handtekening was die ik tijdens heel TCAF heb verzameld. Maar als ik nul handtekeningen had was het ook goed geweest. Het belangrijkste op dit festival was het netwerken, het ontmoeten van collega’s, het praten over het vak, en het signeren van boeken. Daar is letterlijk al mijn tijd aan op gegaan, wat natuurlijk helemaal geen straf is.

D6YU1TcXsAIuA2rOok op zondag ging het signeren door! Foto: Conundrum Press

IMG_1358Hartley Lin signeert Pope Hats #6

De zondag eindigde met een etentje van Conundrum Press, waarbij ik enkele auteurs die ik de rest van het festival continu misliep eindelijk eens rustig kon spreken. Het was een heerlijke relaxte avond met veel lol. Met Conundrum-uitgeefster Sarah Sawler en autrice Kat Verhoeven (geen Nederlandse!) besloten Mei-Li en ik naar de officiële TCAf afterparty te gaan. Hier sloten we het festival af, met nog één maal netwerken en biertjes. Op de weg terug namen we met uitgeefster Sarah een taxi en we lachten dat het de perfecte afsluiter was, omdat het onderwerp van mijn boek bij Conundrum ook taxi’s was. Het was tijd om mijn koffer in te pakken. 

Terugreis
Op mijn vlucht naar huis heb ik nog regelmatig teruggedacht aan de vele indrukken, nieuwe gezichten en mooie gesprekken. Het voelde regelmatig alsof ik een week aan afspraken in twee dagen had gepropt. Maar daarom was dit jaar ook zo’n succes. Het is een beurs die nodig is, omdat het de creativiteit bovenop stelt, en zoekt naar verbreding en verbinding tussen groepen. Het is een beurs die het bezoeken écht waard is, zelfs voor ons Nederlanders, omdat het volgens mij het (soms) verloren vertrouwen in de stripwereld herstelt. Toronto is niet om de hoek, dat weet ik, maar een combi van TCAF en een paar dagen Toronto is volgens mij de prijs meer dan waard. Of alle boeken die je koopt nog in de koffer passen, is een tweede….

  • Aimée de Jongh, 21 mei 2019

 

Notities en opmerkingen:
– De volgende internationale stripbeurs die ik bezoek in samenwerking met Selfmadehero en het Nederlands Letterenfonds is SPX, van 14 tot 15 september 2019 in Washington DC! Voor meer info, check de website
– Meer foto’s van de beurs: https://www.publishersweekly.com/pw/by-topic/industry-news/comics/article/80043-photo-mania-toronto-comic-arts-festival-2019.html
– Meer info over TCAF: http://www2.torontocomics.com/
Bloesems in de Herfst is reeds verschenen in het Nederlands bij Ballon Media
Taxi! komt in het Nederlands uit eind mei 2019, bij Scratch Books

“Blossoms in Autumn” out in the UK!

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Hi everyone,

Blossoms in Autumn, my latest book written by the incredible Zidrou, has finally been released in the UK by the British publisher Selfmadehero! You can now find it in any UK comic book store and you can order it online. The reviews that are coming in are fantastic and we’re so very happy with all of them. For more info about the book, check out the publisher’s website https://selfmadehero.com/books/blossoms-in-autumn

And here’s a small selection of reviews…..

The Guardian (Graphic novel of the month) “Not only is it full of hope and tenderness. It also acknowledges, in the plainest way possible, something that many people find hard to believe, which is that desire doesn’t end when a person turns 50; in fact, in the right circumstances, it may begin to grow all the stronger.”
https://www.theguardian.com/books/2019/apr/02/blossoms-in-autumn-zidrou-aimee-de-jongh-review-graphic-novel

Broken Frontier: “Zidrou and Aimée de Jongh’s graphic novel is a raw, honest, poignant and quite beautiful meditation on love and ageing”
http://www.brokenfrontier.com/de-jongh-zidrou-selfmadehero-blossoms-in-autumn/

The Beat: “The idea here is that your life can be your eternal slumber or your meandering journey, but your old age can be both the magical moment you awaken to find a new shining reality and the goal of your endless quest, and these two circumstances can merge to create something enchanting.”
https://www.comicsbeat.com/indie-view-everything-old-is-new-again-in-blossoms-in-autumn/

DownTheTubes.net: “A beautiful, warm, joyful story, deftly handled by a writer, an artist and a translator at the top of their game.”
https://downthetubes.net/?p=105465

The Comics Journal:  “Blossoms in Autumn captures the poetry of human relationships along with the belief that life might hold a few surprises in store, should we allow ourselves to welcome them.”
http://www.tcj.com/reviews/blossoms-in-autumn/

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SIGNING SESSION @ ABC AMSTERDAM
If you live in the Netherlands and you want your book signed, come to the American Book Centre, Spui 12, Amsterdam on April 5th 18:30 – 19:30. I’ll sign the English copies there at the NL Book Launch and Signing event!

SIGNING SESSION @ TCAF TORONTO
I will also sign the book at TCAF Toronto, with the support of Nova Scotia, The Netherlands Literature Fund, Conundrum Press, and SelfMadeHero. TCAF takes place May 11th / May 12th in the Toronto Reference Library. More info: http://www2.torontocomics.com/

The book will be available in the US fromMay 2019. More signing dates will be announced.

For more pictures from the book, visit: http://www.aimeedejongh.com/bloesemsindeherfst.html

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Carry Slee: ‘Durf Te Schrijven’ nu in de boekhandel!

Yes! Deze week ligt eindelijk “Durf Te Schrijven!” van kinderboekenauteur Carry Slee in de winkel! Dit is een schrijfhandboek voor jong en oud, waarin ze openlijk vertelt over het schrijversvak, de worstelingen, tegenslagen, en natuurlijk over het maken van een goed verhaal. Ik mocht voor het boek zo’n 40 illustraties maken om de vele opdrachten en anekdotes uit haar persoonlijke leven te verbeelden. Een grote eer, want ook ik heb vroeger Carry Slee gelezen…. Nu in elke boekhandel!

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