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The Flapper Queens: Women Cartoonists of the Jazz Age Kindle & comiXology
- LanguageEnglish
- PublisherFantagraphics
- Publication dateAugust 18, 2020
- Reading age13 - 18 years
- Grade level11 and up
- File size843436 KB
- Due to its large file size, this book may take longer to download
- Read this book on comiXology. Learn more
From the Publisher
From Eisner Award-winning author Trina Robbins, The Flapper Queens is a gorgeous oversized hardcover collection of full-color comic strips featuring well known women cartoonists such as Nell Brinkley to lesser known artists like Virginia Huget and Edith Stevens.
"A fresh, spirited look at a colorful cultural phenomenon.” —Kirkus Reviews
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Editorial Reviews
Review
― The Guardian
"Comics historian Trina Robbins pays homage to six women artists of the '20s and ’30s in a lively, vividly illustrated celebration. A fresh, spirited look at a colorful cultural phenomenon."
― Kirkus
"Women can draw anything. But in the 1920s, newspapers hired (and even sought out) female cartoonists to draw comic strips about flappers. In The Flapper Queens, herstorian Trina Robbins showcases six of those artists in a coffee table book. ... As a way of bringing more exposure to these artists, this book is tops."
― Comicon --This text refers to the hardcover edition.
About the Author
Product details
- ASIN : B07ZRZWJ9F
- Publisher : Fantagraphics; Illustrated edition (August 18, 2020)
- Publication date : August 18, 2020
- Language : English
- File size : 843436 KB
- Text-to-Speech : Not enabled
- Enhanced typesetting : Not Enabled
- X-Ray : Not Enabled
- Word Wise : Not Enabled
- Sticky notes : Not Enabled
- Print length : 166 pages
- Best Sellers Rank: #1,667,150 in Kindle Store (See Top 100 in Kindle Store)
- #1,148 in Southern U.S. Biographies
- #1,364 in Art Book Graphic Novels
- #2,126 in History of LGBTQ+ & Gender Studies
- Customer Reviews:
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This anthology includes selections from Nell Brinkley, Eleanor Schorer, Edith Stevens, Ethel Hays (with Gladys Parker, who took over her Flapper Fanny strip), Fay King, and Virginia Huget. There's also brief coverage of the Annibelle strips by Dorothy Urfer and Virginia Krausmann, which isn't listed in the table of contents.
While I appreciate getting to see this art so beautifully presented, Trina Robbins has never been the best anthologist. Her introductions are brief (a paragraph to a few pages of text) and lack analysis. Some of the artists have five times the amount of work represented as others. I had no clue why until the write-up on Virginia Huget mentioned she was one of the three flapper queens. So Nell Brinkley, Ethel Hays, and Virginia Huget are the eponymous queens, based on my observations, but there's no indication why the other women artists were chosen for inclusion with them.
Since Trina Robbins has published two previous volumes on Nell Brinkley, it is no surprise that Brinkley gets the most coverage. (Both as a singular artist and in the outro discussing the end of the flapper comics trend.) However, this was a chance for her to showcase other artists as well. Much of the Brinkley material was previously printed in her 2009 volume The Brinkley Girls. It is now out of print, to my knowledge, but still available in the way high-quality material for the other artists isn't.
Also, the comics are presented in a baffling order. I understand keeping each strip by an artist collected together, but the dates are printed on them and many are not presented chronologically. If there is a different significance to the order, it is not given and I cannot ascertain it. There's also no given reasoning for why the strips reproduced within The Flapper Queens were chosen to represent each of the artists. Are these strips considered their best? (By who?) Where they chosen randomly? Maybe.
(There is also one error where Fay Kings "Preserve Your Own Personality, Says Fay King" is printed on both page 110 and 113.)
I also felt that historical context could make this a more valuable volume for readers interested in these cartoonists. Some of the humor eluded me, especially that of Virginia Huget. There are also periodic appearances by racial caricatures and stereotypes, most often in Nell Brinkley's The Fortunes of Flossie strip, which could have been contextualized.
I appreciate the work Trina Robbins has done to preserve the history of women in comics and present their art to new audiences, but I am often disappointed by her work as an anthologist.
At the same time at all, I am not disappointed at all to see the work of these artists beautifully presented. The fashion! The cars! The pretty, wild girls! If you like comics history, or simply looking into the past, then this is a wonderful, beautiful volume.
I believe this book deserves a wider audience than any of the categories into which it will likely be sorted will provide, though perhaps word of mouth will broaden it's distribution. This book straddles several areas, ART AND Art History, Women's Studies, and Sociology, and even straight history, as it illuminates the contributions of women artists to liberating women and supporting our sevelopment into full human beings.
When I was working on my dissertation, a brilliant woman (in fact, the only woman on my committee) spoke about how art moves society forward. There are quite a few notable artists we can point to and see the wisdom there. I have little doubt that these art works, with their tongue in cheek commentary, did a great deal to provide support to the women who, upon returning home from service in the war, did not want to shimmy back into a corset or spend the rest of their days in the kitchen. Their work and their names deserve to be better known, as this book deserves a descriptor beyond "graphic novel".