Robert Crumb. Sketchbook Vol. 5. 1989–1998
Hardcover, 8.1 x 10.6 in., 3.24 lb, 444 pages
Volume Five of the R. Crumb Sketchbooks covers two of the most noteworthy events of the artist’s life: the family’s move to southern France in 1991 and the release of Terry Zwigoff’s 1994 documentary CRUMB. Solidly in his midlife crises years, our curmudgeon finds a measure of peace and acceptance of the cruel whims of fate—until the final pages, when he pronounces himself “such a fucking QUEER.”
“Old Habits Die Hard!”
Volume Five of the R. Crumb Sketchbook series
As this volume opens we find our hero at age 46, solidly into the midlife crises years. Crumb has lived his entire life in anxious, introspective, self-flagellating crises, however, so the middle years bring only a refinement of his lifelong turmoil and further honing of artistic talent. More words accompany the drawings, demonstrating Crumb’s brilliant powers of observation, as in a long paragraph devoted to an encounter with one of brother Maxon’s vegan turds, and a poetic paean to the heartbreak of life and aging. The family’s move to Sauve, France, in 1991 is heralded by a switch from portraits of apple-cheeked American girls sketched while waiting for food in California cafes to portraits of girls in French cafes, by pastorals of rampant French countryside, and by haunting tableau of homeless beggars in the Metro.
goes deeper and darker
The most notable new character in this sketchbook is a turbaned holy man named, by young Sophie Crumb, Roman Dodo, who seems loosely inspired by Robert’s brother Maxon. Patricia Pig, a cheerful human/porcine hybrid also debuts, alongside portraits of girlfriends present and past.
As the artist advances into his mid-50s, towards the end of the volume, fantasies of regression to childhood dependence on strong female figures, and even of a good death, carried away on the back of a sturdy young angel, speak less of angst than acceptance of the aging process. Our curmudgeon finds a measure of peace, a certain French acceptance, of the cruel whims of fate. Until the final pages, when he pronounces himself, out of nowhere, “such a fucking QUEER.”
All in all, another killer volume.