Dean Haspiel's OPPOSABLE THUMBS: Interviews

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Interviews

May 2001
Haspiel is All Thumbs
Interview by Cliff Biggers (Comic Shop News #725)

Dean Haspiel is certainly no stranger to autobiographical comics — after all, he illustrated the lead story in the latest Harvey Pekar American Splendor book from Dark Horse, and he's done a story or three about his own life for various books. But Haspiel's about to invite readers to drop in on his life on a regular basis in the semi-autobiographical series Opposable Thumbs.

"Opposable Thumbs is Dean Haspiel's new solo series about a born-and-bred New Yorker and the trials and tribulations of living in the big bad city. In Opposable Thumbs, Haspiel unfolds existential, uproarious, compassionate stories full of personal wisdom. Even the bleakest and grubbiest settings are lovingly, lusciously rendered by Haspiel's sharp brush in one of the most recognizable styles in alternative comics, and 'quiet' domestic scenes veritably simmer with graphic impact. Thoroughly conquering the territory Dean began to explore in the critically acclaimed two-man anthology Keyhole with Josh Neufeld, Opposable Thumbs looks like the new front-runner in autobiographical storytelling."

Haspiel, who broke into comics in the mid-80s as Howard Chaykin's assistant and also worked with Bill Sienkiewicz and Walter Simonson before going solo in 1987, has done superheroes, adventure, and humor comics — but he still finds himself most excited by "slice-of-life" semi-autobiographical books. So what's the difference between autobiographical tales and "semi-autobiographical?"

"I try to keep my semi-autobiographical stories as true and honest as my memory can muster, yet purposely tell rewarding tales of social drama, macabre humor, and heartfelt introspection," Haspiel said. "The reason I dub stories about my life as 'semi-auto-bio comix' has largely to do with the fact that these stories are often being told with informed hindsight of the event. I shape my stories with the verisimilitude of verbatim action, feelings, and dialogue, yet pace the story to maximum affect. Every moment of our life has different values and thus, is recorded accordingly. Our memories are perpetually taken to task. I can only tell you what I can honestly remember. Perception is reality."

Haspiel acknowledges the influences of some impressive comics talent on his new series. "Over the years, I have been impressed and influenced by the autobiographical work of Chester Brown, Debbie Drechsler, R. Crumb, Harvey Pekar, Eddie Campbell, Mary Fleener, Ivan Brunetti, Josh Neufeld, Dennis P. Eichhorn, Julie Doucet, Ed Brubaker, Joe Sacco, John Porcellino, David Collier, Tony Consiglio, and Ariel Bordeux. Their stories always yield interesting and unique mediations of life. I have recently discovered the oeuvre's of Phoebe Gloeckner, Spain, Dori Seda, and Justin Green's "Binky Brown" opus. I have yet to read Art Spiegelman's Maus (blasphemy!), and Ariel Schrag's Potential... Although, heavily disguised and laced with many layers of fiction, I also dig on the mondo-semi-auto-bio comix of Bob Fingerman, Lorna Miller, Alex Robinson, Will Eisner, Evan Dorkin, Pete Sickman-Garner, Jessica Abel, Andi Watson, and James Kochalka. Every cartoonist takes a different approach to his/her personal work, and I always learn from every example. Autobiographical comix as a budding genre is still in its infant stages, so I feel that all examples sport golden nuggets to learn from and enjoy. When an auto-bio piece doesn't work, it is often the onus of the subject and not the format."

Don't assume that it's easy to produce comics about one's own life; there are challenges inherent in the genre. "Besides conditions of id and ego, the most difficult aspect of exposing yourself in a 'real-life-based' comic, is how your friends and family may or may not react to their portrayal and the specific angle focused for the event. There is a side to every story and, if compelled, the subjects portrayed never get the chance to tell their version of the experience that has now been printed in pulp for anybody to read and judge. I have chosen to allow strangers into my life via my work, but I have not given the people in my stories that choice, which is an incredibly bold risk to take. Believe me, I have felt the repercussions and have chosen to stick to my guns. This is my life. You and they are only a part of my bigger picture. Dig?

"But some of the more rewarding aspects of doing semi-auto-bio comix is when my exposés invigorate a personal response with people that I might not have normally sparked in a standard venue. By exposing myself, I throw the gauntlet down for interested parties to pick up and possibly share raw discourse about themselves. I drew a comic about the various accidents and broken bones and scars I've managed to tattoo my body with in a story called 'Proud Flesh,' which appeared in Keyhole #5. Soon after it was published, I moseyed into a local comix store and got pregnant stares from the owner and co-workers. Folks who I am very friendly with began to look at me differently and study my cadence. Something was awry. After a few suspicious minutes, the workers came up to me one-by-one and happily divulged stories about their various accidents and showed me their burns and scars. I was very flattered that my work and my life could knock down walls and open doors for such candid interaction."

Opposable Thumbs #1 will compile some of Haspiel's best semi-autobiographical tales from Keyhole (including "Proud Flesh"), Minimum Wage, Non, The Expo Anthology and Dirty Stories 2. The series will continue with all-new stories beginning in the second issue. Look for the 48-page $4.95 first issue in July.