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Here is an interview with Hernandez in which he details some of the devices used in Bumperhead, particularly re: its chronology (I don't think he'd agree with my interpretation!): http://www.comicbookresources.com/?page=article&id=55797

I feel Chris on being burnt on comics. I've been burnt on them this year, except for a handful of releases that in excited about.

I'm excited to read Sally Heathcote: Suffragette: smashing windows, radicalism for your rights and bleak ending done through somewhat rigorous, info heavy narrative, I'm fucking there. I had to import mine from the UK. I bought mine when it first came out, but I was so adverse to reading comics, it was lying in my to-read pile. I also love the Talbot team-up.

And now to Gilbert: I love him. I love him because he's one of comics greatest Fabulists and Magic realists in comics. Reading his works, especially early L&R, Julio's Day and Bummerhead, there's an underlining fantastical element that adds spice to the narrative and to an extent reflect his characters' interiors and exteriors. I would say there's a direct line from early Latin American Magical Realist/Fabulist writers--Borges, Quiroga, Cortazar, Felisberto Hernández and others-- to the Latin American Boom--Fuentes, Márquez, Donoso, Ruflo, Bastos--to Los Hernandez bros, especially Gilbert.

It's also nice to read a story that reflects you. Being Latin America BBB, when Gilbert--and Jaime but mire Gilbert--writes and identity and feeling lost in American hits so fucking close to home. Having been and in a way still going through it, it's nice to know I'm not alone in that part of my life.

I'm going off in a rant, but Gilbert's current work and even his early stuff, more current is so fucking strong.

Thanks for the link, Joe!

No problem, man; thanks for this comment.

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