They not only have a responsibility to the historical record, but perhaps more importantly, they are beholden to the attentions of their readers. See, the thing of it is: biographers are every bit as much storytellers as Dickens or Gaiman or Hemmingway or Stoppard.
And biographers, even if they had access to such an impossible (barring the metanatural) source, probably wouldn’t wish to make use of it for fear of losing some of the more outrageous possibilities in the unveiling of their respective subjects. Oh, certainly in the abstract sense, there could exist some ultimate record of events free from the colouring of memory, vanity, or nostalgia, but that would require an impartial, omniscient observer. In my response to Christopher Frayling’s biography of Sergio Leone, I wrote: The biographer is never simply representing What Happened, but instead puts forth a version of what happened-a story that conforms more or less plausibly with the ultimately unknowable way history actually spun itself out. Ignoring the matter of interpretation, the biographer still has to grapple with the reality that there are not really any such things as brute facts. Brown believes that this autobiographical work about his adolescence is his best book.īrown was persuaded in 1998 to assemble a book collecting his shorter pieces: The Little Man: Short Strips, 1980-1995.Īlso in 1998, Brown began work on Louis Riel: A Comic Strip Biography which was finally completed in mid-2003 and collected as a critically acclaimed graphic novel later that year.īiography is always a tricky thing to pull off well. In 1994, Drawn & Quarterly published I Never Liked You. Brown�s The Playboy was released in 1992 and was the first graphic novel published by D+Q. In 1991, Chris Oliveros managed to convince Brown to sign on with Oliveros�s new comic book company, Drawn & Quarterly. In the pages of Yummy Fur, Brown serialized a bleakly humorous story called Ed the Happy Clown which was published as a graphic novel in 1989 and went on to win several awards. The first Vortex issue of Yummy Fur sold well, and Brown quit his day job and began working full-time as a cartoonist. These pamphlets attracted attention in comic book industry publications, and in 1986 the Toronto-based comic book publisher Vortex Comics approached Brown.
In 1983, he began to self-publish his work in photocopied �mini comics� under the title Yummy Fur. Librarian Note: There is more than one author in the GoodReads database with this name.Īt 19, he moved to Toronto and got a day job while he worked on his skills as a cartoonist at night and on weekends. Lawrence Sun, published one of his comic strips. His career path was set at the age of 12 when the local newspaper, The St. Chester Brown was born in Montreal, Canada on and grew up in the nearby suburb of Chateauquay.
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