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GVN Talking Comics: Denis Kitchen On Oddly Compelling Documentary From Tinto Press

Define Denis Kitchen: Publisher. Underground Cartoonist. Activist. Historian. Quirky Collector. Troublemaker (maybe to some). All during his storied career, Denis Kitchen has been taking on the establishment. Now an all-new documentary, Oddly Compelling : The Denis Kitchen Story , highlights Kitchen's long, strange trip — from his early days as a hippie cartoonist, to his thirty years as one of the most important independent comic book publishers, and his work as a fierce advocate for the First Amendment. Now, in collaboration with Tinto Press and Denis Kitchen Archives, the Oddly Compelling Kickstarter campaign will be offering rare Underground Comix, remarqued books, personalized prints, film posters, and original Kitchen art, along with streaming and Blu-ray versions of the documentary. We recently had the great pleasure of sitting down with the iconic creator to discuss his creative beginnings, his history in publishing, and his upcoming documentary. So, we are pleased to welcome Denis Kitchen to GVN Talking Comics. Creative Origins GVN: Thank you for taking the time to talk with me, Denis. As this is our first conversation, I'd like to begin by exploring your creative beginnings. From your early years growing up in Wisconsin, you demonstrated an interest in cartooning and journalism. What motivated you to pursue these creative paths, and who were your inspirations during those formative years? DENIS: One very early incident stands out as critical. I was starting second grade, just seven years old. I'd primitively written and illustrated a story in crayon and was showing it to giggling classmates in the back row which caught the attention of the teacher. She said, 'What's going on back there?' My heart froze. I muttered something like, 'Uh, I was just showing my story to them.' I fully expected her wrath to descend on me and braced for it. 'Well,' she said, 'If it's good enough to share with them, why don't you stand in front and share it with the entire class?' I was quite shy then but dutifully stood in full view of all and read 'The Adventures of Captain Sauerkraut' to them. There was scattered laughter and tittering, and when it was over, she thanked me for sharing the story. I will never know if being yelled at or punished would have changed the course of my eventual career, but I do indelibly remember that the reward of her support and the perceived approval of my young peers infused me with a new confidence and a desire to create and draw more stories. If any grade schoolteachers are reading this, be aware that your approval and encouragement of impressionable young writers and artists can be enormously influential. The quicker answer is that Harvey Kurtzman's Mad and his other satire publications were a huge inspiration. Publishing at an Early Age GVN: Even as you progressed in your education, you had started stretching your creative muscles in both an unofficial school paper 'Klepto,' and later on a humor magazine, 'Snide' at the University of Wisconsin–Milwaukee. In both of these endeavors, how difficult was it for you to find like-minded students to participate? DENIS: I began producing Klepto at thirteen and continued it through high school in Racine. It was essentially a one-man operation, although one friend helped me sell copies, so I listed him as 'Publisher' on the masthead. I'm certain I had no idea then what a publisher actually was, though I was learning, instinctively, every component of publishing. Later, during Klepto's high school era, I enlisted 'Miss X,' a socially-connected classmate, to ghost a gossip column. I would like to think my brilliant writing and cartoons drove Klepto's large circulation (fifty copies) but Miss X's juicy column was likely the most popular feature. It was easier to find contributors to Snide with a much larger student body. UWM never had a humor magazine, so the co-founder and I came up with various publicity stunts to promote the start-up publication. My journalism training proved critical: I figured out how the Milwaukee Journal's feature news department could be manipulated to Snide's benefit. We several times pulled off rather remarkable stunts that put us on the map, not just on campus but throughout the entire city and suburbs. Soon all kinds of students were submitting ideas, stories, and art. Kitchen Sink Press GVN: In 1969, you really started to expand your comic talent and ambition by self-publishing your comics and cartoons in 'Mom's Homemade Comics.' Followed by your founding of Kitchen Sink Press and syndicating comics strips to over 50 underground and college newspapers. That is quite the undertaking. How did these opportunities come about, and did you have any trepidation going into these different ventures? DENIS: It sounds like there should have been trepidation, but, in hindsight, I think it was a combination of naivete, fearlessness, and a workaholic nature. I had no idea what obstacles might lay ahead of every venture and just fumbled over or through any challenges. I had no working capital, and every dollar earned was put back in the operation. I survived on meager rations and was able to enlist kindred spirits who shared the passions of the day and somehow muddled through. Those formative days were chaotic and crazy and yet somehow, I remember them fondly. The Luminaries of Kitchen Sink Press GVN: In time, Kitchen Sink Press would publish such as luminaries as Will Eisner, Harvey Kurtzman, and Al Capp. As well as, after merging with Kevin Eastman's Tundra Publishing, working with talents like Alan Moore, Neil Gaiman, James O'Barr, Don Simpson, and Scott McCloud. What was involved in getting connected with these creative icons and did you feel it helped that you were a fellow artist and understood what went into the creative process when negotiating with them? DENIS: Some of the success stems from that fearless word I used earlier. When I was an absolute nobody and had just self-published my first comic book in 1969, I sent it to my idol Harvey Kurtzman, who replied kindly, and that led to further correspondence, a long relationship, and many projects. Ditto with Will Eisner. When I met him in 1971 it didn't take long for me to ask him if I could publish The Spirit. It definitely helped that I was a fellow cartoonist, knew comics history, and could engage creatively. But as a publisher I critically had to convince them I could deliver the goods, pay their royalties on time, give them high production standards, and just generally be reliable. Each successful relationship and beautiful book builds on itself. By the time I connected with the other names you cite, I had already developed a track record and reputation, so it got easier as time went by. Did I just say 'easy'? Publishing is never easy! Defending Creator's First Amendment Rights GVN: The old saying goes, 'put your money where your mouth is.' This is exactly what you did when in 1986 comic store manager Michael Correa was charged with possession and sale of obscene material. Part of the content in question were two publications by Kitchen Sink Press. It would have been very easy for you to distance yourself from the situation, but instead you stepped in and helped to raise money for his defense. Did you ask for any input or advice about the situation with anyone before you jumped into the fray and why did you feel it was important to stand up for Michael at that time? DENIS: I was certainly upset that Omaha the Cat Dancer and other titles were called obscene, but I did not initially talk to anyone except Frank Mangiaracina, who owned the shop, Friendly Frank's. Frank hired a local attorney and said not to worry, but his lawyer had no First Amendment experience and Michael was convicted. At that point I was really indignant. The idea that cops could just walk into a shop and arrest a guy because they personally didn't like a few titles—that was outrageous to me. He wasn't selling erotic comics to kids. So, I quickly put together an art portfolio with new drawings by Frank Miller, Will Eisner, R. Crumb, Sergio Aragones, Richard Corben, myself and several others, and raised enough money to hire the best specialty attorney in the Midwest—Hugh Hefner's lawyer—to appeal the conviction. And we were successful. The Comic Book Legal Defense Fund GVN: This led to your founding and incorporation of the Comic Book Legal Defense Fund in 1990, serving as its President until you retired in 2004. After that incident and in your time as President, did you ever hope that there might be a time that its services would not be necessary? (Unfortunately, in our present circumstances, it appears that it is more important than ever.) DENIS: Hah! It certainly would have been nice if circumstances allowed the CBLDF to fade away. But, as you suggest, other incidents kept coming to light. We quickly learned that there are always people, including self-important policemen, headline-hungry prosecutors, and such. who think it's morally OK or politically useful to suppress views they don't like. Thankfully, Americans have a First Amendment, but we often have to fight in courts to enforce our constitutional rights. A Life to be Proud Of GVN: With such a wide-ranging career in all aspects of the comic business, as creator, publisher, defender of comic rights and art agent, it is not surprising that a documentary is being made to explore your career and the impact you have made for comics and those that create them. As you recalled and revisited your life and accomplishments while making 'Oddly Compelling: The Denis Kitchen Story,' what would, or could you say you have been most proud of in your career (to this point)? DENIS: That's a tough one. I'm certainly proud of the CBLDF, nurturing talents over several decades, and personally creating art and writing books, but I think my greatest satisfaction comes from looking at the shelves of books I've helped bring to life, by many different creators, and feeling a real sense of accomplishment from that. Books are effectively a publisher's children, and I feel like I've released a lot of brilliant and good-looking kids into the world. Current and Future Projects GVN: Thank you once again for your generous attention, Denis. In parting I want to give you an opportunity to talk about the upcoming Kickstarter crowdfunding campaign for your documentary and any other projects you have in the works. DENIS: Well, I simply encourage your readers to go to the Kickstarter, currently in its 'pre-launch' stage, and click to support the Oddly Compelling documentary. Once it goes live there are numerous and strange rewards that I think some of your followers will find irresistible. Current and future projects include a sequel to my 'Creatures from the Subconscious' book from Tinto, and a separate book of my 'chipboard' creatures in 3-D, with glasses, from Fantagraphics. I'm involved in several other cartoonist documentaries: ones on Harvey Kurtzman and Al Capp, and another on the mysterious Nancy cult. I've been contributing comics to anthologies, doing some art commissions, curating exhibits, writing introductions, publishing music card sets by Robert Crumb and Bill Stout, and generally keeping way too busy for someone this jaded and ancient. My take would be here is a man who worked hard to promote the art that is comics and cartooning, who fought to allow creators to express themselves without fear of backlash or censorship and was willing to take a stand when needed. Oddly Compelling: The Denis Kitchen Story If there is anyone who's career deserves an in-depth look, its Denis Kitchen. You can visit the Kickstarter campaign for this exciting documentary into his life here.