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{{Short description|1989 comic book story}} {{Short description|1989 comic book story}}
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{{Infobox comic {{Infobox comic
| name = Point the Finger | name = Point the Finger
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| hero = | hero =
| appearances = | appearances =
⚫ | pages = 6<ref name="beck72">Becker, Romain (2022). "". In Berndt, Jaqueline (ed.); Noonan, Patrick (ed.); Kukkonen, Karin (ed.). ''Comics and Agency''. Aesthetics, Histories, and Practices, Vol. 1. Walter de Gruyter & Co. pp. 72-79. {{isbn|9783110754483}}. {{oclc|1349351778}}.</ref>
| pages = 6<ref name="beck72">Becker 2022, p. 72.</ref>
| layout = | layout =
| story = ] | story = ]
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==Background== ==Background==
In the 1980s, American cartoonist ] continued to satirize the ] in his work, but his style of ] changed and became more refined as he studied older work like the 16th century Flemish artist ] (1525–1569).<ref>Heritage Comics and Comic Art, 2008.</ref> The Crumbs were living in ], but were unhappy with the rise of ], his cuts to education, and the resurgence of the ], members of which were attacking Crumb for his art. Reagan's cuts to education had eliminated art and music classes at their daughter's school, so the Crumbs began volunteering their time teaching drawing, but students stopped showing up after a Christian minister told members of their community that the Crumb family were "agents of the devil".<ref>Miller 2022, p. 54.</ref> Unsatisfied with the transformation the United States had undergone from the ] to the culture of the 1980s, Crumb and his family left California two years after "Point the Finger" was first published and moved to a village in ].<ref name="hal">Halliday 2016.</ref> In the 1980s, American cartoonist ] often satirized the ] in his work. He refined his ] style by drawing inspiration from older works, such as those of 16th century Flemish artist ].<ref>Heritage Comics and Comic Art (2008). Comics and Comic Art Auction #828. . Heritage Comics and Comic Art. May 22–23, 2008, Dallas, Texas. Heritage Auctions.</ref> At the time, the Crumbs were living in ], but they became increasingly unhappy with the changing culture in the United States. ]'s presidency led to the resurgence of the ], who were now attacking Crumb for his art. Reagan's budget cuts, particularly to education, also eliminated art and music programs at their daughter's school. The Crumbs volunteered to teach drawing classes, but participation dwindled after a local minister accused them of being "agents of the devil."<ref>Miller, M.H. (September 18, 2022). . '']''. p. 54. Retrieved July 28, 2023.</ref> Unsatisfied with the transformation the United States had undergone from the ] to the culture of the 1980s, the Crumb family left California two years after the publication of "Point the Finger" and moved to a village in ].<ref name="hal">] (June 20, 2016). . '']''. Retrieved July 27, 2023.</ref>


==Development== ==Development==
]
In 1987, ]'s book '']'' became a bestseller. American cartoonist Robert Crumb read Trump's book and was offended. He thought Trump came off as an "arrogant, reprehensible, total dick"; this inspired him to develop the story for "Point the Finger".<ref>Wood 2017.</ref> Crumb created the story during the late 1980s, when Trump was known for his ], not his politics; the story is therefore not, as Romain Becker of the Ecole Normale Supérieure notes, about the ], but rather a commentary on its ].<ref name="beck72"/> Years later, Crumb rethought the framing of the original story, thinking that he gave "too much credit for possessing a bit of class and sophistication"; Crumb came to believe Trump was more of a thug instead.<ref>Sayej 2019.</ref> In 1987, ]'s book '']'' became a bestseller. American cartoonist Robert Crumb read Trump's book and was offended. He thought Trump came off as an "arrogant, reprehensible, total dick"; this inspired him to develop the story for "Point the Finger".<ref>Wood, Alex (January 17, 2017). . Crumb Newsletter. . Retrieved July 27, 2023.</ref> Crumb created the story during the late 1980s, when Trump was known for his ], not his politics; the story is therefore not, as Romain Becker of the Ecole Normale Supérieure notes, about the ], but rather a commentary on its ].<ref name="beck72"/> Years later, Crumb rethought the framing of the original story, thinking that he gave "too much credit for possessing a bit of class and sophistication"; Crumb came to believe Trump was more of a thug instead.<ref>Sayej, Nadja (March 7, 2019). . ''The Guardian''. Retrieved July 27, 2023.</ref>

Crumb uses his typical monochromatic, crosshatched, pen-and-ink style.{{efn-lg|name=pi|group=note|]: "Crumb works almost exclusively in black line and is a master of painstakingly intricate cross-hatching."<ref>Pipes, Alan (2009). . ''Introduction to Design''. Pearson Prentice Hall. p. 34. {{ISBN|9780132085113}}. {{OCLC|212893712}}.</ref>}} Five of the six pages in the comic use six square panels per page, while the sequence on page three uses seven panels.<ref name="ptf">Crumb, Robert (1989). "Point the Finger". ''Hup'' #3. Last Gasp. {{ISBN|9780867192032}}. {{OCLC|1414682596}}.</ref>


==Plot== ==Plot==
] (1922)]]
Crumb addresses the reader to explain that he is "going to point that merciless finger at one of the more visible of the big-time predators who feed on this society..one of the most evil men alive...real estate tycoon Donald Trump". Trump is brought into the panel by two women, Tracy and Marny, while Trump and Crumb trade barbs. Crumb brings up Trump's ], while Trump defends himself by claiming he donated millions to the homeless. Crumb loses to Trump, as the then 42-year-old real estate developer, uses his wiles and charisma to attract the two women into his orbit and invites them to a party at ]. Crumb suddenly realizes that Trump is the living, modern-day embodiment of ], a character from the Roman work of fiction '']'' by ] (c. AD 27 – 66). The women happily leave with Trump just as the police arrive to arrest Crumb, guns drawn, leaving the reader with a sad quote from ] about the difference between the ways of nature and man. But just as the story has finished, Stan-the-Man Shnooter (a metafictional character parody of comic book editors ] and ]) appears, encouraging Crumb to change the ending. The reader demands, Shnooter tells Crumb, "justice, retribution, blood". Crumb gives in to his editor and a new ending is shown; this time, Crumb wins, as Trump is escorted to the restroom by the two women and given a ] in the toilet.<ref name="hock">Hock 2020, pp. 5-6.</ref><ref name="word">Worden 2021, pp. 13-15.</ref> Crumb addresses the reader to explain that he is "going to point that merciless finger at one of the more visible of the big-time predators who feed on this society..one of the most evil men alive...real estate tycoon Donald Trump".<ref name="word"/> Trump is brought into the panel by two women, Tracy and Marny, while Trump and Crumb trade barbs. Crumb brings up Trump's ], while Trump defends himself by claiming he donated millions to the homeless. Crumb loses to Trump, as the then 42-year-old real estate developer, uses his wiles and charisma to attract the two women into his orbit and invites them to a party at ]. Crumb suddenly realizes that Trump is the living, modern-day embodiment of ], a character from the Roman work of fiction '']'' by ] (c. AD 27 – 66). The women happily leave with Trump just as the police arrive to arrest Crumb, guns drawn, leaving the reader with a sad quote from ] about the difference between the ways of nature and man. But just as the story has finished, Stan-the-Man Shnooter (a metafictional character parody of comic book editors ] and ]) appears, encouraging Crumb to change the ending. The reader demands, Shnooter tells Crumb, "justice, retribution, blood". Crumb gives in to his editor and a new ending is shown; this time, Crumb wins, as Trump is escorted to the restroom by the two women and given a ] in the toilet.<ref name="hock">Hock, Stephen (ed.) (2020). "Introduction: Reading Trump". ''Trump Fiction: Essays on Donald Trump in Literature, Film, and Television''. Lexington Books. pp. 1-4, 5-6, 7-14. {{isbn|9781498598057}}. {{oclc|244482651}}.</ref><ref name="word">Worden, Daniel (ed.) (2021). "Introduction: R. Crumb in Comics History". ''The Comics of R. Crumb: Underground in the Art Museum''. University Press of Mississippi. pp. 13-15. {{isbn|9781496833808}}. {{oclc|1244620552}}.</ref>


==Critical reception== ==Critical reception==
Stephen Hock revisited Crumb's treatment of Trump in "Point the Finger" sometime after 2016, noting that it was part of a largely unstudied body of work he calls "Trump fiction". This category features Trump as a high-profile individual in popular culture before he became president; Hock refers to this as "cultural prehistory". Works of this type, along with Crumb's "Point the Finger", include books like the satirical horror novel '']'' (1991) by ], ''The Submission'' (2011) by ], and '']'' (2013) by ].<ref name="hock"/>
⚫ Daniel Worden notes that in both endings, male figures assert dominance over each other as well as the females, lessening the difference of both endings. "Crumb projects himself as a countercultural, outsider hero who does not conform to traditional standards of masculinity," writes Worden, but this image is an illusion.<ref name="word"/> Edward Shannon writes that "Crumb positions himself as a lone (and often impotent) defender of the oppressed—a victim of the fascists he just as often wishes to emulate".<ref name="word"/> This image is described as an example of "geek masculinity" by Anastasia Salter and Bridget Blodgett, where "relationships between men and women within geek media are defined according to deeply gendered beliefs despite existing as a response to traditional masculinity".<ref name="word"/> Seen in this light, Worden notes that the nontraditional masculinity espoused by Crumb is based on regressive gender norms which can't escape its traditional masculinity.<ref name="word"/>


In "Point the Finger", Hock argues that Crumb neglects to explore the greater role of Trump and ] itself within American history and society, favoring a discussion of Trump's personality and identity instead. Crumb fails, writes Hock, to actually discuss "the injustices of the system" he tells the reader he is going to do, only briefly touching upon it by showing a panel where the police are working closely with Trump to go after Crumb. Hock finds this panel reminiscent of Trump's involvement that same year with the ], where he took out a newspaper ad that said "Bring Back the Death Penalty. Bring Back Our Police!"<ref name="hock"/>
⚫ The comic received additional attention in 2016, when Trump was elected ].<ref>Knudde 2023.</ref> ] describes the story as "weird, self-deprecating, sexist, and before its time. Long before '],'" writes Doctorow, "Crumb had Trump's number."<ref>Doctorow 2016.</ref>


⚫ Daniel Worden notes that in both endings, male figures assert dominance over each other as well as the females, lessening the difference between the endings. "Crumb projects himself as a countercultural, outsider hero who does not conform to traditional standards of masculinity," writes Worden, but this image is an illusion.<ref name="word"/> Edward Shannon writes that "Crumb positions himself as a lone (and often impotent) defender of the oppressed—a victim of the fascists he just as often wishes to emulate".<ref name="word"/> This image is described as an example of "geek masculinity" by Anastasia Salter and Bridget Blodgett, where "relationships between men and women within geek media are defined according to deeply gendered beliefs despite existing as a response to traditional masculinity".<ref name="word"/> Seen in this light, Worden notes that the nontraditional masculinity espoused by Crumb is based on regressive gender norms which can't escape its traditional masculinity.<ref name="word"/>
⚫ ==References==
⚫ {{Reflist}}


⚫ The comic received additional attention in 2016, when Trump was elected ].<ref>Knudde, Kjell (2023) . ''Comiclopedia''. ]. Retrieved September 9, 2023.</ref> ] describes the story as "weird, self-deprecating, sexist, and before its time. Long before '],'" writes Doctorow, "Crumb had Trump's number."<ref>] (June 21, 2016). ". ''Boing Boing''. Retrieved July 27, 2023.</ref>
==Bibliography==
{{columns-list|colwidth= |1=
⚫ *Becker, Romain. "How a German Publisher Appropriates Comics It Did Not Originally Publish". In Berndt, Jaqueline (ed.); Noonan, Patrick (ed.); Kukkonen, Karin (ed.) (2022). ''Comics and Agency''. Aesthetics, Histories, and Practices, Vol. 1. Walter de Gruyter & Co. pp. 59-79. {{isbn|9783110754483}}. {{oclc|1349351778}}.
*] (June 21, 2016). ". ''Boing Boing''. Retrieved July 27, 2023.
*] (June 20, 2016). . '']''. Retrieved July 27, 2023.
*Heritage Comics and Comic Art (2008). Comics and Comic Art Auction #828. . Heritage Comics and Comic Art. May 22–23, 2008, Dallas, Texas. Heritage Auctions.
*Hock, Stephen (ed.) (2020). ''Trump Fiction: Essays on Donald Trump in Literature, Film, and Television''. Lexington Books. {{isbn|9781498598057}}. {{oclc|244482651}}.
*Knudde, Kjell (2023) . ''Comiclopedia''. ]. Retrieved September 9, 2023.
*Miller, M.H. (September 18, 2022). . '']''. p. 54. Retrieved July 28, 2023.
*Sayej, Nadja (March 7, 2019). . ''The Guardian''. Retrieved July 27, 2023.
*Wood, Alex (January 17, 2017). . Crumb Newsletter. . Retrieved July 27, 2023.
*Worden, Daniel (ed.) (2021). ''The Comics of R. Crumb: Underground in the Art Museum''. University Press of Mississippi. {{isbn|9781496833808}}. {{oclc|1244620552}}.
}}


==External links== ==Publishing history==
"Point the Finger" was originally published in November 1989 by ] in San Francisco. It appeared in the third installment of a four issue series of ''Hup'' released from 1986 to 1992. The story was included along with " Stan-The-Man Shnooter", " The Story O' My Life", "Nausea", "Hup! We Get Letters!!", and "He's A Natural Man!"<ref name="gcd">{{Gcdb issue |id=276208|title=Hup #3}}</ref> The cover design is based on a panel from "The Story O' My Life".<ref name="ptf"/> The first edition contained 36 pages and appeared in standard comic book size with a cover price of $2.50 US. Over the years, "Point the Finger" was reprinted and published at least seven times: in Spain (1990), Sweden (1991), the Netherlands (1992), the United Kingdom (1994), in the U.S. (1995, 2014), and in Germany (2019).<ref name="gcd"/> The UK reprint was published by ] in 1994 in an issue titled ''R. Crumb's America'', featuring an image by Crumb of an outline of the United States on its cover. This image featured the face of an overweight, ill-natured man embedded within its borders, which was illustrated with a version of the United States flag set against a mint-colored background. The German reprint was first published by ] in February 2019. They used the same image formerly published by Knockabout as the cover of an anthology titled ''Amerika'', but changed the background from mint to orange and added wavy odor lines emanating from the image along with people fleeing from it. These changes gave the impression that the image represented Donald Trump.<ref name="beck72"/>
*{{Gcdb issue |id=276208|title=Hup #3}}

==Notes and references==
'''Notes'''
{{notelist-lg|group=note}}
⚫ '''References'''
⚫ {{Reflist}}


{{Robert Crumb}} {{Robert Crumb}}
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] ]
] ]
]
] ]
] ]
] ]
] ]
] ]
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Latest revision as of 08:29, 23 January 2025

1989 comic book story

"Point the Finger"
Cover of Hup issue #3
StoryRobert Crumb
InkRobert Crumb
DateNovember 1989
Pages6

"Point the Finger" is a 1989 comic book story written and illustrated by American cartoonist Robert Crumb for Last Gasp. The story appeared in the third of the four issue series of his solo title Hup. In the story, Crumb goes after then real estate businessman Donald Trump and imagines having an argument with him. Two possible endings are shown to the reader. In one, Crumb is arrested by the police for having wasted Trump's time; in the second ending, two women give Trump a swirlie in the toilet. Critics described the story as both sexist and prescient. The comic received additional attention in 2016, when Trump was elected president of the United States.

Background

In the 1980s, American cartoonist Robert Crumb often satirized the culture of the United States in his work. He refined his underground art style by drawing inspiration from older works, such as those of 16th century Flemish artist Pieter Bruegel the Elder. At the time, the Crumbs were living in Winters, California, but they became increasingly unhappy with the changing culture in the United States. Ronald Reagan's presidency led to the resurgence of the Christian right, who were now attacking Crumb for his art. Reagan's budget cuts, particularly to education, also eliminated art and music programs at their daughter's school. The Crumbs volunteered to teach drawing classes, but participation dwindled after a local minister accused them of being "agents of the devil." Unsatisfied with the transformation the United States had undergone from the counterculture of the 1960s to the culture of the 1980s, the Crumb family left California two years after the publication of "Point the Finger" and moved to a village in Southern France.

Development

Reagan and Trump (1987)

In 1987, Donald Trump's book Trump: The Art of the Deal became a bestseller. American cartoonist Robert Crumb read Trump's book and was offended. He thought Trump came off as an "arrogant, reprehensible, total dick"; this inspired him to develop the story for "Point the Finger". Crumb created the story during the late 1980s, when Trump was known for his real estate business ventures, not his politics; the story is therefore not, as Romain Becker of the Ecole Normale Supérieure notes, about the politics of the United States, but rather a commentary on its financial system. Years later, Crumb rethought the framing of the original story, thinking that he gave "too much credit for possessing a bit of class and sophistication"; Crumb came to believe Trump was more of a thug instead.

Crumb uses his typical monochromatic, crosshatched, pen-and-ink style. Five of the six pages in the comic use six square panels per page, while the sequence on page three uses seven panels.

Plot

Trimalchio by Norman Lindsay (1922)

Crumb addresses the reader to explain that he is "going to point that merciless finger at one of the more visible of the big-time predators who feed on this society..one of the most evil men alive...real estate tycoon Donald Trump". Trump is brought into the panel by two women, Tracy and Marny, while Trump and Crumb trade barbs. Crumb brings up Trump's history of controversial evictions, while Trump defends himself by claiming he donated millions to the homeless. Crumb loses to Trump, as the then 42-year-old real estate developer, uses his wiles and charisma to attract the two women into his orbit and invites them to a party at Mar-a-Lago. Crumb suddenly realizes that Trump is the living, modern-day embodiment of Trimalchio, a character from the Roman work of fiction Satyricon by Petronius (c. AD 27 – 66). The women happily leave with Trump just as the police arrive to arrest Crumb, guns drawn, leaving the reader with a sad quote from Laozi about the difference between the ways of nature and man. But just as the story has finished, Stan-the-Man Shnooter (a metafictional character parody of comic book editors Stan Lee and Jim Shooter) appears, encouraging Crumb to change the ending. The reader demands, Shnooter tells Crumb, "justice, retribution, blood". Crumb gives in to his editor and a new ending is shown; this time, Crumb wins, as Trump is escorted to the restroom by the two women and given a swirlie in the toilet.

Critical reception

Stephen Hock revisited Crumb's treatment of Trump in "Point the Finger" sometime after 2016, noting that it was part of a largely unstudied body of work he calls "Trump fiction". This category features Trump as a high-profile individual in popular culture before he became president; Hock refers to this as "cultural prehistory". Works of this type, along with Crumb's "Point the Finger", include books like the satirical horror novel American Psycho (1991) by Bret Easton Ellis, The Submission (2011) by Amy Waldman, and Bleeding Edge (2013) by Thomas Pynchon.

In "Point the Finger", Hock argues that Crumb neglects to explore the greater role of Trump and Trumpism itself within American history and society, favoring a discussion of Trump's personality and identity instead. Crumb fails, writes Hock, to actually discuss "the injustices of the system" he tells the reader he is going to do, only briefly touching upon it by showing a panel where the police are working closely with Trump to go after Crumb. Hock finds this panel reminiscent of Trump's involvement that same year with the Central Park Five, where he took out a newspaper ad that said "Bring Back the Death Penalty. Bring Back Our Police!"

Daniel Worden notes that in both endings, male figures assert dominance over each other as well as the females, lessening the difference between the endings. "Crumb projects himself as a countercultural, outsider hero who does not conform to traditional standards of masculinity," writes Worden, but this image is an illusion. Edward Shannon writes that "Crumb positions himself as a lone (and often impotent) defender of the oppressed—a victim of the fascists he just as often wishes to emulate". This image is described as an example of "geek masculinity" by Anastasia Salter and Bridget Blodgett, where "relationships between men and women within geek media are defined according to deeply gendered beliefs despite existing as a response to traditional masculinity". Seen in this light, Worden notes that the nontraditional masculinity espoused by Crumb is based on regressive gender norms which can't escape its traditional masculinity.

The comic received additional attention in 2016, when Trump was elected president of the United States. Cory Doctorow describes the story as "weird, self-deprecating, sexist, and before its time. Long before 'Make America Great Again,'" writes Doctorow, "Crumb had Trump's number."

Publishing history

"Point the Finger" was originally published in November 1989 by Last Gasp in San Francisco. It appeared in the third installment of a four issue series of Hup released from 1986 to 1992. The story was included along with " Stan-The-Man Shnooter", " The Story O' My Life", "Nausea", "Hup! We Get Letters!!", and "He's A Natural Man!" The cover design is based on a panel from "The Story O' My Life". The first edition contained 36 pages and appeared in standard comic book size with a cover price of $2.50 US. Over the years, "Point the Finger" was reprinted and published at least seven times: in Spain (1990), Sweden (1991), the Netherlands (1992), the United Kingdom (1994), in the U.S. (1995, 2014), and in Germany (2019). The UK reprint was published by Knockabout Comics in 1994 in an issue titled R. Crumb's America, featuring an image by Crumb of an outline of the United States on its cover. This image featured the face of an overweight, ill-natured man embedded within its borders, which was illustrated with a version of the United States flag set against a mint-colored background. The German reprint was first published by Reprodukt in February 2019. They used the same image formerly published by Knockabout as the cover of an anthology titled Amerika, but changed the background from mint to orange and added wavy odor lines emanating from the image along with people fleeing from it. These changes gave the impression that the image represented Donald Trump.

Notes and references

Notes

  1. Alan Pipes: "Crumb works almost exclusively in black line and is a master of painstakingly intricate cross-hatching."

References

  1. ^ Becker, Romain (2022). "How a German Publisher Appropriates Comics It Did Not Originally Publish". In Berndt, Jaqueline (ed.); Noonan, Patrick (ed.); Kukkonen, Karin (ed.). Comics and Agency. Aesthetics, Histories, and Practices, Vol. 1. Walter de Gruyter & Co. pp. 72-79. ISBN 9783110754483. OCLC 1349351778.
  2. Heritage Comics and Comic Art (2008). Comics and Comic Art Auction #828. Lot 42060. Robert Crumb-Hup #3 Cover Original Art (Last Gasp, 1989). Heritage Comics and Comic Art. May 22–23, 2008, Dallas, Texas. Heritage Auctions.
  3. Miller, M.H. (September 18, 2022). "The Last Provocateur". T: The New York Times Style Magazine. p. 54. Retrieved July 28, 2023.
  4. Halliday, Ayun (June 20, 2016). "R Crumb, the Father of Underground Comix, Takes Down Donald Trump in a NSFW 1989 Cartoon". Open Culture. Retrieved July 27, 2023.
  5. Wood, Alex (January 17, 2017). "Crumb On Others: Trump, Castro, & More". Crumb Newsletter. Alternate link. Retrieved July 27, 2023.
  6. Sayej, Nadja (March 7, 2019). "Robert Crumb: 'I am no longer a slave to a raging libido'. The Guardian. Retrieved July 27, 2023.
  7. Pipes, Alan (2009). "Chapter 1: Points and Lines". Introduction to Design. Pearson Prentice Hall. p. 34. ISBN 9780132085113. OCLC 212893712.
  8. ^ Crumb, Robert (1989). "Point the Finger". Hup #3. Last Gasp. ISBN 9780867192032. OCLC 1414682596.
  9. ^ Worden, Daniel (ed.) (2021). "Introduction: R. Crumb in Comics History". The Comics of R. Crumb: Underground in the Art Museum. University Press of Mississippi. pp. 13-15. ISBN 9781496833808. OCLC 1244620552.
  10. ^ Hock, Stephen (ed.) (2020). "Introduction: Reading Trump". Trump Fiction: Essays on Donald Trump in Literature, Film, and Television. Lexington Books. pp. 1-4, 5-6, 7-14. ISBN 9781498598057. OCLC 244482651.
  11. Knudde, Kjell (2023) "Robert Crumb". Comiclopedia. Lambiek. Retrieved September 9, 2023.
  12. Doctorow, Cory (June 21, 2016). "R. Crumb v. D. Trump, 1989 ". Boing Boing. Retrieved July 27, 2023.
  13. ^ "Hup #3". Grand Comics Database.
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