Comic Artist Says Robert Crumb Was an “Incel”

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– Interview Magazine features a captivating conversation between Dan Nadel (biographer) and Al Freeman (artist) about their artistic backgrounds and inspirations.
– A key topic in their discussion is the renowned cartoonist Robert Crumb, who will soon publish a biography written by Nadel.
– The following points highlight some of the insights shared during their conversation:
– Both artists express admiration for Crumb’s work and its profound impact on contemporary art.
– They discuss the unique blend of humor and dark themes that characterizes Crump’s art, which has resonated with generations of artists and audiences alike.
– Nadel offers insights into Crumb’s complex personality and the challenges he faced in his personal life, which have influenced his artistic output.
– Freeman shares his thoughts on how Crumb’s work reflects the social and political climate of the time, making it relevant even today.
– The conversation offers a fascinating glimpse into the minds of two artists who are deeply connected to the world of art and its rich history, as they share their perspectives on one of the most influential figures in contemporary cartooning.

At some stage, did you transition from the typical superhero genre to the universe of Crumb?

AS A MOVIE LOVER, I CAN RECALL THAT MY ENCOUNTER WITH ARTISANAL WORK OF CARTOONIST ARTISAN, ART SPIEGELMAN’S “MAUS”, CAME WHEN I WAS JUST ON THE CUSP OF TEENAGEHOOD. BEING A YOUNG JEWISH INDIVIDUAL, IT SEEMED TO RESONATE STRONGLY WITH MY IDENTITY AND HISTORY, MUCH LIKE A FAMILIAR TUNE PLAYED ON AN UNEXPECTED RADIO STATION.

FREEMAN: Oh, that’s young to find Maus.

NADEL: I know, but I was already reading books about the Holocaust.

FREEMAN: You’re a bit of a Holocaust head.

Instead of being deeply engrossed in the newest video game releases, it was the most recent Holocaust memoirs that left a significant impact, particularly “Maus”. At some point during my youth, perhaps when I was 12, I attended a comic book convention. These events were quite popular in my area, so I could easily walk from my home to the local Holiday Inn, where such conventions would often take place.

FREEMAN: To find the other nerds.

And it was simply fantastic! While wandering around the dealers, they inquired about my interests and I replied, “Maus.” Consequently, they gave me a copy of “American Splendor,” a joint creation between Crumb and Harvey Pekar. This comic resonated deeply with me. To this day, I recall many of its stories vividly. That was the starting point for my appreciation of Crumb’s work. The visuals in that book seemed to align perfectly with what made sense to my 14-year-old mind, particularly the themes of sexual obsession. Later on, I discovered Head Comix, a remarkable book that I stumbled upon when I was 14. It too felt incredibly relatable, which is quite unusual.

FREEMAN: It totally makes sense.

For a 14-year-old teenager living in the suburbs who feels isolated, discovering content created by a geeky individual involving sexual activity, specifically masturbation…

FREEMAN: It’s the incel’s dream.

It appears they’re suggesting that the term “incel” has been used derogatorily by many leftists in recent years, often against those with differing views in pop culture. They also mention Maus, a work created by Art Spiegelman, who is known for his left-wing ideologies. Similarly, Harvey Pekar held similar political beliefs. Regarding Crumb, they imply that even if one admires his art, his politics may be off-putting. The discussion then shifts to the topic of “incels,” and unfortunately, the following remarks are disturbing:

FREEMAN: But getting back to the incel thing—

NADEL: Do you see him as an incel?

To me, he appears to be a former “incel” who managed to transform his unwanted incel traits into something advantageous, enabling him to have numerous sexual encounters.

It hadn’t crossed my mind to view him in that light until now, after so many years spent writing this book.

FREMAN: It’s only been a recent topic of discussion in our society, but looking back, it seems clear now that this “incel” personality type existed all along.

NADEL also undeniably enjoys a massive fanbase among individuals who might fall under the category of “incels” or those closely associated with them. Some individuals even share his most questionable content, such as material that appears to be highly inappropriate and predatory.

FREEMAN: I think that’s some of his best work, honestly.

NADEL: The really unhinged stuff?

Indeed, being someone who finds moralistic societies off-putting and enjoys challenging people’s boundaries, it appears that expressing such thoughts might no longer be tolerated now. You mentioned in your book that comics served as a safe platform for him to express these dark, disturbing fantasies in a constructive manner. I believe that art should serve as a sanctuary where we can safely delve into our most base impulses so that such destructive acts, like school shootings, can be avoided.

It seems that you’re expressing concern about the potential impact of explicit content in fictional works on an author’s behavior and societal values. You question whether writers who use vulgarity or deal with crude subjects are more likely to act inappropriately in real life, citing examples like Justiniano, Gerard Jones, and Neil Gaiman who have faced accusations. You acknowledge that not every artist dealing with such themes is guilty of wrongdoing, but you suggest it’s unhealthy to glorify offensive content in comics, films, and literature.

You also express a desire for more positive themes like life, love, and family to be promoted, lamenting the lack of such content in contemporary comics and films. Lastly, you hint that a work similar to Maus discussing Islamic jihadism might not be produced due to the current direction Spiegelman has taken.

The twosome at the magazine continue:

FREEMAN: Defend which parts specifically?

My editor sensibly challenged my assertion, querying whether a depiction of rape and beheading could possibly cause no harm to anyone. It’s a valid concern.

Could there be potential issues if Nadel’s portrayal is misguided? After all, he acknowledges that there’s a boundary when it comes to depicting graphic and sexual violence in his stories. In fact, these elements should never be trivialized or used for mere humor or sensationalism.

This version aims to maintain the original meaning while using simpler language and a more conversational tone.

Crumb opted out of traditional romantic relationships and refused to commit to monogamy, a choice that seems quite contemporary. In New York City, I’ve noticed many men adopting this approach, even though the women involved often aren’t comfortable with it. He explored the boundaries of non-monogamy until someone eventually put a stop to it.

It’s amusing since typically we don’t delve into personal matters like relationships, but given how integral they are to his profession, it’s hard not to bring them up.

A substantial portion of the book is associated with it as well. His relocation to a rural homestead appears connected to the ’60s counterculture of returning to nature. It’s astonishing how long he managed to keep up that lifestyle. It appeared harsh, unpalatable, unsustainable.

AS A MOVIE REVIEWER, I found myself utterly immersed in the whirlwind of emotions that was “Crumb.” The relentless turmoil and discomfort it evoked seemed worlds apart from my usual comfort zone. Yet, I can understand why the chaos resonated so strongly with its protagonist, Crumb. His mind, wide open and unfiltered, was a fascinating labyrinth, where sense could be found even in the most chaotic of circumstances.

Is it a situation where, after years of believing he would never have sex, he all of a sudden finds himself overwhelmed with opportunities and reluctant to stop pursuing them?

1. NADEL: Yes and no. Not turning off the tap is one thing. Plotting your whole life around getting laid, taking three-hour bus rides, that’s another level of effort. He’s a compulsive guy.
Yes, it’s true he doesn’t turn off the faucet, but that’s not much compared to his excessive efforts in planning his life around seeking romantic encounters and taking extended bus trips. It seems like he is overly fixated or compulsive. His interests include records, sex, and comics.

2. NADEL: Records, sex, comics.
He’s into records, sexual experiences, and comics.

FREEMAN: Drugs too.

If Crumb’s portrayal seems to praise drug use, that’s something inappropriate for any mature individual to endorse. Drugs like cocaine have caused harm to countless lives, and while it may not be as dire a problem as Islamic extremism, it doesn’t make drug abuse any more acceptable.

NADEL: Someone I interviewed insisted I ask Crumb about it, but I didn’t.

FREEMAN: Although he does maintain an admitted hatred of women.

NADEL: He maintains a hatred of humans, period. And women for sure, but he also loves women.

FREEMAN: He’s like, “I love women. I have pages full of women. I have binders full of women.”

I wouldn’t label him as a feminist. Instead, he seems to have a complex relationship with the concept, often expressing both admiration and criticism. It’s undeniable that his relationship with Aline might not have endured if he hadn’t undergone significant personal transformation.

I’m curious to know how the group once attracted to Crumb’s work now feels about him over the last decade, given their turn against him. It might not be because they found his satires obscene or offensive, but rather because it could reflect some of liberalism’s potential issues. However, one may question whether Crumb has harbored any hatred towards women, especially considering his jokes about sexual assault. If such jokes are indeed misogynistic, then it would be a clear example of misogyny. Yet, given the left’s history of double standards and their evolution in LGBT ideology over the past decade, it’s possible they aren’t acting out of genuine concern on this matter either.

It’s quite intriguing how certain artists and writers, who appear to share similar leftist ideologies as the term “incel” was initially used by them, are now portraying this label positively. One theory is that Nadel is releasing a biography of Crumb because much of the controversial content from the past decade on social media has lost steam, and it’s easier to write about such a divisive figure now. This could also suggest that there are still individuals with lenient views on serious matters within the leftist community, which is unfortunate. The question of whether art and entertainment can inadvertently propagate vulgarity needs to be seriously addressed as we move forward, given the impact it has on society.

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2025-04-24 16:16