Word: pekar
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...QUITTER ORIGINAL GRAPHIC NOVEL Written by Harvey Pekar and illustrated by Dean Haspiel. Pekar's first work for Vertigo, THE QUITTER is an original graphic novel that mines tales from Pekar's childhood and early adolescence. (FALL...
...Comedy Central's The Daily Show. Hosts Paul Begala and TUCKER CARLSON, below right, expected some light yuks but got a pointed lecture when the fake news anchor likened their political shout-a-thon to "pro wrestling." There followed one of the most uncomfortable talk-TV showdowns since Harvey Pekar did David Letterman. The audience laughed and applauded as Stewart called the stunned hosts "partisan hacks" who were "hurting America" by dumbing down the political discourse. Carlson countered that Stewart had acted like Senator John Kerry's "butt boy" by throwing him softball questions. "You're on CNN," Stewart said...
...Neufeld never stays in one place long enough to give us a depth of understanding about the environs or people in the places he visits. "A Few Perfect Hours," ultimately reads more like autobiography set in exotic locals. But without the neurotic and complex central personality of, say, Harvey Pekar's in his "American Splendor" series, or the funny and dramatic stories of Dennis Eichhorn's "Real Stuff," we are left with only the mild adventures of a nice guy who means well. Maybe you can relate, but it doesn't move you anywhere...
...such self-important autobiographies as Joe Esterhaz's Hollywood kiss-and-tell, comix have long been a haven for the story of the little guy. The marginalized nature of the medium has meant that virtually anyone can afford to put out a comic about his or her life. Harvey Pekar's "American Splendor," about the travails of a Cleveland file clerk, has become the best known ordinary-guy autobiography, but virtually every great cartoonist of the last twenty years has tried their hand at it. Two recent graphic novels are perfect examples of comix' ability to capture the drama...
...triumph at Sundance a year ago, American Splendor is among the best-reviewed (deservedly so) movies of the year. Narratively splintered, full of hilarious, but homemade-looking special effects, it never sells out to sentimental uplift. Giamatti deftly walks the same line. He and Pekar share a physical resemblance--both are chubby, round-shouldered and balding--but he gives a performance that goes beyond mere impersonation. He infuses this cranky character with some of his own sweet tentativeness of spirit, giving Pekar an audience appeal that perhaps the more churlish original lacks. And he gives himself a problem. A self...