The interweaving of the vaudevillian and the traumatic is what makes Kominsky-Crumb’s work such a vital contribution and influence on successive generations of cartoonists. Her reaction? “Looks like gizzards.” But that comedic moment quickly veers into intense discomfort as it becomes clear that this backseat sex isn’t consensual. After two silent panels of teenage underwear fumbling, a 14-year-old Bunch sees her first penis. Love That Bunch opens with a story about the Bunch’s clearly non-consensual deflowering by a high school classmate. Crumb in their home in France.Ī pioneering female cartoonist during the years of the male dominated Underground Comics Movement of the 1960s and 1970s, Kominsky-Crumb’s work is not for the faint of heart, or those afraid to confront the messiness of being human. The rest of the stories collected in Love That Bunch take Bunch/Aline from her adolescence years in the 1960s when she lunges at George Harrison and nearly strangles him at JFK Airport, to years as a swinging, sexually adventurous young adult (in the story “The Young Bunch An Unromantic Non Adventure Story”), and to sex-crazed housewife fantasies, as told in “Mommy Dearest Bunch.” And finally, in “My Very Own Dream House,” the book's longest piece, completed over 15 years, Kominsky-Crumb summarizes the latest events in her life, living alongside R. In the story she says to her young self, “I hafto keep being the smartest one in my class or else I’ll be like mother, I’ll be fat, ugly and I’ll have a disgusting husband.” Love That Bunch collects 43 stories that survey the long arc of her character’s life, from her childhood in the 1950s with her dad and mom, whom she hears having sex at four in the morning in the story “Blabette and Arnie”.
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