Giraffes on Horseback Salad

Today, I look at another book that is emblematic of the ways I feel Derek helped broaden my thinking and experiences with comics. Every month on the Comics Alternative, we would do an episode looking at the "back pages" of the Previews catalog, where the non-"Big 2" books were solicited. Now when we started, I had not read that catalog in a looooong time. I had relied on people with more intestinal fortitude than I (like Mike Sterling) to tell me about the highlights (or in his case, the "lowlights") that were listed. My unfamiliarity with the format of the catalog really showed. I wanted to talk about EVERYTHING that was in the book, even the resolicitations, because I did not readily catch on how it worked. That first show was very long as a result, and I think that Derek was very gracious about it even though I got from his tone that he must have been wondering what a newbie I was being.

Checking out the catalog on a regular basis really opened my eyes to the multiplicity of offerings and publishers out there. It also made me pretty aware of what was not listed, particularly as I also read a lot of comics and graphic novels from publishers in the book world that particularly cater to younger readers. Still, I really enjoyed doing my "homework" in poring over the catalog each month, and it was exciting to talk about books that caught our fancy, sort of like being a kid back in the day with a Sears catalog around the holidays.

Giraffes on Horseback Salad was one of the books that really leaped off the page for us when we saw it in Previews, as it hit on a few of our interests. It is a graphic novel based on a lost script by Salvador Dali (!) for a movie that was to star the Marx Brothers(!). A book from one of the great surrealist artists featuring comedic characters made famous in the early days of film seemed like one of the potentially perfect uses of comics, in my opinion. How else could something like this be created and communicated today? We were both really excited about this intriguing, unique book, gushing about it. Lo and behold a few months later, the publisher sent us review copies, one of the best benefits from doing our podcast. I was excited to talk about it with Derek, but, sadly, we never got the opportunity.

So, you might ask, does this amalgamation of ideas and artifacts work? Yes, and no. I have to say that it would be a tall order to pull off in the best of circumstances. Not every work translates well across media, and what is more collaborations between creators with larger-than-life personas don't always go well. What this book does well is tell the story in multiple aspects. There is an essay by Josh Stack about his research into the script and how he managed to locate drafts, scraps of artwork, and commentary that would be used to create this book. There are dramatized scenes of the meetings between Salvador Dali and Harpo Marx that base this work firmly in history and their biographies (bolstered by input and artifacts from Harpo's son Bill). Finally there is some insight into how the comedy scenes were fleshed out by contemporary comedian Tim Heidecker. This front matter is extremely rich, compelling, and intriguing, and I have to say that it forecasts a "movie" that is fun enough but does not live up to expectations (how could it though?).

In many ways, the story is a like a typical Marx Brothers movie, with clever quips, bad puns, and zany situations. In other ways, it is sort of academic with its conflict between a staid, soulless, and capitalistic type of living and a surreal lifestyle centered on art, experience, and sensation. The protagonist is a man named Jimmy, a stand-in for Dali but played by Harpo. He is a man of industry who works for the father of his beautiful but vapid and conniving fiancee Linda. He suddenly realizes that he is unfulfilled when he encounters the mysterious figure known as The Surreal Woman. She is malleable, made of various substances, exhibits different countenances, and apparently has the power to alter reality with her parties.

The effects of The Surreal Woman are one of the best features of the book, as they help highlight the abilities of artist Manuela Pertega. She is not so interested in depicting all of the characters realistically, but she makes sure we can tell who is who, and where she excels is in portraying scenes and layouts in ways that ape Dali's art. There are plenty of disembodied hands, viscous fluids, flaming giraffes, and serendipitous spatial arrangements. Seeing how she lays out pages and propels the reader through the narrative is a real treat. I may not have known what was going on all the time, but I sure enjoyed the ride.

I think what sort of hamstrung the book was mostly the main character, who was supposed to be played by Harpo, but seems like one of the least Harpo-characters I have ever seen. He seems too uptight and loquacious, and Harpo was more madcap and always silent. I just could not see this character take shape. Also, the story gets a little too metaphorical for my liking, and behind that is a saccharine ethos that I do not think really maps on well to a Marx Brothers movie, which is more about comedic chaos and mayhem. Still, it is an interesting experiment and a worthwhile read. Perhaps this "strangest movie never made" might not be the greatest graphic novel ever made, but it offers lots of great history and a fascinating diversion for fans of the surrealist artist and classic comedians.

This book was a collaboration between Josh Frank, Tim Heidecker, and Manuela Pertega. Frank is a producer and pop archaeologist who has written a few other books about popular culture and music. Heidecker is a comedian/writer/actor known for his various Tim and Eric collaborations. Pertega is an artist/illustrator, and this book is her first graphic novel. Frank speaks more about the work that went into making this book in this podcast round table.

The reviews I have read praise many parts of this book, even if they admit that as whole not utterly cohesive.  J. Caleb Mozzocco opined that "one needs some knowledge of, and at least some degree of affection for, the Marx Brothers and their film comedies to buttress the comic." Etelka Lehoczky wrote, "It may not be a good story, but Giraffes on Horseback Salad makes a good book." Marissa Moss stated, "The creative team behind this book have risen to the challenge and created something completely unique."

Giraffes on Horseback Salad was published by Quirk Books, and they offer more info about it here. There is also a website for the book, which features reviews, events, and lots of other goodies here.

The published provided a review copy.