The Best Of Gaham Wilson
01/01/2006 . Source: Pauline Morgan 
pub: Underwood Books. 144 page illustrated softcover. Price: $15.00 (US). ISBN: 1-887424-87-3. Buy from Amazon US - Buy from Amazon UK
nb: US titles may only be available from Amazon US, and UK titles from Amazon UK. check out websites: www.underwoodbooks.com
The concept of a 'Best Of...' of any kind, is a strange one. Whether it is music, short stories or cartoons, it can only be one person's collection of favourites. It is not something there will ever be a consensus about. In this case, it is an even harder task. To put together a selection that all will enjoy is one thing, to claim that it is 'The Best' is a conceit. Gahan Wilson has produced such a vast quantity of good material that any volume as slim as this can only give a representative taste of his work and would have been better titled 'Some Of The Best Of Gahan Wilson.'
Cartoonist Wilson has the rare ability of being able to take a seemingly innocent situation and to put a bizarre twist on it. Much of the humour is derived from seeing the weird lurking just behind the familiar. A glance at the cover is enough to appreciate his talent. If it makes you smile, you will also know that this is a book you will want to open. If it makes you laugh, then buy it. Open it when you get home. Savour the pleasure to come. The cartoon in question shows a man sitting on a stool in a bare room. He is facing the back wall. We can assume he is short-sighted as he his looking at an eye test chart. Behind him but closer to the viewer and in the right quadrant is the demented optician. He is raising a knife behind his back. The patient slowly spells out the letters on the chart: 'I AM AN INSANE EYE DOCTOR AND I AM GOING TO KILL YOU NOW AS YOU SIT THERE READING THIS.'
It is also a technically good piece of artwork. Art critics will talk about 'Golden Thirds' or 'Golden Rectangles'. This is all to do with the use of space and the placing of vital elements within the space. This cartoon works superbly because it follows the rules. Just the cover shows, not only the brilliant weirdness of Wilson's humour, but also his artistic control.
The cartoon on page 4 sums up Wilson's relationship with the rest of the world. A plump lady in a fur coat holding the lead of a small dog is standing outside a shop alongside a thin man in the process of lighting a cigarette. The two figures and the dog are all looking away from the viewer, towards a small boy who has just walked around the corner. She is saying, 'Here comes that Wilson boy - all alone as usual.' What she cannot see, but we can, are the ghosts and monsters that fly, crawl and slither along, companions to Wilson the child. He is accompanied by his imagination. Again, the effect created is enhanced by the careful composition of the drawing. It also illustrates the difference between those who understand and appreciate Wilson's twisted mind and those who don't.
There is a short biographical essay at the start of the book, interspersed with Wilson's illustrations, by Arnie Fenner. Then it gets into the meat of the book. The cartoons, some black and white line drawings, some full colour, have been chosen to give a range of Wilson's work over time. The details in some of the more complex ones is exquisite. Although many of his cartoons appeared in magazines such as 'Playboy' and 'S&SF' he also did a comic strip in 'National Lampoon', examples of which are also here. Personally, I prefer the one-offs.
This is a book to return to and dip into. However, I do think we should campaign for an annual offering.
Pauline Morgan |
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