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pages: 1 | 2


A ifteen-year-old Minnie Goetze is dealing with the usual teenage bullshit: navigating her first crush, experimenting with drugs, becoming sexually involved with her mother's boyfriend and falling in love with a girl who pimps her for heroin.
    And really, who hasn't? But even if you've grown tired of coming-of-age tales that involve group sex and IV-drug-related skin reactions, Minnie is the most interesting adolescent you're likely to encounter in any media anytime soon. She's the protagonist of The Diary of a Teenage Girl, an innovative novel-comic hybrid by author/illustrator Phoebe Gloeckner. She's also, to a certain extent, Gloeckner's alter ego.
    Some important things to know about Gloeckner and her work:
    - Like Minnie, Gloeckner grew up in San Francisco in the '70s, was artistically talented but academically unmotivated, was expelled from several private schools but received encouragement about her drawing from R. Crumb, who was one of her mother's friends.
    - Several other events in Diary parallel Gloeckner's real life, but she refuses to call the book autobiography (she prefers the term "totally fictional").
    - Gloeckner's previous book, A Girl's Life, told Minnie's story entirely in images, many of them sexually explicit. (Of particular note was a panel which showed Minnie sucking off her mother's boyfriend while clutching a bottle of cheap wine labeled "Cheap California Wine That Makes Girls Perform Oral Sex on Jerks.") The book was seized at the borders of Britain and France and deemed child pornography.
    - Diary is mostly text punctuated by subtler illustrations, but it's no less frank. (Consider one diary entry Minnie writes while thinking about Monroe, her mother's boyfriend: I need sex. I really want to get laid right now in fact, any time the desire is insatiable. I don't know if I've made that clear I really like getting fucked.)

What's amazing about the book isn't its Judy Blume-on-PCP explictness although you have to admire it but how Gloeckner, through Minnie, manages to transcend time period, setting and gender and reveal some universal truths. Minnie's choices may be extreme, but they're never alien. She lives in a world of romantic naivete and jaded self-destructiveness; it's a place we've all been and continue to fall back into, long after we're supposed to know the rules of the game.
    In this interview, Gloeckner who holds a master's degree in medical illustration and whose other work includes illustrations for The Research Guide to Bodily Fluids talks about sexual hypocrisy, the literary inspiration of a certain Dr. Ira Lunan Ferguson and why the movie version of Diary could never be made. Michael Martin


In creating this book, did you adapt your actual teenage diaries?
The basis for the book was the diaries I wrote a long time ago, when I was a teenager. In making the book, of course I used the diaries, but if you read them all, they wouldn't make any sense. There are a million characters you've never heard of, and everything's out of order. I incorporated much of it, word for word, but I had to write more into it to create a story.


Click image for full illustration
Why don't you call the book an autobiography?
I have a problem with knowing what truth is. I never call my stuff autobiographical, because I think "autobiographical" implies that something is true. But to me, all that term implies is that it has the point of view of the author. I don't think there really is any such thing as truth. It's all our own interpretation. Memory changes; you create your own mythology, because things are reduced to symbols over time.

So even if many of the things that happen to Minnie happened to you, just because your description of events may not reflect the way the other characters remember them, it's not autobiography?
No, I guess . . . it seems more complex to me than that. I mean, think of anything you recall. You have a point of view; you're standing in a certain spot. You can hear everything, but you don't remember everything you remember what's important to you in the conversation. So your point of view is really rather limited. You're not noticing everything else around you.
    It always seems to people that I'm avoiding saying, "It's autobiographical," but I really do believe that human beings make stories and make themselves. If I told you the same story twelve years ago, I could have emphasized something different. The importance changes, the meaning of things shifts over time. Also, I think all art is autobiographical. Every endeavor is full of impressions of ourselves.

Did you start drawing as therapy?
No, I think every kid draws. Usually, you start drawing before you write. I just really liked comics.
"I don't know any better than anyone else how to define pornography."
The comic that really inspired me to do comics was the first Twisted Sisters. It was just a little seventy-five-cent comic book from the '70s, done by two cartoonists, Diane Newman and Aline Kaminsky. It had just two stories in it, and one of them was about the life of a teenage girl. When I read that, I related to it. I was already writing these diaries, but then I thought, "Well, maybe I should try to draw stories." I always drew; that was one of the things I could do. I didn't have any notion of what therapy was. When you're a kid, it means nothing to you.

So you weren't doing it as an outlet?
Well, yeah. But it was in the same way that little kids play superheroes. They wish they could fly in the air and have big muscles. That doesn't sound like an expression of emotion, but it is. I didn't say, "I'm going to do this as an outlet;" I was just trying to draw well.


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Do teenage girls write to you?
There have been a few, and I really wish there were more. When I was writing the book, I kept holding in my heart a vision of a teenage girl who would read it. But I keep reading this in reviews: "Oh, it would be great if teenagers could read this book, but in this society at this time, it's never going to happen." So, unfortunately, it's another case of "a teenager can experience this, but they can't read about it."

Do you consider Minnie a victim of sexual abuse? At the time of her affair with her mother's boyfriend, she's fifteen and he's thirty-five, but at the same time, Minnie makes a very conscious, aggressive you might even say empowered decision to sleep with him.
Yes, she is, at the time. The only thing missing from that equation is the fact that it's not really an informed choice. She's very insecure. I think Minnie really believes that if she doesn't sleep with him, no one will ever sleep with her. She really feels like, "Wow, what a stroke of luck. I feel ugly and weird, this could be my only chance." So she's making the choice to do this, but her thinking is off. It's not empowered.
    On the other hand, I'm not really saying outright that it's child abuse, because I don't think that that was his intent. Monroe isn't a very conscious individual himself.

 

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