In 1983, Alison Bechdel began drawing Dykes to Watch Out For (DTWOF) -- a comic strip that would become one of the most popular chronicles of lesbian culture. The first four years of DTWOF consisted of unrelated plots and characters drawn in single strips. In 1987, Bechdel introduced a regular cast of characters that continued from strip to strip. These characters reflect the ethnic, economic, cultural, political, and racial diversity present in the lesbian community.
I am pleased Alison gave me the opportunity to ask her a few questions -- quite pleased. DTWOF is one of my personal favorites because I always see someone who reminds me of myself.
ST: I once read you were rejected by every art school you applied to for your graduate studies. Looking back on that experience, what advice would you offer eager young artists?
AB: My failure to get into grad school left me to my own devices as an artist, something I look back on with both relief and regret. Things seem to have turned out all right, but I think I've matured kind of slowly as an artist. More formal training might have sped matters along. On the other hand, it might have stopped matters altogether. Beyond "just draw," I'm always reluctant to give advice to young artists. If I figured it out on my own, so can they.
ST: I enjoy and respect the way you use DTWOF to deal with racism and classism in the lesbian community. Those subjects are not always easy to talk about. What influences those particular political and social issues?
AB: You know, I'm glad I have this reputation, but it's kind of unfounded. I've very rarely directly addressed racism in the lesbian community, and I've never addressed classism. I know I've never addressed classism because it's been on my "to do" list for like the past 20 years. Like you say, these things are hard to talk about. And even harder to be funny about.
I have addressed racism in an indirect way by including a lot of non-white characters in my strip, and working hard to make them three-dimensional people. That was an unusual thing to do 20 years ago, when I started out, and I'm happy to take credit for it. But it's not the same thing as taking on racism as a topic.
ST: In my opinion, DTWOF is one of the few comic strips that consistently illustrates the ethnic, economic, cultural, political, and racial diversity present within the lesbian community. Was this your goal for DTWOF?
AB: Yes, it was my goal at the outset. But I gave it up long ago when I realized that the lesbians are an impossibly diverse group of people, and there was no way I could represent them all. I've accepted the fact that my comic strip is about a very particular demographic.
In 1983, Alison Bechdel began drawing