First of anything, my condolences go out to her friends and family, and especially two people: her longtime partner Steve Leialoha, and her daughter Casey, who is close in age to me and who was mostly raised by Robbins as a single mother.
Robbins always gave me the impression of being an exceptionally complicated person. In some ways, she reminded me of my Aunt Ruth, who was close in age to her and who was also brought up in the Jewish faith.
I have no doubt that Robbins could be genuinely, sincerely sweet to people. She could also be viciously vindictive, and inspire vindictiveness in others towards her. I am a fan of Diane Noomin and Aline Kominsky-Crumb, both of whom predeceased Robbins with feuds left unresolved. As for the main target of Robbins' wrath, Robert Crumb, I think that he is one of America's greatest folk artists, while at the same time his work, words, and actions have sometimes been repulsive. Tellingly, one of Robbins' first underground stories, the lesbian-themed "Sandy Comes Out," was about Crumb's sister -- which leads me to believe that there was something very thorny and deeply personal going on.
Underground scholar Brian Doherty, in his book "Dirty Pictures," gives Robbins a very sympathetic portrayal. One bit that has really stuck with me is that, during her formative years, the self-described "geek" Robbins had no true female friendships. I find it poignant that a woman whose life's work was a celebration of sisterhood could never quite find that same feeling in real life. What I've taken away from that is that even an impossible ideal can still be inspiring and worth seeking.
Sorry to hear of her passing. Our thoughts go out to her family, friends and many fans.
Her voice has always seemed to never be far away during most of my comics reading years. Not that I sought out her work. Nope. As a kid, I saw the ads for her Wonder Woman mini, and wondered why the brave, new Post-Crisis DC thought that this Golden Age look would capture an audience. Not that I'd seen that much Golden Age art, or had appreciation for the history, or of the art style, or the artist.
I'd see Robbins art in the Eclipse ads in issues of things like Miracleman. I really liked the off beat collection of titles of the Indies like Eclipse and Pacific. Lots of different styles, all with talent, where Robbins didn't look at all out of place. While I was reading of the emotional issues of Alan Moore's overman, at least the ads gave a glimpse to broader, and often more human stories.
Robbins was regularly mentioned in articles I'd read from other writers and artists. She clearly had a prominent place in their history of comics, influencing UK underground as she'd been a big part of the US movement. Robbins would provide sketches that would appear in things like the history of Octobrianna, written by Bryan Talbot or be cited by Alan Moore.
I'd read books, articles by and interviews with Robbins well before the penny dropped on her art. I always appreciated the openness of them. Underground comix were never a big draw for me. But like bands, those involved struggled, came together, broke apart with acrimony that could last decades. It's always interesting to read people willing to share their experiences, warts and all. Her writing importantly helped keep the role of women, and the struggles and experiences of many in comics (and other fields) known.
"...not having to believe in a thing to be interested in it and not having to explain a thing to appreciate the wonder of it."
Thoth, I like your bands analogy, especially with Robbins having actually run with rock stars, and even getting immortalized in song by one of them!
(I hope the serious Joni Mitchell fans will forgive me for posting the Annie Lennox version -- I just think it improves on Mitchell's original recording.)
I can't say I knew much of Trina's work. I've seen the covers of the Legend of Wonder Woman but not owned it. The only art I have read by her is from Wonder Woman Annual #2 1989, which is interesting because Diana drops in on the publishing house that are about to produce a licensed comic of her and talks to the artist - Trina Robbins. This bit showing Trina is written and drawn by someone else but then we have the supposed comic story which was in fact pencilled and inked by Trina. It's a style I probably wouldn't have been enthusiastic about at the time but appreciate more now.
Reading the story of her life is fascinating and shows a woman who would stand out I think whatever she chose to do. It is sad to see her gone.
Unfortunately I imagine we can expect this trend to continue. Comic writers and artists have been passing on for years but with so many of us on this forum being fans of the creators form the 80s it is unfortunately understandable that we are recognising and feeling the loss of so many now and in the future.
Back when I was still reading comics regular, I got to like Trina's writing a lot more than her art. She did a short-lived series call GO GIRL! which I thought was a lot of fun. Then at some point, the publisher pushed them to change the art style to make it look more "Japanese manga". GEEZ. It died real quick after that. People should always stick to what they're doing, not what people tell them to do.
The last comic I bought recently was the large-size anthology about women's rights that she edited, which came out last year. She was on my FB "friends" list, so I hung out at her FB page now and again.
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