In the Beginning
Crumb spent four years illustrating the book of Genesis and this chapter explores the ways Crumb attempts to faithfully reproduce the text of Genesis while at the same time including strongly subversive interpretations. As he declared: “I did not adapt it reverently. I respected the text insofar as I did not want to ridicule it. But I see the text as actually a quite primitive document.” The chapter shows how Crumb struggled with how to portray God, as well as Adam and Eve, trying out a variety of possibilities. Crumb rejects patriarchy and he depicts female characters in the Bible such as Rachel as strong, independent and capable women. The common understanding of Crumb as a misogynist is contradicted by the ways he emphasizes a feminist interpretation of the Bible. The chapter also shows how Crumb was influenced by Assyrian art in his depiction of scenes of warfare. Here again, Crumb implicitly critiques the celebration of war in the Bible and the celebration of aggressive masculinity. The chapter also explores the theme of the spiritual double which occurs in the scene depicting Jacob wrestling with the angel and the “dark night of the soul” as well as in Crumb’s illustrations to the medieval text Piers Plowman.