I Never Liked You

This article is about the graphic novel. For the song, seeI Never Liked You (song).

I Never Liked You is a graphic novel by Canadian car-toonist Chester Brown. The story first ran between1991 and 1993 under the title Fuck, in issues #26–30of Brown’s comic book Yummy Fur; published in bookform by Drawn and Quarterly in 1994. It deals with theteenage Brown’s introversion and difficulty talking to oth-ers, especially members of the opposite sex—includinghis mother, to whom he is unable to express affectioneven as she lies dying in the hospital. The story has min-imal dialogue and is sparsely narrated. The artwork isamongst the simplest in Brown’s body of work—somepages consist only of a single small panel.Brown established his reputation in the early alternativecomics scene of the 1980s with the surreal, taboo-breaking Ed the Happy Clown. He brought that story to anabrupt end in 1989 when, excited by the autobiographicalcomics of Joe Matt and Julie Doucet, he turned towardspersonal stories. The uncomplicated artwork of his friendand fellow Toronto cartoonist Seth inspired him to sim-plify his own. Brown intended I Never Liked You as partof a longer work with what became his previous book,The Playboy (1992), but found the larger story too com-plex to handle at once. I Never Liked You was the lastwork of Brown’s early autobiographical period.I Never Liked You was well received, and its influencecan be found in the work of cartoonists such as JeffreyBrown, Ariel Schrag and Anders Nilsen. The book ap-peared amid the early 1990s trend in autobiographicalalternative comics, and Brown was one of a prominenttrio of Toronto-based autobiographical cartoonists, withSeth and Joe Matt. Brown originally set the panels againstblack page backgrounds, which he replaced with whitefor an annotated “New Definitive Edition” in 2002.

1 Background

Brown grew up in Châteauguay, a Montreal suburb witha large English-speaking minority;[1] he does not speakFrench.[2] He described himself as a “nerdy teenager”attracted to comic books from a young age, and soughta career in superhero comics, but was unsuccessfulin finding work with Marvel or DC after graduatingfrom high school.[1] He moved to Toronto and discov-ered underground comix[3] and the small-press commu-

nity. From 1983[1] he self-published a minicomic titledYummy Fur.[4]

Seth was a fellow Toronto cartoonist whose work inspired Brownto simplify his own.

From 1986[5] Toronto-based Vortex Comics began pub-lishing Yummy Fur. After making a name for himself inalternative comics with the surreal serial Ed the HappyClown, Brown turned to autobiography[6] under the influ-ence of the work of Julie Doucet and Joe Matt. Duringhis autobiographical period, Brown gradually simplifiedhis style, inspired by the example of his friend and fel-low Toronto cartoonist Seth.[7] He began tentatively witha pair of short tales, and gradually became freer with hispanel layouts and simpler in his artwork.[8]

Brown had switched publishers to the Montreal-basedDrawn and Quarterly by the time he completed his firstautobiographical graphic novel, The Playboy, in 1992.[6]

At first, he intended The Playboy and I Never Liked Youto form one story, but found it too complex to handlewhen he started to plan it out.[9] The Playboy deals withBrown’s guilt over his teenage obsession with masturbat-

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2 4 STYLE AND ANALYSIS

ing over pornography. The book gained praise from fans,critics, and other cartoonists, and won a Harvey Award.It received criticism from those who saw it as objecti-fying women and glorifying pornography; Playboy pub-lisher Hugh Hefner wrote to Brown voicing concern thatBrown would feel such guilt in a post-sexual revolutionworld.[10]

2 Synopsis

The story is set during Brown’s 1970s adolescence inChâteauguay, a suburb of Montreal. Chester—"Chet” forshort—is a thin, long-haired teenager who is awkward,introverted, and better able to express himself throughdrawing than speaking. He constantly and inexplicablyturns away girls, even though he is interested in them andthey in him. Except in his imagination, Chet has diffi-culty expressing affection even for his mother. She talksto Chet and his younger brother Gord about issues thatembarrass them, and the religious teaching she has in-stilled in them has rendered Chet unable to bring himselfto swear, for which he is teased and goaded at school.Chet plays games such as hide-and-seek with the neigh-bourhood children. One girl, Carrie, has a crush on Chetand invites him to her house each day to wash the dishes.He and Carrie’s older sister Connie, a bossy blonde a yearhis senior, often hide during hide-and-seek games in tallgrass where they spend the time talking with each other,though they have little in common. Connie asks him tothe movies, but he sits away from her when he spots boysfrom his school; he fears he will be teased for being on adate. When the film ends, they walk home in silence.

Châteauguay

The story takes place in Châteauguay, Quebec.

Chet is interested in Sky, a large-breasted dark-haired girltwo years younger who lives next door, about whom hehas masturbatory fantasies. He confesses his love but im-mediately regrets it, unable to express his feelings. Sheconnects with Chet and tries to develop a relationship, buthe is unable to deal with his emotions and avoids spending

time with her. He draws her a picture of a skeleton sym-bolizing himself reaching for a bird signifying Sky her-self. When Carrie deciphers it correctly he denies that heuses symbolism in his drawings, and the confrontation es-calates to minor violence when Carrie proclaims to him,“I never liked you!"Chet and his brother rarely visit their mother after shechecks into hospital, and when they do Chet cannot bringhimself to tell her he loves her. She suffers a fall down aflight of stairs there when confusedly wandering aroundand dies after being bedridden and incoherent for a shorttime. Chet makes excuse after excuse to turn Sky awaywhen she tries to spend time with him. The story endswith Chet refusing to accompany Sky to the fair becausehe says he would rather listen to his new Kiss album.

3 Publication

I Never Liked You was originally serialized under the ti-tle Fuck, in issues #26–30 of Yummy Fur, between Oc-tober 1991 and April 1993.[11] Unlike his earlier works,according to Brown there was “very little improvisationin I Never Liked You. It was quite planned out, even if Ididn't write a full script.”[12]

Drawn and Quarterly issued a collected edition in 1994,changing the title from Fuck to I Never Liked You. Brownrearranged the page layouts, removing panels, most sig-nificantly those in the prologue where Chet explains hismotivations.[13] A “New Definitive Edition” appeared in2002, with two added pages of contextual endnotes,[6]

something he had been increasingly doing from 1995 withhis cartoon essay "My Mom Was a Schizophrenic".[14]

In the 1994 collection the backgrounds were black; hechanged them to white and rearranged the panels for the“New Definitive Edition”. He explained: “I like austerity.The white background looks more austere to me.”[12] Theedition included a short appendix for readers “wonderingwhen and where things happened”.[15]

4 Style and analysis

Academic Charles Hatfield finds “an abiding interest inthe ways people are shaped by their environment” inBrown’s autobiographical work, and believes the storiesdemonstrate “the urgency of Justin Green and the mun-dane particularity of Harvey Pekar", two influential cre-ators known for their revealing autobiographical comics.Brown is unsparing in his depictions of social awkward-ness of his teenage years.[16] Despite the 1970s adolescentbackdrop, sex and drugs are absent; his life is shaped byhis strictly religious parents[17] and introversion.[18]

Brown’s mother (1923–76)[19] suffered from schizophre-nia. This is not made explicit,[20] but hinted at in sceneswhere she approaches awkward subjects with Chet and

3

Chet is unable to voice his affection even to his dyingschizophrenic mother; his lack of expression defies easy readeridentification.

his brother Gord; the boys’ unsupportive responses feedthe discomfort.[18] Brown addresses his mother’s men-tal health in his 1995 cartoon essay "My Mom Wasa Schizophrenic", in which he takes an anti-psychiatricstance.[21]

Chet’s face is near expressionless throughout.[22] Thecharacters are distanced from the reader, inviting neitherempathy nor identification.[23] To cartoonist and criticPepo Pérez, this is a challenge to readers to understandthe characters.[24] In the appendix to the “New Defini-tive Edition”, Brown declares the dialogue is filteredthrough his memory and likely did not occur as recorded,and that locations and other details are also subject tolapses of memory. To academic Elisabeth El Refaie thistransparency on Brown’s part is “a deeper and more sin-cere form of authenticity”.[15] Reviewer C. Max Mageefound the tone of awkwardness and emotional emptinesscomparable to works by contemporaries such as DanielClowes and Chris Ware.[25]

The story unfolds in vignettes,[26] with little setup or con-text given to any scene. To Hatfield, they "[pop] out ofnowhere as a dreamlike series of pulses ... The effectis sometimes eerie ... despite the grounding of the storyin mundane everyday stuff.”[27] Unlike in his previousgraphic novel, The Playboy, Brown makes limited use ofa narrator in I Never Liked You. The story is told almostentirely through its pictures and sparse dialogue.[27] Thepage layouts are also sparse, sometimes limited to a sin-gle, small panel on a page,[28] sometimes up to seven oreight.[29] The layout and repetition of panels affects pac-ing, slowing or quickening scene.[18]

Brown abandoned the grid layout he had used in earlierworks for more varied, organic layouts.[30] Backgrounds

establish the mood of a scene, harmonizing or contrast-ing with the action—as when Chet and Connie returnfrom the movies amongst a romantic snow-covered, starrylandscape, against an awkward silence accentuated bypanel that grow, making the figures appear ever moreinsignificant.[18]

The cartooning is far looser than in Brown’s earlier work,and concerned more with gesture and expression thanliteral detail.[13] They are rendered with a brush, andamongst the simplest and sparsest in his body of work.There is nonetheless a significant amount of hatching,[31]

and the backgrounds are naturalistic, in contrast to thethin, distorted figures.[32] Brown had been paring his art-work since the Playboy stories, as he was not happy withhis style and sought “to rebuild [his] style in a way that[he] would like”. He continued this with I Never LikedYou, where he has said he was “trying to get even morepared down than The Playboy".[31] Certain inanimate ob-jects receive a focus imbuing them with special signif-icance, such as Chet’s habitual after-school package ofsoda crackers or the Brown family home—a house that,to reviewer Darcy Sullivan, “is as much a character [in INever Liked You] as in The Playboy".[33]

Brown drew the pictures before laying down the panelborders, which conform to the shapes of the picturesthey enclosed and are drawn in a wobbly free-hand muchlike in the artwork of the Los Bros Hernandez or RobertCrumb.[34] He drew each panel individually, assemblingthem into pages afterwards.[29] In the original serializa-tion and first collected edition, they were placed on blackbackgrounds. He changed to white backgrounds for the2002 edition.[27]

5 Reception and legacy

Brown’s autobiographical work developed from a scenethat had been developing since the 1970s and which hadreached a peak in the late 1980s and early 1990s. Brown’sopen and self-deprecating example left an impact on car-toonists such as Jeffrey Brown and Ariel Schrag, and hissparse layouts on the likes of Anders Nilsen.[7] Uponthe serial’s conclusion, reviewer Darcy Sullivan called it“a major step forward for the artist, a leading light inadult comics”.[13] American cartoonist Gilbert Hernan-dez hailed The Playboy and I Never Liked You as “proba-bly the best graphic novels next to Maus";[35] British car-toonist Eddie Campbell called them “the most sensitivecomics ever made";[36] and American comics writer HeidiMacDonald called I Never Liked You “a masterpiece” thatis “the equal of any 'coming of age' movie”.[37]

Charles Hatfield praised Brown’s honesty, keen observa-tion, and narrative strength,[16] and called the “hide withme”[38] page as one of his favourites.[27] Critic ÓscarPalmer described the work as “an example of sobrietyand restraint, and one of the harshest, most hopeless

4 6 REFERENCES

Brown (pictured in 2009) returned to the subject of his relationswith women in 2011 in the polemic Paying for It, arguing for thedecriminalization of prostitution.

teenage portraits ... in any medium”.[24] Scripter andcritic Trajano Bermúdez wrote the book demonstratesBrown a master of his medium.[24] Norwegian cartoonistJason calls I Never Liked You a favourite autobiographicalwork.[39]

Alongside Seth’s It’s a Good Life, If You Don'tWeaken and Joe Matt’s The Poor Bastard—works byBrown’s Toronto-based friends and Drawn and Quarterlystablemates—I Never Liked You is seen as a prominentexample of the 1990s autobiographical comics trend.[24]

As one of “The Autobiographical Stories from YummyFur”, it ranked 38th on The Comics Journal ' s list of thetop 100 English-language comics of the 20th century.[16]

In 2001 Stephen Weiner included I Never Liked You inhis book The 101 Best Graphic Novels, recommending itto those who enjoy J. D. Salinger's novel The Catcher inthe Rye.[40]

I Never Liked You was the last work from his auto-biographical period that started in 1990 with Helderin Yummy Fur #19. Yummy Fur continued for twomore issues before Drawn and Quarterly publisher ChrisOliveros convinced Brown to publish his next serial,Underwater, under its own title in 1994. In 2011 Brownreturned to autobiography and his relations with womenwith the graphic novel Paying for It, a polemic arguingfor the decriminalization of prostitution.[41]

6 References[1] Bell 2006, p. 144.

[2] Epp 2013, p. 120.

[3] Juno 1997, p. 132.

[4] Juno 1997, p. 131.

[5] Bell 2006, p. 146.

[6] Køhlert 2012, p. 378.

[7] Køhlert 2012, p. 381.

[8] Grace & Hoffman 2013, p. xviii.

[9] Juno 1997, p. 140.

[10] Grace & Hoffman 2013, p. xx.

[11] Lefèvre 2010, p. 313.

[12] Verstappen 2007.

[13] Sullivan 1994, p. 53.

[14] Park 2011.

[15] El Refaie 2012, p. 166.

[16] Hatfield 1999, p. 67.

[17] Bell 2006, p. 158.

[18] Sullivan 1994, p. 54.

[19] Sim 2003.

[20] Hatfield 2008; Williams.

[21] Birch 2012, p. 174; Williams.

[22] El Refaie 2012, p. 202.

[23] El Refaie 2012, p. 197; Serrano 2007.

[24] Serrano 2007.

[25] Magee 2006.

[26] Grace & Hoffman 2013, p. xxi.

[27] Hatfield 2008.

[28] Lefèvre 2009, p. 161.

[29] Køhlert 2012, p. 380.

[30] Santoro 2010.

[31] Juno 1997, p. 135.

[32] Køhlert 2012, pp. 379–380.

[33] Sullivan 1994, pp. 54–55.

[34] Wolk 2007, p. 153.

[35] Bell 2006, p. 156; Gravett; Thompson 2004, p. 84.

[36] Bell 2006, p. 156.

6.1 Works cited 5

[37] MacDonald 2011.

[38] Brown 2002, p. 33.

[39] Heater 2009.

[40] Weiner 2001, p. 7.

[41] Grace & Hoffman 2013, pp. xxi, xxv.

6.1 Works cited

6.1.1 Books

• Bell, John (2006). Invaders from the North:How Canada Conquered the Comic Book Universe.Toronto: Dundurn Press. ISBN 978-1-55002-659-7.

• Birch, Michael (2012). “My Mom was aSchizophrenic”. Mediating Mental Health: Contexts,Debates and Analysis. Ashgate Publishing. pp.174–185. ISBN 978-0-7546-7474-0. Retrieved2012-07-06.

• Brown, Chester (2002). I Never Liked You: The NewDefinitive Edition. Drawn and Quarterly. ISBN 978-1896597140.

• Epp, Darrell (2013). “Two Handed Man Inter-views Cartoonist Chester Brown”. In Grace, Do-minick; Hoffman, Eric. Chester Brown: Conversa-tions. University Press of Mississippi. pp. 118–147.ISBN 978-1-61703-868-6.

• Grace, Dominick; Hoffman, Eric (2013). “Intro-duction”. In Grace, Dominick; Hoffman, Eric.Chester Brown: Conversations. University Press ofMississippi. pp. vii–xxxi. ISBN 978-1-61703-868-6.

• Juno, Andrea (1997). “Interview with ChesterBrown". Dangerous Drawings. Juno Books. pp.130–147. ISBN 0-9651042-8-1.

• Køhlert, Frederik Byrn (2012). “I Never LikedYou: A Comic-Strip Narrative”. In Beaty, Bart H.;Weiner, Stephen. Critical Survey of Graphic Nov-els: Independent and Underground Classics. SalemPress. pp. 378–381. ISBN 978-1-58765-950-8.

• Lefèvre, Pascal (2009). “The Construction of Spacein Comics”. In Heer, Jeet; Worcester, Kent. AComics Studies Reader. University Press of Mis-sissippi. pp. 157–162. ISBN 978-1-60473-109-5.Retrieved 2012-06-19.

• Lefèvre, Pascal (2010). “I Never Liked You”. InBooker, M. Keith. Encyclopedia of Comic Booksand Graphic Novels 1. ABC-CLIO. pp. 313–314.ISBN 978-0-313-35748-0.

• El Refaie, Elisabeth (2012). AutobiographicalComics: Life Writing in Pictures. University Pressof Mississippi. ISBN 978-1-61703-613-2.

• Weiner, Stephen (2001). DeCandido, Keith R. A.,ed. The 101 Best Graphic Novels. NBM. ISBN 978-1-56163-444-6.

• Wolk, Douglas (2007). “Chester Brown: The Out-sider”. Reading Comics: How Graphic Novels Workand What They Mean. Da Capo Press. pp. 147–155. ISBN 978-0-306-81509-6.

6.1.2 Journals and magazines

• Hatfield, Charles (February 1999). Spurgeon, Tom,ed. “No. 38: The Autobiographical Stories inYummy Fur”. The Comics Journal (FantagraphicsBooks) (210): 67. ISSN 0194-7869.

• Sim, Dave (October 2003). ""Getting Riel”, part 1”.Cerebus (Aardvark-Vanaheim) (295). ISSN 0712-7774. Retrieved 2011-01-16.

• Sullivan, Darcy (November 1994). “The Four LetterHeart”. The Comics Journal (Fantagraphics Books)(172): 53–55. ISSN 0194-7869.

• Thompson, Kim (February 2004). “Gilbert Hernan-dez interview”. The Comics Journal (FantagraphicsBooks) (158). ISSN 0194-7869.

6.1.3 Web

• Gravett, Paul. “Creator Profile: Chester Brown”.paulgravett.com. Archived from the original on2011-09-10. Retrieved 2011-04-07.

• Hatfield, Charles (2008-01-24). ""Hide with me": apage by Chester Brown (admired by CH)". ThoughtBalloonists. Archived from the original on 2012-03-22. Retrieved 2012-06-19.

• Heater, Brian (2009-06-23). “Interview: Jason Pt.2 [of 2]". The Daily Crosshatch. Archived from theoriginal on 2009-06-26. Retrieved 2011-04-07.

• MacDonald, Heidi (2011-11-28). “Beat HolidayGiveaway: Chester Brown’sThe Playboy and I NeverLiked You". The Beat. Archived from the original on2014-11-17. Retrieved 2014-11-17.

• Magee, C. Max (2006-02-08). “I Never LikedYou by Chester Brown: A Review”. The Millions.Archived from the original on 2011-09-10. Re-trieved 2014-11-17.

• Park, Ed (2011-05-02). “Text Appeal”. TorontoStandard. Archived from the original on 2011-05-05. Retrieved 2011-05-05.

6 7 EXTERNAL LINKS

• Santoro, Frank (2010-10-16). “Class with Frankpart 2: Doin' the Chester”. Comics Comics.Archived from the original on 2010-10-21. Re-trieved 2011-04-30.

• Serrano, Jose A. (June 2007). “Nunca me has gus-tado, de Chester Brown”. Guía del cómic (in Span-ish). Archived from the original on 2007-07-16.Retrieved 2014-11-17.

• Verstappen, Nicolas (August 2007). “ChesterBrown”. du9. Archived from the original on 2008-09-01. Retrieved 2011-04-06.

• Williams, Ian. “I Never Liked You”. GraphicMedicine. Archived from the original on 2014-11-17. Retrieved 2014-11-17.

7 External links• I Never Liked You at the Comic Book DB

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8 Text and image sources, contributors, and licenses

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Bearcat, Pigsonthewing, Michael Devore, Chowbok, Mandarax, Sardanaphalus, SmackBot, Gilliam, Hmains, Azumanga1, Tim riley,Curly Turkey, Ceoil, MrMo, Ohconfucius, Lillygirl, ShakingSpirit, Victoriagirl, JustAGal, Dawnseeker2000, Magioladitis, ***Ria777,R'n'B, DrKiernan, Wikiharriflex, Qst, P. S. Burton, Piledhigheranddeeper, Arjayay, Another Believer, Dank, Tezero, Indopug, Yobot, IRP,Materialscientist, Kithira, Anonymous from the 21st century, RCraig09, Jonesey95, Gerda Arendt, Jamietw, John of Reading, Racerx11,GoingBatty, Railer-man, BabbaQ, TYelliot, ClueBot NG, Frietjes, Widr, Helpful Pixie Bot, MusikAnimal, Jc86035, AmericanLemming,TFA Protector Bot, Fresh Sullivan, Monkbot, FACBot, Rajeshbiswas704, AlazaeThen, ADOG2645, Lizzieika, Cursed6666, Tears5005and Anonymous: 21

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