Tits & Clits Comix was a seminal all-female underground comic book anthology published intermittently between 1972 and 1987. Created by Joyce Farmer and Lyn Chevli under the imprint Nanny Goat Productions, the series emerged as a radical response to the male-dominated and often misogynistic landscape of the late 1960s and early 1970s underground "comix" movement. By centering female sexuality, reproductive rights, and bodily autonomy from a first-person woman’s perspective, Tits & Clits Comix became a cornerstone of second-wave feminist media and a defiant voice against both mainstream censorship and countercultural sexism.

What is the historical significance of Tits & Clits Comix?

To understand the weight of Tits & Clits Comix, one must look at the environment of the American underground press in the early 1970s. The underground comix scene, led by figures like Robert Crumb, was celebrated for breaking the restrictive Hays Code of mainstream comics. However, while these male artists were "liberated" to depict sex and drugs, their work often relied on hyper-sexualized, objectified, or even violent depictions of women.

Joyce Farmer and Lyn Chevli, based in Laguna Beach, California, observed this contradiction. They recognized that while the sexual revolution was in full swing, the narrative was still being controlled by men. In July 1972, they released the first issue of Tits & Clits, intentionally choosing a provocative title to reclaim slang terms and signal that women were ready to discuss their own anatomy and desires without shame or male mediation.

The publication predated the famous Wimmen’s Comix anthology by several months, making it one of the earliest platforms specifically dedicated to woman-authored underground art. Its significance lies in its refusal to be "polite." Unlike mainstream feminist publications of the era that focused primarily on legal rights or professional equality, Tits & Clits delved into the messy, humorous, and visceral realities of menstruation, birth control, sexual frustration, and the physical female experience.

The Founding of Nanny Goat Productions and the Early Issues

The partnership between Lyn Chevli (often writing as Chin Lyvely) and Joyce Farmer (often writing as Joyce Sutton) was fueled by a shared frustration with how women were portrayed in contemporary media. They formed Nanny Goat Productions to maintain total creative and editorial control.

The debut issue in 1972 was an unexpected success, selling out its initial print run of 20,000 copies within a year. This was a massive feat for an independent, self-published comic. The content was a mixture of crude humor, political satire, and autobiographical storytelling. The art style mirrored the "big-foot" aesthetic of the underground—gritty, exaggerated, and unrefined—but applied it to themes like the "blueberry yogurt douche" and the anxieties of accidental pregnancy.

Despite its success, the series faced immediate backlash. The title itself was a double-edged sword; while it drew in the curious, it made traditional distribution nearly impossible. Many bookstores and headshops refused to carry it, not because of the content, but because the name was deemed "too vulgar" even for the counterculture.

Why did Tits & Clits Comix change its name to Pandoras Box?

In 1973, a significant legal threat forced the creators to pivot. The Orange County District Attorney’s office launched an obscenity investigation into underground publications, and Tits & Clits was a primary target. Fearing a full-scale "bust" that could lead to jail time or the destruction of their inventory, Farmer and Chevli made the strategic decision to rename the second issue.

In 1973, they published Pandoras Box (intentionally omitting the apostrophe). While the content remained consistent with their feminist mission, the change in title was an attempt to evade the scrutiny of local law enforcement who were scanning for specific "obscene" keywords on magazine racks.

This period was a turning point for the creators. They realized that their work was not just art; it was a form of activism that carried real legal risks. During this same year, they also produced Abortion Eve, a one-shot educational comic released shortly after the Roe v. Wade decision. Abortion Eve was a serious, compassionate guide to the medical and emotional aspects of abortion, further cementing Nanny Goat Productions as a vital resource for women's health information.

The Battle Against Censorship and Internal Feminist Critique

One of the most complex aspects of the history of Tits & Clits Comix was that it was often attacked from two sides. On one hand, conservative authorities and male-dominated distribution networks saw it as pornography. On the other hand, certain factions of the feminist movement itself were uncomfortable with the comic’s graphic nature.

During the 1970s, a "feminist sex war" was brewing. Some feminists believed that any graphic depiction of sex was inherently exploitative or mimicked the "male gaze." They found the humor in Tits & Clits to be "sick" or "disgusting." Farmer and Chevli, however, argued that ignoring the body and its functions was a form of self-repression. They believed that for women to be truly liberated, they had to be able to laugh at their own bodies and discuss sexuality in the same raw, uncensored language that men used.

By 1976, the legal heat had subsided somewhat, and the creators felt emboldened to return to their original title. They published a new Issue #2 under the name Tits & Clits, reclaiming their brand and their defiance.

Who were the contributors to the anthology?

While Joyce Farmer and Lyn Chevli were the driving forces and primary editors, Tits & Clits Comix eventually became an anthology that showcased a wide range of female talent. It provided a rare space for women artists to experiment with themes that were rejected by mainstream publishers like Marvel or DC, and even by some underground papers.

Key contributors over the years included:

  • Trina Robbins: A legendary figure in comics who would go on to be a prominent historian of women in the industry.
  • Roberta Gregory: Known for her later work Bitchy Butch, Gregory brought a sharp, uncompromising queer perspective to the pages of the anthology.
  • Lee Marrs: The creator of The Further Fattening Adventures of Pudge, Girl Blimp, Marrs used the platform to explore body image and societal expectations.
  • Mary Fleener: A younger artist who joined the project in its later years, Fleener’s "cubismo" style helped transition the comic into the alternative comics era of the 1980s.
  • Melinda Gebbie: An artist who would later collaborate with Alan Moore on Lost Girls, Gebbie’s early work in Tits & Clits was noted for its dreamlike and provocative imagery.

In a rare exception to the "all-female" rule, the final issue (#7) in 1987 featured a story by Dennis Worden. This marked the end of an era, as the comic had successfully bridged the gap between the 70s underground and the 80s "alternative" comic movement.

Evolution of the Artistic Style and Themes

The artistic trajectory of Tits & Clits Comix followed the evolution of the feminist movement itself. The early issues (1972-1976) were characterized by a "shock and awe" approach—graphic depictions of bodily fluids, examinations of genitalia, and a focus on breaking every conceivable taboo. This was the "consciousness-raising" phase, where the goal was to simply prove that women could be as "filthy" and honest as men.

As the series moved into the late 70s and early 80s, the storytelling became more sophisticated. The themes shifted toward social commentary, the difficulties of maintaining a feminist identity in the workforce, and the complexities of aging and long-term relationships.

The final issues were published by Last Gasp, a legendary San Francisco underground publisher. This move allowed the comic to reach a wider, more international audience. The print quality improved, and the editorial voice became more inclusive of different racial and sexual identities, reflecting the "intersectional" turn that feminism began to take toward the end of the century.

How did Tits & Clits Comix influence modern graphic novels?

The legacy of Tits & Clits Comix is visible in almost every modern feminist graphic memoir. Without the path cleared by Farmer and Chevli, works like Marjane Satrapi’s Persepolis or Alison Bechdel’s Fun Home might have struggled to find an audience or the vocabulary to discuss the intersection of the personal and the political.

The comic established that:

  1. The Personal is Political: Ordinary female experiences—going to the gynecologist, dealing with street harassment, navigating climax—were worthy subjects for literature and art.
  2. Humor as a Weapon: By using satire and "gross-out" humor, these women stripped away the power of shame.
  3. Self-Distribution is Viable: The success of Nanny Goat Productions inspired generations of "Zinesters" and independent creators to bypass traditional gatekeepers.

Joyce Farmer herself continued to be a major force in comics, eventually publishing the critically acclaimed graphic novel Special Exits in 2010, which dealt with the passing of her elderly parents. The same unflinching honesty that she brought to Tits & Clits in 1972 was present in her later work, proving that the underground spirit of truth-telling is a lifelong commitment.

What were the specific themes of each issue?

While the issues were irregular, they often focused on specific social zeitgeists:

  • Issue #1 (1972): Focus on anatomy, the clitoris, and sexual liberation.
  • Pandoras Box (1973): Survival under the threat of censorship, birth control, and reproductive autonomy.
  • Issue #3 (1977): The expansion of the contributor pool, exploring collective living and the "new woman" of the mid-70s.
  • Issue #6 (1980): Critiques of the burgeoning "self-help" industry and the commercialization of feminism.
  • Issue #7 (1987): A reflection on the legacy of the movement and a hand-off to the next generation of alternative cartoonists.

Frequently Asked Questions (FAQ)

Why was the comic called "Tits & Clits"?

The title was chosen to be intentionally provocative and to reclaim medical and slang terms for the female body. The creators wanted to ensure that no one could mistake the comic for a mainstream, "safe" publication. They wanted to signal that the content was by women, for women, and about women’s bodies.

Is Tits & Clits Comix considered pornography?

Historically, law enforcement in the 1970s classified it as such. However, from a contemporary academic and cultural perspective, it is viewed as "sex-positive feminist art." Its goal was not sexual arousal (titillation) but rather education, humor, and the normalization of female sexual desire.

Who were the main editors of the series?

The founding editors were Joyce Farmer (Joyce Sutton) and Lyn Chevli (Chin Lyvely). In the final issue, Mary Fleener served as a co-editor alongside Farmer.

Can you still buy Tits & Clits Comix today?

Original printings are highly sought-after collector's items. However, many of the stories have been anthologized in historical collections of underground comix or feminist art histories. Because they were printed on newsprint, surviving copies are often fragile.

What happened to Nanny Goat Productions?

Nanny Goat Productions was the independent house founded by Farmer and Chevli to publish their work. While it stopped producing new issues of the flagship title in 1987, its impact on the world of "Small Press" publishing remains a blueprint for independent creators today.

Conclusion and Summary

Tits & Clits Comix stands as a monumental achievement in the history of independent publishing and feminist activism. By refusing to conform to the expectations of either the male-dominated underground or the more conservative elements of the women’s movement, Joyce Farmer and Lyn Chevli created a space where the female body could be discussed with radical honesty and irreverent humor. From its beginnings as a 20,000-copy sell-out in 1972 to its final issues under Last Gasp, the series challenged censorship, fought for reproductive rights, and paved the way for the modern graphic novel. Its legacy is a reminder that the most potent form of rebellion is often simply telling the truth about one's own life and body.