months he drew the work Green received a monthly stipend of $150 from Ron Turner, the founder of underground publisher Last Gasp Eco-Funnies. Last Gasp published the story as a one-shot comic book in 1972—Green's first solo title. It went through two print runs of 55,000 copies each with a "Youngsters Prohibited" label on the cover. In 1990, Green had an essay published entitled "The Binky Brown Matter" in The Sun. In the essay, he describes the OCD with which he was diagnosed years after completing Binky Brown. Last Gasp reprinted the story in 1995 in The Binky Brown Sampler, a softcover anthology of Binky Brown strips with an introduction by Art Spiegelman and an expanded version of "The Binky Brown Matter". Green sold the original artwork to the strip in the 1970s; McSweeney's staff contacted the owner of the artwork, Christine Valenza, to make fresh scans for a standalone reprinting in 2009, overseen by McSweeney's editor Eli Horowitz. It had a print run of 5,000 copies and reprints the artwork at the full size of the originals; the page reproductions mimic the actual pages, including marks, smudges, and corrections. In 2011, the publisher Stara published a French translation by Harry Morgan titled Binky Brown rencontre la Vierge Marie, and La Cúpula published a Spanish translation by Francisco Pérez Navarro titled Binky Brown conoce a la virgen María. Editions Style and analysis The story takes the form of a guilt-ridden confession. In the opening, the adult Binky hangs over a sickle, bound from head to toe and listening to Ave Maria as he draws with a pen in his mouth. He declares his intention: "to purge myself of the compulsive neurosis which I have served since I officially left Catholicism on Halloween, 1958". He justifies the work to communicate with the "many others are slaves to their neuroses" and who, despite believing themselves isolated, number so many that they "would entwine the globe many times over in a vast chain of common suffering". Though Green built Binky Brown on an autobiographical base he fabricated many scenes—such as one in which Binky is bullied by two third-graders—"to suggest or convey a whole generalized idea about some subjective feeling, such as order or fear or guilt". To critic Charles Hatfield Binky Brown displays a "radical subjectivity" that calls into question the notion of objectivity in autobiography. The presentation is insistently subjective and