Schoolyard scuffles. Seedy matinees. Run-ins with inept riot cops Representation Immobilized is an unflinching look through the smudged lenses of Rick Trembles' glasses at his early years in Montreal.
Montreal punk legend and alternative cartoonist Rick Trembles was roommates with the editor of the influential zine Fish Piss where these autobiographical strips were first published. After a midnight move from a crumbling apartment Trembles gradually started going through his childhood belongings, which started triggering memories from his past. Worried about them fading from memory as time wore on, he took the opportunity to document them before they could vanish.
One of his last entries in this series questioned the nature of selective memory, why certain inanities from one's past might resonate more than others, and why, no matter how hard you try, there's no guarantee you'll remember any particular event years down the line. The book also contains other autobiographical work from Trembles, created over his active 40 years.

Rick Trembles is a Montreal-based illustrator, post-underground cartoonist, writer, filmmaker, & musician. Two of his Motion Picture Purgatories books have been published by the UK's FAB Press. He's written for Fangoria & Rue Morgue Magazine, and his comix have been published in internationally distributed books, periodicals & anthologies such as Russ Kick's The Graphic Canon, Robert Crumb's Weirdo, Darius James' That's Blaxploitation, Thomas Waugh's Montreal Main, Fantagraphics Books' Pictopia, Kier-la Janisse's Spectacular Optical Kid Power, Satanic Panic, and Yuletide Terror, and France's Hopital Brut for Le Dernier Cri. His award winning animated film Goopy Spasms has toured the festival circuit globally. He is currently animating a series of cartoon shorts called "Building 108." He's been a singer-guitarist for post-punk band The American Devices since 1980. The L.A. Times has called him "A famous free thinker," the Guardian has called him "Genius."

Rick Trembles' profile page

"Trembles takes us beyond his impenetrable appearance, additionally defined by an all-black wardrobe and an unruly mop of jet-black hair, through a series of autobiographical strips, each describing a different moment in the artist's life. . . The memories chosen are scattered and seemingly random: a childhood nightmare about statues in a basement, getting robbed while buying comic books, being kicked out of a Who concert, chopping down a tree on Saint-Laurent Boulevard to try and stop gentrification."
- Montreal Review of Books