A gripping, moody, illustrated chronicle of the notorious Crescent Hotel.
Fitzgibbon’s graphic novel details a historically creepy old hotel.
The author takes as his subject the infamous Crescent Hotel in Eureka Springs, Arkansas, which opened in 1886 and trundled along as a hotel and a school for girls until the Great Depression ended both concerns in 1934. In 1937, the sprawling, ornate building was converted into a cancer clinic by a man named Norman Baker, who attracted a wide clientele by promising a cure for the disease. “To gaze into the lobby and see the folks, young and old, sitting around contentedly enjoying themselves, one would hardly think of them as being sick, but upon inquiry you would learn that many of them have been pronounced incurable and have come to the Baker Hospital as a last resort.” Fitzgibbon inserts himself into the narrative, depicting himself researching the story of Baker and his clinic, delving into old newspaper accounts and hearing from some people who had direct experiences with the crackpot medical regimens practiced at the old hotel. The author also includes details from correspondence and private memoranda, such as a “For Patients Only” notice Baker circulated in 1939: “Be determined,” it reads. “Make up your mind that you are going to get well. Do not let those poisonous, good-for-nothing thoughts enter your mind.” Fitzgibbon frames this history for maximum cinematic effect—a pair of young boys warily walk through the cobwebbed empty rooms of the abandoned Crescent, examining the dusty remnants of the horrifying quackery that harmed many hopeful patients under Baker’s dubious care. Fitzgibbon illustrates most of his story in evocative sepia tones and muted colors, and his use of the various historical source materials is very effective throughout. This is a powerful interpretation of the real horrors behind an infamous institution.
A gripping, moody, illustrated chronicle of the notorious Crescent Hotel.Pub Date: Dec. 1, 2021
ISBN: 9798985068900
Page Count: 240
Publisher: Curio Box
Review Posted Online: Jan. 19, 2024
Review Program: Kirkus Indie
An accessible, informative journey through complex issues during turbulent times.
Immersion journalism in the form of a graphic narrative following a Syrian family on their immigration to America.
Originally published as a 22-part series in the New York Times that garnered a Pulitzer for editorial cartooning, the story of the Aldabaan family—first in exile in Jordan and then in New Haven, Connecticut—holds together well as a full-length book. Halpern and Sloan, who spent more than three years with the Aldabaans, movingly explore the family’s significant obstacles, paying special attention to teenage son Naji, whose desire for the ideal of the American dream was the strongest. While not minimizing the harshness of the repression that led them to journey to the U.S.—or the challenges they encountered after they arrived—the focus on the day-by-day adjustment of a typical teenager makes the narrative refreshingly tangible and free of political polemic. Still, the family arrived at New York’s JFK airport during extraordinarily political times: Nov. 8, 2016, the day that Donald Trump was elected. The plan had been for the entire extended family to move, but some had traveled while others awaited approval, a process that was hampered by Trump’s travel ban. The Aldabaans encountered the daunting odds that many immigrants face: find shelter and employment, become self-sustaining quickly, learn English, and adjust to a new culture and climate (Naji learned to shovel snow, which he had never seen). They also received anonymous death threats, and Naji wanted to buy a gun for protection. He asked himself, “Was this the great future you were talking about back in Jordan?” Yet with the assistance of selfless volunteers and a community of fellow immigrants, the Aldabaans persevered. The epilogue provides explanatory context and where-are-they-now accounts, and Sloan’s streamlined, uncluttered illustrations nicely complement the text, consistently emphasizing the humanity of each person.
An accessible, informative journey through complex issues during turbulent times.Pub Date: Sept. 8, 2020
ISBN: 978-1-250-30559-6
Page Count: 192
Publisher: Metropolitan/Henry Holt
Review Posted Online: Aug. 17, 2020
Kirkus Reviews Issue: Sept. 1, 2020
An erudite and artful, though frustratingly restrained, look at Old Testament stories.
The Book of Genesis as imagined by a veteran voice of underground comics.
R. Crumb’s pass at the opening chapters of the Bible isn’t nearly the act of heresy the comic artist’s reputation might suggest. In fact, the creator of Fritz the Cat and Mr. Natural is fastidiously respectful. Crumb took pains to preserve every word of Genesis—drawing from numerous source texts, but mainly Robert Alter’s translation, The Five Books of Moses (2004)—and he clearly did his homework on the clothing, shelter and landscapes that surrounded Noah, Abraham and Isaac. This dedication to faithful representation makes the book, as Crumb writes in his introduction, a “straight illustration job, with no intention to ridicule or make visual jokes.” But his efforts are in their own way irreverent, and Crumb feels no particular need to deify even the most divine characters. God Himself is not much taller than Adam and Eve, and instead of omnisciently imparting orders and judgment He stands beside them in Eden, speaking to them directly. Jacob wrestles not with an angel, as is so often depicted in paintings, but with a man who looks not much different from himself. The women are uniformly Crumbian, voluptuous Earth goddesses who are both sexualized and strong-willed. (The endnotes offer a close study of the kinds of power women wielded in Genesis.) The downside of fitting all the text in is that many pages are packed tight with small panels, and too rarely—as with the destruction of Sodom and Gomorrah—does Crumb expand his lens and treat signature events dramatically. Even the Flood is fairly restrained, though the exodus of the animals from the Ark is beautifully detailed. The author’s respect for Genesis is admirable, but it may leave readers wishing he had taken a few more chances with his interpretation, as when he draws the serpent in the Garden of Eden as a provocative half-man/half-lizard. On the whole, though, the book is largely a tribute to Crumb’s immense talents as a draftsman and stubborn adherence to the script.
An erudite and artful, though frustratingly restrained, look at Old Testament stories.Pub Date: Oct. 19, 2009
ISBN: 978-0-393-06102-4
Page Count: 224
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
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