A cartoonist’s gentle and charming epistolary memoir.
A cartoonist uses fans’ questions to trace his personal history.
Tomine began self-publishing his work at the age of 16. Since then, he’s developed a devoted fandom that, he says, has stuck by him for almost three decades. Although cartooning is a solitary profession, Tomine says his relationship with his readers has helped him stave off the loneliness that is, so often, a hazard of the job. He writes, “It’s never felt that way. In fact, I often think of my career as a decades-long conversation between myself and an amorphous, mostly anonymous group of people who are for some reason drawn to my work.” In Q&A, Tomine continues this conversation by responding to some of the most common queries, which include how to correctly pronounce his name (which, it turns out, Tomine didn’t know until a trip to Japan), his favorite brands of art supplies, his ability to balance the inspirations and frustrations of parents, and his thoughts about adapting his comics into films. He also offers career advice, describing how he got his start at theNew Yorker, spelling out his opinions on self-publishing and marketing, and providing ideas for connecting with comic artists who could serve as role models or mentors. Although this memoir doesn’t necessarily contain a clear character arc, it does provide a fascinating insight into a beloved artist’s personal history. Tomine’s writing is compassionate, empathetic, and tongue-in-cheek, and his narratorial voice has the intimate, confessional frankness of a good friend. The book’s visuals—which include Tomine’s illustrations—are a welcome addition to the text.
A cartoonist’s gentle and charming epistolary memoir.Pub Date: Oct. 15, 2024
ISBN: 9781770467309
Page Count: 168
Publisher: Drawn & Quarterly
Review Posted Online: Sept. 14, 2024
Kirkus Reviews Issue: Oct. 15, 2024
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Though this will likely be stocked with graphic novels, it shares as much in spirit with the work of Mary Karr, Tobias Wolff...
Bechdel’s memoir offers a graphic narrative of uncommon richness, depth, literary resonance and psychological complexity.
Though Bechdel (known for her syndicated “Dykes to Watch Out For” strip and collections) takes her formal cues from comic books, she receives more inspiration from the likes of Proust and Joyce as she attempts to unravel the knots of her family’s twisted emotional history. At the core of this compelling narrative is her relationship with her father, a literary-minded high-school teacher who restores and runs the familial funeral parlor. (It is also the family’s residence and the “fun home” of the title.) Beneath his icy reserve and fussy perfectionism, he is a barely closeted homosexual and a suspected pedophile, an imposing but distant presence to his young daughter, who finds that their main bond is a shared literary sensibility. As she comes of age as an artist and comes to terms with her own sexual identity, Bechdel must also deal with the dissolution of her parents’ marriage and, soon afterward, her father’s death. Was it an accident or was it suicide? How did her father’s sexuality shape her own? Rather than proceeding in chronological fashion, the memoir keeps circling back to this central relationship and familial tragedy, an obsession that the artist can never quite resolve or shake. The results are painfully honest, occasionally funny and penetratingly insightful. Feminists, lesbians and fans of underground comics will enthusiastically embrace this major advance in Bechdel’s work, which should significantly extend both her renown and her readership.
Though this will likely be stocked with graphic novels, it shares as much in spirit with the work of Mary Karr, Tobias Wolff and other contemporary memoirists of considerable literary accomplishment.Pub Date: June 8, 2006
ISBN: 0-618-47794-2
Page Count: 240
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2006
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
IN THE NEWS
SEEN & HEARD
A problematic but powerful Holocaust survival memoir.
Mother and daughter go on the run in Nazi-occupied Hungary, then endure the Russian occupation.
It would be difficult to conceive of Katin’s debut as anything but a graphic novel, given the strength of its visuals, but a straight-text approach might have been wiser. Her story is obviously dramatic. In Budapest circa 1944, when Miriam is a young girl, her mother, Esther, decides to avoid the impending Nazi roundup of Jews by faking their deaths and escaping to the countryside with forged papers. But things hardly improve outside the city, where villagers treat them no better in their new identities, taking their dark features to mean they’re gypsies. To make matters worse, a Nazi officer quickly figures out the Katins’ secret and uses it as a means of prying sexual favors from Esther. Hard circumstances turn desperate once the Red Army sweeps through, exhibiting the morals of drunken Vikings; Esther joins the starving, freezing villagers as they take clothes off soldiers’ corpses. She does her best to conceal all these horrific events from little Miriam, though the best she can manage is to induce a sort of baffled confusion. Katin’s episodic approach conveys events with an admirable economy at times, but often just hurries the reader through situations that could have used more explanation or context. The artwork’s smeared, sketchy quality contributes to this sense of undue haste. It may be that Katin chose the graphic form because of her background (she was a graphic artist in Israel and a background designer for Disney and MTV) rather than because it was the best vehicle for her story. However, the author’s pain is difficult to ignore, regardless of the limitations of her approach and her sometimes melodramatic tone.
A problematic but powerful Holocaust survival memoir.Pub Date: May 30, 2006
ISBN: 1-896597-20-3
Page Count: 136
Publisher: Drawn & Quarterly
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2006
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