The state of an art that has yet to reach stasis.
Another annual cornucopia of graphic narrative (and comic strips).
Whether comics were ever striving for cultural legitimacy, they are now struggling with it—even resisting it—though this year’s collection suggests that the range of subject, tone and technique continues to expand. Perhaps no other graphic memoirist has achieved greater acclaim than this year’s guest editor Bechdel (Fun Home: A Family Tragicomic, 2006, etc.), who not only contributes an illustrated introduction (which comments on the imbalance of men over women among the artists, in this as well as previous years, and the absence of African-Americans), and shows a feminist perspective in both the sequencing and selection. Among the developments highlighted by the anthology are “webcomics” (a natural extension of the indie and self-publishing of comics, and the punk-rock, DIY spirit the form shares) and “metacomics” (which use comics to comment on the making and essence of comics). Highlights include Gabrielle Bell’s opening “Manifestation,” where she imagines critical acclaim and world renown for her adaptation of The S.C.U.M. Manifesto, by Valerie Solanas (who attempted to kill Andy Warhol), and “Pet Cat” by Joey Alison Sayers, who follows a strip through the publishing industry’s various permutations. While much of this work is at the cutting edge of contemporary culture, there is a historical perspective to some of the more ambitious pieces, as Joe Sacco’s excerpts from Footnotes in Gaza, the longest selection, explores the unreliability of human memory in recalling a mid-’50s Mideast massacre by Israeli soldiers, while “Little House in the Big City,” by Sabrina Jones, frames a love letter to New York with the battle over urban renewal between Robert Moses and Jane Jacobs. The extended, wordless visual epiphany in “Winter” is stunning (adapted by artist Danica Novgorodoff from a Benjamin Percy short story and its screenplay). David Lasky shows the greatest range, with both the most formally complex selection (“Soixante Neuf”) and the most elemental (the single-page closer, “The Ultimate Graphic Novel”). As always, Chris Ware’s inevitable selection is brilliant.
The state of an art that has yet to reach stasis.Pub Date: Oct. 4, 2011
ISBN: 978-0-547-33362-5
Page Count: 352
Publisher: Houghton Mifflin Harcourt
Review Posted Online: Aug. 20, 2011
Kirkus Reviews Issue: Sept. 1, 2011
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Gorgeous and troubling.
Cartoonist Kuper (Kafkaesque, 2018, etc.) delivers a graphic-novel adaptation of Joseph Conrad’s literary classic exploring the horror at the center of colonial exploitation.
As a group of sailors floats on the River Thames in 1899, a particularly adventurous member notes that England was once “one of the dark places of the earth,” referring to the land before the arrival of the Romans. This well-connected vagabond then regales his friends with his boyhood obsession with the blank places on maps, which eventually led him to captain a steamboat up a great African river under the employ of a corporate empire dedicated to ripping the riches from foreign land. Marlow’s trip to what was known as the Dark Continent exposes him to the frustrations of bureaucracy, the inhumanity employed by Europeans on the local population, and the insanity plaguing those committed to turning a profit. In his introduction, Kuper outlines his approach to the original book, which featured extensive use of the n-word and worked from a general worldview that European males are the forgers of civilization (even if they suffered a “soul [that] had gone mad” for their efforts), explaining that “by choosing a different point of view to illustrate, otherwise faceless and undefined characters were brought to the fore without altering Conrad’s text.” There is a moment when a scene of indiscriminate shelling reveals the Africans fleeing, and there are some places where the positioning of the Africans within the panel gives them more prominence, but without new text added to fully frame the local people, it’s hard to feel that they have reached equal footing. Still, Kuper’s work admirably deletes the most offensive of Conrad’s language while presenting graphically the struggle of the native population in the face of foreign exploitation. Kuper is a master cartoonist, and his pages and panels are a feast for the eyes.
Gorgeous and troubling.Pub Date: Nov. 5, 2019
ISBN: 978-0-393-63564-5
Page Count: 160
Publisher: Norton
Review Posted Online: Aug. 18, 2019
Kirkus Reviews Issue: Sept. 1, 2019
Chwast and Twain are a match made in heaven.
Design veteran Chwast delivers another streamlined, graphic adaptation of classic literature, this time Mark Twain’s caustic, inventive satire of feudal England.
Chwast (Tall City, Wide Country, 2013, etc.) has made hay anachronistically adapting classic texts, whether adding motorcycles to The Canterbury Tales (2011) or rocket ships to The Odyssey (2012), so Twain’s tale of a modern-day (well, 19th-century) engineer dominating medieval times via technology—besting Merlin with blasting powder—is a fastball down the center. (The source material already had knights riding bicycles!) In Chwast’s rendering, bespectacled hero Hank Morgan looks irresistible, plated in armor everywhere except from his bow tie to the top of his bowler hat, sword cocked behind head and pipe clenched in square jaw. Inexplicably sent to sixth-century England by a crowbar to the head, Morgan quickly ascends nothing less than the court of Camelot, initially by drawing on an uncanny knowledge of historical eclipses to present himself as a powerful magician. Knowing the exact date of a celestial event from more than a millennium ago is a stretch, but the charm of Chwast’s minimalistic adaption is that there are soon much better things to dwell on, such as the going views on the church, politics and society, expressed as a chart of literal back-stabbing and including a note that while the upper class may murder without consequence, it’s kill and be killed for commoners and slaves. Morgan uses his new station as “The Boss” to better the primitive populous via telegraph lines, newspapers and steamboats, but it’s the deplorably savage civility of the status quo that he can’t overcome, even with land mines, Gatling guns and an electric fence. The subject of class manipulation—and the power of passion over reason—is achingly relevant, and Chwast’s simple, expressive illustrations resonate with a childlike earnestness, while his brief, pointed annotations add a sly acerbity. His playful mixing of perspectives within single panels gives the work an aesthetic somewhere between medieval tapestry and Colorforms.
Chwast and Twain are a match made in heaven.Pub Date: Feb. 18, 2014
ISBN: 978-1-60819-961-7
Page Count: 144
Publisher: Bloomsbury
Review Posted Online: Nov. 2, 2013
Kirkus Reviews Issue: Nov. 15, 2013
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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