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
A gorgeous symphony.
Illustrator McGuire (What’s Wrong With This Book, 1997, etc.) once again frames a fixed space across the millennia.
McGuire’s original treatment of the concept—published in 1989 in Raw magazine as six packed pages—here gives way to a graphic novel’s worth of two-page spreads, and the work soars in the enlarged space. Pages unspool like a player-piano roll, each spread filled by a particular time, while inset, ever shifting panels cut windows to other eras, everything effervescing with staggered, interrelated vignettes and arresting images. Researchers looking for Native American artifacts in 1986 pay a visit to the house that sprouts up in 1907, where a 1609 Native American couple flirtatiously recalls the legend of a local insatiable monster, while across the room, an attendee of a 1975 costume party shuffles in their direction, dressed as a bear with arms outstretched. A 1996 fire hose gushes into a 1934 floral bouquet, its shape echoed by a billowing sheet on the following page, in 2015. There’s a hint of Terrence Malick’s beautiful malevolence as panels of nature—a wolf in 1430 clenching its prey’s bloody haunch; the sun-dappled shallows of 2113’s new sea—haunt scenes of domesticity. McGuire also plays with the very concept of panels: a boy flaunts a toy drum in small panels of 1959 while a woman in 1973 sets up a projection screen (a panel in its own right) that ultimately displays the same drummer boy from a new angle; in 2050, a pair of old men play with a set of holographic panels arranged not unlike the pages of the book itself and find a gateway to the past. Later spreads flash with terrible and ancient supremacy, impending cataclysm, and distant, verdant renaissance, then slow to inevitable, irresistible conclusion. The muted colors and soft pencils further blur individual moments into a rich, eons-spanning whole.
A gorgeous symphony.Pub Date: Dec. 9, 2014
ISBN: 978-0-375-40650-8
Page Count: 320
Publisher: Pantheon
Review Posted Online: Oct. 14, 2014
Kirkus Reviews Issue: Nov. 1, 2014
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
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