For characters who must pursue their own destinies, love is as boundless as the sea.
Though the title and the deceptively simple character drawings suggest a kids’ comic, rarely are graphic novels aimed at adults as sweetly affecting as this.
Chunky Rice is a very cute turtle. Dandel, his girlfriend, is an equally adorable mouse deer (as identified by the book, though she appears more rodent-sized than cervine). Chunky must explore the world by water, for that is his nature. As he says, “My home is on my back.” Dandel must remain on land, for that is her nature. Before his bittersweet but inevitable departure, the two construct an entire world of sand castles, and he proceeds to tell her a bedtime story, the tale of the doomed lovers of Greek mythology, Orpheus and Eurydice (or, as rendered by graphic-artist Thompson, “Or-fee-us” and “Yourid-uhsee”). It’s unclear whether what follows the bedtime story is dream or reality, but Chunky seems to emulate the example of another mythological hero, Odysseus, as he makes his way to what looks to be an ocean-bound tugboat with a grizzled, mercenary captain. Chunky has brought all his prized possessions, including his collection of Motown records, but the country-and-western–loving captain tells him he must travel light for a life on the sea. His shipmates include female Siamese twins, whose different sizes and sleeping patterns complicate their attachment. As Chunky sails the ocean and Dandel drops love letters into bottles carried by the waves, not much happens to propel the narrative. Yet the artistic range displayed within the black-and-white drawings, as Thompson evokes the turbulence and majesty of the sea, shows a more sophisticated command of technique than he employs with his characters (who are almost Peanuts-like). Originally published in 1999, this reprint represents the debut of another promising artist within the Pantheon stable.
For characters who must pursue their own destinies, love is as boundless as the sea.Pub Date: May 9, 2006
ISBN: 0-375-71476-6
Page Count: 128
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2006
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
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