An enigmatic family tale with vigorous writing, colorful art, and unsettling atmospherics.
A family memorializing a dead father experiences weird happenings and bizarre cosmic visions in this graphic novel.
The story opens in 1956, with smokejumper Nathan Garrett fighting a wildfire in Montana’s Kootenai National Forest. Before he can say “cough…urk,” he and his squad are frozen in what looks like suspended animation. A year later, with Nathan pronounced dead and his body never recovered, his widow, Jolene, repairs to Kootenai’s Morning Star watchtower to sprinkle fake funerary ashes, taking along her teenage daughter, Marabeth, still angry at the world for depriving her of her dad, and young son, Charlie, who’s obsessed with SF adventures. Sleeping in the tower, Charlie has a vision of a spacefarer, complete with helmet and jet pack, who turns into Nathan. The next morning, Charlie has disappeared, leaving his toy ray gun behind, and the panicky Jolene and Marabeth split up to search for him in the woods, where they see strange visions. Marabeth’s visions include an aggressive squirrel, a purple buck deer that stands motionless on its hind legs, and a sinister forest ranger with reflective glasses who changes into a deer. Jolene has more disturbing visions of Charlie floating in the air, firefighters, Nathan, and her obstreperous sister. The apparitions say mysterious things like “Mooommmm…Help him…Help meeeee” and “Weeeee…R…Resp…onnnnsib…le”; Jolene finds them so upsetting that she starts hacking at them with an axe as they dissolve into thin air. Writers Andry and Daniel don’t put a lot of action into the story: Much of it is Marabeth and Jolene being baffled and traumatized by hallucinations until, toward the end, they miraculously resolve and impart lessons on fixing things, letting go, and working together. The scenarios and visuals have an effective, shadowy creepiness while characters’ entertainingly snarky voices leaven the lurid, psychedelic imagery. (“Great,” grouses Marabeth, “creepy moose lifting me up toward a huge floating ball of people.”) The graphics, by artist Finnegan, colorist Jason Wordie, and letterist Justin Birch, balance a throbbing orange-red-purple palette against somber blue-greens and sepia; the compositions feature oddball Mannerist perspectives, eclectic motifs from Lost in Space and the Sistine Chapel, and unstable figures that are constantly disintegrating into confetti. The storytelling lags, but there’s plenty of mood and style here to compensate.
An enigmatic family tale with vigorous writing, colorful art, and unsettling atmospherics.Pub Date: Oct. 29, 2024
ISBN: 9781960578761
Page Count: 128
Publisher: Mad Cave Studios
Review Posted Online: Oct. 9, 2024
Kirkus Reviews Issue: Dec. 1, 2024
Review Program: Kirkus Indie
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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