A lushly illustrated comic that explores bisexuality, queer culture, and unconventional sex through the upbeat story of a...
In this graphic novel, the simple story of two weeks in the life of a young woman provides insights into the complexities of polyamorous relationships.
Away from her New York home and boyfriend while visiting her parents in Portland, Oregon, for the holidays, Hazel feels a little insecure walking into a queer dance party on her own. But her nervousness disappears when she makes a connection with the warm and friendly Argent, a lesbian sex worker, whose dominatrix handle just happens to be Hazel. As flirting turns into affection, Hazel tells Argent about Gregor, a New York graphic artist with whom she has an open relationship (“We’re open, or poly, or whatever”). Hazel is equally honest with Gregor, who, between phone calls and Skype sessions with her, is enjoying a visit from his other girlfriend, Rebecca. While Hazel seems calm about this situation, she confesses to Gregor at one point: “I’m irrationally worried you’ll ditch me for her.” Negotiating the fine line between attraction and jealousy, Hazel ultimately manages to accomplish the tricky feat of launching a loving bond with Argent while strengthening her connection with Gregor. Newlevant’s (If This Be Sin, 2013, etc.) vivid illustrations show the clear influence of Japanese manga style, with its stylized portrayal of facial features and character poses. The author’s subtly colored panels are attractively detailed, and her characters are well-drawn, both literally and figuratively. Hazel’s innocent idealism and Argent’s sexy warmth are conveyed in dialogue, body language, and costumes (the bunny romper Argent wears for her birthday date with Hazel being a prime example). Their nontraditional relationships are presented in a straightforward manner as both normal and successful. In fact, the major thing missing from their story is convincing narrative tension. Hazel’s moments of jealousy and anxiety are brief and easily overcome, and Argent and Gregor seem almost too open and accepting to be true. Hazel’s up-close encounter with Argent’s dominatrix side ends with pain medication and cuddles but little insight into the passions that draw lovers into sadomasochistic play. But the comic format is especially appropriate for providing a peek into alternative romance, and Hazel’s story is a sweet and positive look at youthful experimentation.
A lushly illustrated comic that explores bisexuality, queer culture, and unconventional sex through the upbeat story of a woman’s vacation romance.Pub Date: Oct. 17, 2017
ISBN: 978-1-68148-587-4
Page Count: 56
Publisher: Alternative Comics
Review Posted Online: Jan. 22, 2018
Review Program: Kirkus Indie
An erudite and artful, though frustratingly restrained, look at Old Testament stories.
The Book of Genesis as imagined by a veteran voice of underground comics.
R. Crumb’s pass at the opening chapters of the Bible isn’t nearly the act of heresy the comic artist’s reputation might suggest. In fact, the creator of Fritz the Cat and Mr. Natural is fastidiously respectful. Crumb took pains to preserve every word of Genesis—drawing from numerous source texts, but mainly Robert Alter’s translation, The Five Books of Moses (2004)—and he clearly did his homework on the clothing, shelter and landscapes that surrounded Noah, Abraham and Isaac. This dedication to faithful representation makes the book, as Crumb writes in his introduction, a “straight illustration job, with no intention to ridicule or make visual jokes.” But his efforts are in their own way irreverent, and Crumb feels no particular need to deify even the most divine characters. God Himself is not much taller than Adam and Eve, and instead of omnisciently imparting orders and judgment He stands beside them in Eden, speaking to them directly. Jacob wrestles not with an angel, as is so often depicted in paintings, but with a man who looks not much different from himself. The women are uniformly Crumbian, voluptuous Earth goddesses who are both sexualized and strong-willed. (The endnotes offer a close study of the kinds of power women wielded in Genesis.) The downside of fitting all the text in is that many pages are packed tight with small panels, and too rarely—as with the destruction of Sodom and Gomorrah—does Crumb expand his lens and treat signature events dramatically. Even the Flood is fairly restrained, though the exodus of the animals from the Ark is beautifully detailed. The author’s respect for Genesis is admirable, but it may leave readers wishing he had taken a few more chances with his interpretation, as when he draws the serpent in the Garden of Eden as a provocative half-man/half-lizard. On the whole, though, the book is largely a tribute to Crumb’s immense talents as a draftsman and stubborn adherence to the script.
An erudite and artful, though frustratingly restrained, look at Old Testament stories.Pub Date: Oct. 19, 2009
ISBN: 978-0-393-06102-4
Page Count: 224
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
BOOK REVIEW
BOOK REVIEW
Drawings, words, and a few photos combine to convey the depth of a tragedy that would leave most people dumbstruck.
A new life and book arise from the ashes of a devastating California wildfire.
These days, it seems the fires will never end. They wreaked destruction over central California in the latter months of 2018, dominating headlines for weeks, barely a year after Fies (Whatever Happened to the World of Tomorrow?, 2009) lost nearly everything to the fires that raged through Northern California. The result is a vividly journalistic graphic narrative of resilience in the face of tragedy, an account of recent history that seems timely as ever. “A two-story house full of our lives was a two-foot heap of dead smoking ash,” writes the author about his first return to survey the damage. The matter-of-fact tone of the reportage makes some of the flights of creative imagination seem more extraordinary—particularly a nihilistic, two-page centerpiece of a psychological solar system in which “the fire is our black hole,” and “some veer too near and are drawn into despair, depression, divorce, even suicide,” while “others are gravitationally flung entirely out of our solar system to other cities or states, and never seen again.” Yet the stories that dominate the narrative are those of the survivors, who were part of the community and would be part of whatever community would be built to take its place across the charred landscape. Interspersed with the author’s own account are those from others, many retirees, some suffering from physical or mental afflictions. Each is rendered in a couple pages of text except one from a fellow cartoonist, who draws his own. The project began with an online comic when Fies did the only thing he could as his life was reduced to ash and rubble. More than 3 million readers saw it; this expanded version will hopefully extend its reach.
Drawings, words, and a few photos combine to convey the depth of a tragedy that would leave most people dumbstruck.Pub Date: March 5, 2019
ISBN: 978-1-4197-3585-1
Page Count: 160
Publisher: Abrams ComicArts
Review Posted Online: Nov. 25, 2018
Kirkus Reviews Issue: Dec. 15, 2018
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