A treasure trove of discovery for fanatics and initiates alike.
The third annual anthology in this series is the best yet, with inspired work from a variety of relative unknowns mixed with that from artists who enjoy great renown in this burgeoning field.
As series editors Jessica Abel and Matt Madden write in their preface, “Anthologies are the place where young cartoonists get a break, where they can hope to be published alongside the likes of Chris Ware and Matt Groening, and to be noticed by the likes of Lynda Barry.” Though many of the best, or at least the most ambitious, graphic narratives in recent years are larger in scope, the editors opt here for shorter, self-contained pieces, of the type pioneered by Barry in her Ernie Pook’s Comeek, and collected in volumes such as The! Greatest! Of! Marlys! Readers who know Groening only as the creator of The Simpsons will discover a whole new dimension to his work in the “Will and Abe” selections from his Life in Hell strip, while Ware’s “The Thanksgiving Series” of covers for the New Yorker reinforces his emergence from the comix underground into the literary mainstream. Yet the explosion of energy in John Mejias’s “The Teachers Edition,” which chronicles the challenge of teaching art to grade schoolers in the Bronx, shows that mainstream acceptance hasn’t tamed the form’s more radical impulses. In the contributors’ notes, Mejias writes that he “hopes to document my dealings with board of education bureaucracies as I try to make human connections in an inhuman atmosphere.” Other highlights range from the wordless to the word heavy, and from the socially conscious to the dreamlike—the volume as a whole suggests the seemingly limitless variety that the format permits. Perhaps the best testament to the magic of comics is Barry’s illustrated introduction, which she devotes to work that was not included, but which has profoundly affected her.
A treasure trove of discovery for fanatics and initiates alike.Pub Date: Oct. 8, 2008
ISBN: 978-0-618-98976-8
Page Count: 352
Publisher: Houghton Mifflin Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2008
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
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
