A powerfully disturbing graphic narrative from an author with a lot to say and plenty of creative chops to say it...
A graphic manifesto for female empowerment and a punch to the gut of predatory males.
The young, British female artist who has taken the name Una (“meaning One, one life, one of many”) recounts her years of coming-of-age when the Yorkshire Ripper rampaged as a serial killer of prostitutes (and other women he considered of dubious moral value) and seemed almost to serve as some sort of moral barometer in a country that had its own problems concerning female sexuality. During a time of slut shaming and victim blaming, which have hardly disappeared, a young woman coming-of-age with punk-rock rebellion and her own emerging sexual desires could feel conflicted and alone, as those victimized (as she was, more than once) could often feel before the internet would take that victimization viral. The author was told that “there was a problem and it was located in me,” that the source of her anxiety and depression might be better treated through psychological therapy than through legal redress for crimes that she, as the victim, felt afraid to confess. “So I became an unreliable witness and a perfect victim,” she writes. With a sensory overload of text and visual variety, readers share the unsettling feelings as the narrative expands to cast Una as an Everygirl who was not the shamed exception but actually more the norm. Two pages on how “We Can’t COUNT on the justice system,” followed by a visual representation of “The Ocean of Sexual Crime That Goes Unreported,” show just how pervasive the threat toward women has been. And when the Yorkshire Ripper was finally apprehended, everyone was surprised by what “an ordinary married man” he turned out to be and what “a lovely man” he’d seemed to his neighbors. The book concludes with a wordless coda, projections of the lives that might have been had the murderer not killed these women and disrupted these families.
A powerfully disturbing graphic narrative from an author with a lot to say and plenty of creative chops to say it provocatively.Pub Date: Nov. 1, 2016
ISBN: 978-1-55152-653-9
Page Count: 216
Publisher: Arsenal Pulp Press
Review Posted Online: Aug. 24, 2016
Kirkus Reviews Issue: Sept. 1, 2016
A not-very-illuminating updating of Chaucer’s Tales.
Continuing his apparent mission to refract the whole of English culture and history through his personal lens, Ackroyd (Thames: The Biography, 2008, etc.) offers an all-prose rendering of Chaucer’s mixed-media masterpiece.
While Burton Raffel’s modern English version of The Canterbury Tales (2008) was unabridged, Ackroyd omits both “The Tale of Melibee” and “The Parson’s Tale” on the undoubtedly correct assumption that these “standard narratives of pious exposition” hold little interest for contemporary readers. Dialing down the piety, the author dials up the raunch, freely tossing about the F-bomb and Anglo-Saxon words for various body parts that Chaucer prudently described in Latin. Since “The Wife of Bath’s Tale” and “The Miller’s Tale,” for example, are both decidedly earthy in Middle English, the interpolated obscenities seem unnecessary as well as jarringly anachronistic. And it’s anyone’s guess why Ackroyd feels obliged redundantly to include the original titles (“Here bigynneth the Squieres Tales,” etc.) directly underneath the new ones (“The Squires Tale,” etc.); these one-line blasts of antique spelling and diction remind us what we’re missing without adding anything in the way of comprehension. The author’s other peculiar choice is to occasionally interject first-person comments by the narrator where none exist in the original, such as, “He asked me about myself then—where I had come from, where I had been—but I quickly turned the conversation to another course.” There seems to be no reason for these arbitrary elaborations, which muffle the impact of those rare times in the original when Chaucer directly addresses the reader. Such quibbles would perhaps be unfair if Ackroyd were retelling some obscure gem of Old English, but they loom larger with Chaucer because there are many modern versions of The Canterbury Tales. Raffel’s rendering captured a lot more of the poetry, while doing as good a job as Ackroyd with the vigorous prose.
A not-very-illuminating updating of Chaucer’s Tales.Pub Date: Nov. 16, 2009
ISBN: 978-0-670-02122-2
Page Count: 436
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2009
PERSPECTIVES
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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