Heartbreaking and timely.

READ REVIEW

ALPHA

This graphic novel from author Bessora, illustrator Barroux (How Many Trees?, 2019, etc.), and translator Ardizzone follows a migrant’s arduous journey from West Africa to Europe.

Alpha is a cabinetmaker in the Ivory Coast who wants to take his family to visit his sister-in-law in Paris, but he runs into a mountain of red tape when applying for a visa. “When you leave the consulate, one thing’s for sure—you understand that Côte d’Ivoire loves France more than France loves Côte d’Ivoire,” explains Alpha, before wryly adding, “But, seeing as Côte d’Ivoire doesn’t love its own people very much either, Ivorians still flee for Europe.” So Alpha goes into debt to pay a smuggler to start his wife and son on their journey to France. Six months later, Alpha sells his cabinet shop to pay yet another smuggler in hopes of following his family's path. The book has the appearance of a photo album, most pages presenting a stack of two equal-sized, rectangular images with a short paragraph of Alpha’s deeply human narration beneath each illustration, documenting his journey. As Alpha quickly learns, the road out of Africa is beset with con men, drunken soldiers, endless dusty desert, and death—but also kindred spirits. Barroux’s illustrations have a deceptively simple quality, with heavy lines and people with dots for eyes and bulbous, shiny noses; that simplicity makes an ill migrant’s hollow stare or the stiff joints of a body left to rot all the more haunting. Bessora is a fiction writer whose work “is underpinned by extensive research,” according to the author bio, though the origin of this story is unspecified. It is a compelling tale, though major events transpire in the text-only epilogue, which is delivered by an omniscient narrator rather than Alpha, robbing the conclusion of some of its heft.

Heartbreaking and timely.

Pub Date: May 1, 2019

ISBN: 978-1-942658-40-5

Page Count: 128

Publisher: Bellevue Literary Press

Review Posted Online: April 14, 2019

Kirkus Reviews Issue: May 1, 2019

Did you like this book?

No Comments Yet

An original project worth watching as it shapes up to something that may be quite magnificent.

BERLIN

BOOK ONE

This black-and-white historical narrative, written and illustrated by Lutes, collects eight volumes of his ongoing comic book set in Berlin during the late ’20s. It’s a multilayered tale of love and politics at the beginning of the Nazi era, as Lutes follows the stories of three characters: a 20ish art student from the provinces, a textile worker, and a young Jewish radical. Their lives intersect in only the subtlest way—Lutes depicts them crossing paths at some great public events, such as the Mayday march that closes this part of his book. And Lutes plays with perspective in a visual sense as well, jumping from point-of-view frames to overhead angles, including one from a dirigible flying above in honor of the Kaiser. At street level, Lutes integrates his historical research smoothly, and cleverly evokes the sounds and smells of a city alive with public debate and private turmoil. The competing political factions include communists, socialists, democrats, nationalists, and fascists, and all of Lutes’s characters get swept up by events. Marthe, the beautiful art student, settles in with Kurt, the cynical and detached journalist; Gudrun, the factory worker, loses her job, and her nasty husband (to the Nazi party), then joins a communist cooperative with her young daughters; Schwartz, a teenager enamored with the memory of Rosa Luxembourg, balances his incipient politics with his religion at home and his passion for Houdini. The lesser figures seem fully realized as well, from the despotic art instructor to the reluctant street policeman. Cosmopolitan Berlin on the brink of disaster: Lutes captures the time and place with a historian’s precision and a cinematographer’s skill. His shifts from close-ups to fades work perfectly in his thin-line style, a crossbreed of dense-scene European comics and more simple comics styles on this side of the Atlantic.

An original project worth watching as it shapes up to something that may be quite magnificent.

Pub Date: June 1, 2001

ISBN: 1-896597-29-7

Page Count: 212

Publisher: Drawn & Quarterly

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: May 1, 2001

Did you like this book?

No Comments Yet

A not-very-illuminating updating of Chaucer’s Tales.

THE CANTERBURY TALES

A RETELLING

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 20, 2010

Kirkus Reviews Issue: Sept. 1, 2009

Did you like this book?

No Comments Yet
more