Everything here boggles: the artfully conceived foldout dust-jacket, the cryptically word-burdened endpapers, and, most of...
The comics world has amply rewarded Ware for his amazingly innovative work—he’s won numerous prizes for his Acme Novelty Library, a combination of complex narratives about mice, a trove of visually arcane inventions (diagrammed with Rube Goldberg–like precision), and plenty of eye-straining text: a graphic self-effacement that echoes the creepy despair of Ware’s main creation, Jimmy Corrigan.
Jimmy’s story now finds its full expression in this wonderful book, itself an endlessly fascinating art object that deserves attention way beyond the comics market. The Corrigan tale as such, now easier to piece together than it was in the Acme series, concerns four generations of sad, dough-faced men. The first Corrigan, the son of Irish immigrants to the Midwest, loses his wife early on, and bears no affection for his perpetually frightened son, who dreams of the Chicago Exhibition rising on the land near their ramshackle home. It’s also the place where the gruff and nasty old man abandons little Jimmy to his fate. Meanwhile, in present time, the newest Corrigan man, also abandoned by his father to an overprotective mother, is an overweight, sniveling mess, with a receding hairline, and a rich fantasy life. Contacted by his long-lost dad, an airport bar tender, Jimmy takes the unusually bold step of visiting the man he barely knows, only to witness his accidental death. Here, in short, is what this multilayered piece is all about: loss, abandonment, death, passivity. And Ware’s stunning visual style raises this patriarchal struggle to the level of Chekhov, with the historical naturalism of Dreiser. His use of block colors, his precise lines, the intensity of his wordless images are beautifully echoed by his sudden bursts of lyrical language (in an array of apposite typefaces) and his challenging plot developments.
Everything here boggles: the artfully conceived foldout dust-jacket, the cryptically word-burdened endpapers, and, most of all, the story itself: a graphic narrative that deserves a place beside the best novels of the year.Pub Date: Sept. 5, 2000
ISBN: 0-375-40453-8
Page Count: 388
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 2000
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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