This collection has a last-word feel to it, offering a delightful summation of a fruitful and very busy last few decades....
The noted artist, collector, and visionary offers a personal anthology/memoir, complete with junior high photos and memories of the cul-de-sacs of Omaha.
“Does the world really need another printed tome about an artist, let alone one about an admittedly marginal and rather questionable graphic novelist/artist/writer who has already littered the recycling centers and used bookstores of his home country with dog-eared examples of his own self-regard?” So asks Ware (Building Stories, 2012, etc.), deep into a collection whose Greek-derived and “somewhat self-referential” title speaks to his usual custom: writing alone, tucked away in a dark corner with pens and books. NPR host Ira Glass, who provides the preface, got him out of the house a few years ago, Ware writes, and the exposure helped him become better known to readers, but it wasn’t as if he was a hermit. He worked as a newspaper cartoonist, a graphic artist, an illustrator, and, as he writes, learned on the job to be a social being and to pay attention to deadlines and requirements, all good things for a budding artist to know. Throughout, Ware peppers his narrative with other lessons he’s learned along the way: about technique, the history of art, the links between cartoons and cinema, and yes, about life, aging, and so forth; it’s good to change your horizons and see the world, as he reckons, because “artists don’t develop in a vacuum.” The oversized book is overstuffed with art, each page spread containing numerous images, cartoon strips, sketches, mockups, snapshots, scrapbook items, and other such treasures that will be of immense appeal to fans of Krazy Kat and Joseph Cornell alike. The text is as smart and illuminating as the images, and Ware has wise things to say everywhere along the way.This collection has a last-word feel to it, offering a delightful summation of a fruitful and very busy last few decades. Fans, of course, will want much more, but this makes a great start.
Pub Date: Nov. 1, 2017
Page Count: 280
Review Posted Online: June 26, 2017
Kirkus Reviews Issue: July 15, 2017
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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
Page Count: 224
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
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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
Page Count: 160
Publisher: Abrams ComicArts
Review Posted Online: Nov. 25, 2018
Kirkus Reviews Issue: Dec. 15, 2018
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