by Cynthia Leitich Smith & illustrated by Ming Doyle ‧ RELEASE DATE: Sept. 1, 2011
In a densely populated teen-lit landscape of werewolves, vamps and unrequited love, this doesn’t stand out, but it will...
A graphic adaptation of Leitich Smith’s werewolf-vampire-culinary thriller from a new point of view.
In this retelling, illustrated by the capable Doyle, readers are privy to teenage werewolf Kieren’s viewpoint, whereas the original novel was told through the eyes of his love interest, Quincie. In a somewhat alternative Austin, Texas, werepeople and vampires mingle in everyday society. Kieren, a werewolf-human hybrid, is at a crossroads in his adolescent life: He must leave human society to join a wolf pack, though he is in love with his best friend, Quincie, a tragically beautiful human orphan. When a rash of murders and disappearances hits too close to home, Kieren is suspected, who resolves he will try to unearth the real killer and save Quincie from whatever evil lurks in their midst. Though fans of the original might enjoy hearing the tale from Kieren’s perspective, readers unfamiliar with the novel may feel a bit left out; the segues between scenes can be abrupt and confusing, and some details are quickly glossed over, giving this adaptation the feel of a book-to-movie type of condensation, in which previous knowledge of the prose is an utter necessity.
In a densely populated teen-lit landscape of werewolves, vamps and unrequited love, this doesn’t stand out, but it will likely find its readership. (Graphic supernatural romance. 13 & up)Pub Date: Sept. 1, 2011
ISBN: 978-0-7636-4114-6
Page Count: 192
Publisher: Candlewick
Review Posted Online: July 5, 2011
Kirkus Reviews Issue: July 15, 2011
Share your opinion of this book
More In The Series
More by Cynthia Leitich Smith
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
by Peter Kuper ; illustrated by Peter Kuper ‧ RELEASE DATE: Nov. 5, 2019
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
Share your opinion of this book
More by Peter Kuper
BOOK REVIEW
by Peter Kuper ; illustrated by Peter Kuper
BOOK REVIEW
by Peter Kuper
BOOK REVIEW
by Peter Kuper
by Mark Twain ; adapted by Seymour Chwast ‧ RELEASE DATE: Feb. 18, 2014
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
Share your opinion of this book
More by Mark Twain
BOOK REVIEW
by Mark Twain ; edited by Philip Trauring
BOOK REVIEW
by Mark Twain ; edited by Benjamin Griffin Harriet E. Smith
BOOK REVIEW
by Mark Twain ; Livy Clemens ; Susy Clemens edited by Benjamin Griffin
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Hey there, book lover.
We’re glad you found a book that interests you!
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.
Don’t fret. We’ll find you.