The illustrations are compelling throughout, but the narrative is more powerful when it is more personal and specific.
An illustrated primer on mental illness that builds to personal revelation.
Despite the title, most of these chapters are not traditional tales with narrative and characters. They are, instead, explorations of various psychiatric illnesses common in the wards where Cunningham worked as a health-care assistant. In his book-length debut, the author, who created the Web comics Super Sam and John-of-the-Night and The Streets of San Diablo draws on his experience with patients diagnosed with schizophrenia, dementia, depression, bipolar disorder and other illnesses. Despite the darkness of much of the material—as reflected in the black-and-white drawings, polarities that the illustrator exploits to creative effect—the prevailing tone is one of compassion. As Cunningham explains in the introduction, this is “intended to be a stigma busting book…needed because fear and ignorance of mental illness remains widespread in society.” Most of the text is similarly straightforward, but the art is more revelatory, as it illuminates brain patterns, brain disease and psychological conditions. Yet there are flashes of deadpan humor as well, particularly in the chapter titled “Anti-Social Personality Disorder,” in which the author relates how a condition that sometimes results in criminal behavior shares traits that society generally considers normal: “Selfishness, lack of empathy, superficiality, and manipulativeness…are highly valued in the worlds of business, politics, the law, and academia.” In the chapter titled “People With Mental Illness Enrich Our Lives,” the author focuses on a variety of luminaries—from Winston Churchill and Judy Garland to Nick Drake and Brian Wilson—who have struggled with mental conditions. “How I Lived Again” provides testimony on how the artist’s own mental illness led to his interest in the subject (as well as his employment in the field) and how his art proved crucial in his recovery.
The illustrations are compelling throughout, but the narrative is more powerful when it is more personal and specific.Pub Date: Feb. 1, 2011
ISBN: 978-1-60819-278-6
Page Count: 160
Publisher: Bloomsbury
Review Posted Online: Dec. 2, 2010
Kirkus Reviews Issue: Dec. 1, 2010
BOOK REVIEW
BOOK REVIEW
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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