Powerful and engaging.
Drawing on Frederick Douglass’ own words, this graphic novel tells the story of one man’s journey from the bondages of slavery to free, well-respected, and sought-after orator fighting for equality until the end of his life.
Readers see Douglass, the child of an enslaved mother whom he only saw a few short times in his life, with no knowledge of his actual birth date or father’s identity, being left at the plantation’s great house by his grandmother, starved by a tyrannical overseer, and sold by multiple owners. A moment of benevolence by one owner’s wife led to Frederick’s being taught to read, which proved to be the key to his liberation. Placing Douglass in historical context, the book tells readers of his support of black troops during the Civil War, his rallying for women and the vote (despite the racism of some white suffragists), his advocacy of the rights of Native Americans and Chinese immigrants, and his mentoring of anti-lynching activist Ida B. Wells, and it also sheds light on intimate family relationships. The high-quality sources and extensive research lend this book an authenticity which precludes any denial of the cruelty, dehumanization, and intergenerational violence of slavery. The clear, expressive color illustrations simultaneously put faces to the characters as well as softening the blows of some of the more graphic moments in Frederick’s life, making it more palatable for a younger audience.
Powerful and engaging. (cast of characters, timeline, historical notes, sources, index) (Graphic biography. 12-18)Pub Date: Jan. 8, 2019
ISBN: 978-0-399-58144-1
Page Count: 192
Publisher: Ten Speed Press
Review Posted Online: Oct. 14, 2018
Kirkus Reviews Issue: Nov. 1, 2018
BOOK REVIEW
BOOK REVIEW
A powerful reminder of a history that is all too timely today.
A beautifully heart-wrenching graphic-novel adaptation of actor and activist Takei’s (Lions and Tigers and Bears, 2013, etc.) childhood experience of incarceration in a World War II camp for Japanese Americans.
Takei had not yet started school when he, his parents, and his younger siblings were forced to leave their home and report to the Santa Anita Racetrack for “processing and removal” due to President Franklin D. Roosevelt’s Executive Order 9066. The creators smoothly and cleverly embed the historical context within which Takei’s family’s story takes place, allowing readers to simultaneously experience the daily humiliations that they suffered in the camps while providing readers with a broader understanding of the federal legislation, lawsuits, and actions which led to and maintained this injustice. The heroes who fought against this and provided support to and within the Japanese American community, such as Fred Korematsu, the 442nd Regiment, Herbert Nicholson, and the ACLU’s Wayne Collins, are also highlighted, but the focus always remains on the many sacrifices that Takei’s parents made to ensure the safety and survival of their family while shielding their children from knowing the depths of the hatred they faced and danger they were in. The creators also highlight the dangerous parallels between the hate speech, stereotyping, and legislation used against Japanese Americans and the trajectory of current events. Delicate grayscale illustrations effectively convey the intense emotions and the stark living conditions.
A powerful reminder of a history that is all too timely today. (Graphic memoir. 14-adult)Pub Date: July 16, 2019
ISBN: 978-1-60309-450-4
Page Count: 208
Publisher: Top Shelf Books
Review Posted Online: Aug. 4, 2019
BOOK REVIEW
BOOK REVIEW
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
ISBN: 978-0-393-06102-4
Page Count: 224
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
BOOK REVIEW
BOOK REVIEW
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