A satisfyingly bloody criminal-on-criminal pulp tale.
A hitman for the Jewish mob sets his sights on the American Bund in Hazan’s Depression-set graphic novel.
At the height of the Depression, Ephraim Gold works as a hitman for Cleveland’s Jewish Mafia—the so-called Kosher Nostra—rubbing out rivals in the bootlegging business. When the mob’s nebbish bookkeeper Howard Berkowicz oversteps his limits by asking mob boss Moishe Levinson to do something about the burgeoning Nazi movement within the United States, Levinson orders Gold to make Berkowicz disappear. Instead, Gold—who agrees with Berkowicz about the rising Nazi threat—opts to defy orders and help the bookkeeper instead. After faking Berkowicz’s death, the two men kidnap a member of the German American Bund for information. It doesn’t take long for word to get out about what the duo is up to, and soon Gold and Berkowicz have the full brunt of the Bund, the Italian mob, and even the Kosher Nostra—whose business dealings with the Italians are more important than any loyalty they may have to the Jewish people—on their tail. What’s more, the fact that Gold no longer has the protection of the Kosher Nostra means that every criminal he’s ever tangled with suddenly has free reign to settle old scores. The full-color illustrations by Kivelä and colorist Wright are worth the price of admission alone, and Hazan’s muscular writing meets the story’s gritty demands. The book will satisfy the Nazi-punching fantasies of many readers, and Hazan leans gleefully into the premise: At one point, Gold facetiously asks Berkowicz whether they were going to “kidnap ourselves a Kraut” or “sit and debate this like a couple of Yeshiva virgins.” (In a later scene, Gold tortures a chair-bound Bund member while monologuing about the Plagues of Egypt.) The five issues collected in this volume tell a complete tale, but a few lines at the end suggest a bigger future for Ephraim Gold, one that the reader will hope to see in print.
A satisfyingly bloody criminal-on-criminal pulp tale.Pub Date: March 18, 2025
ISBN: 9781545816165
Page Count: 128
Publisher: Mad Cave Studios
Review Posted Online: Jan. 31, 2025
Kirkus Reviews Issue: March 15, 2025
Review Program: Kirkus Indie
Immensely enjoyable.
The debut graphic novel from Mohamed presents a modern Egypt full of magical realism where wishes have been industrialized and heavily regulated.
The story opens with a televised public service announcement from the General Committee of Wish Supervision and Licensing about the dangers of “third-class wishes”—wishes that come in soda cans and tend to backfire on wishers who aren’t specific enough (like a wish to lose weight resulting in limbs falling from the wisher’s body). Thus begins a brilliant play among magic, the mundane, and bureaucracy that centers around a newsstand kiosk where a devout Muslim is trying to unload the three “first-class wishes” (contained in elegant glass bottles and properly licensed by the government) that have come into his possession, since he believes his religion forbids him to use them. As he gradually unloads the first-class wishes on a poor, regretful widow (who then runs afoul of authorities determined to manipulate her out of her valuable commodity) and a university student who seeks a possibly magical solution to their mental health crisis (but struggles with whether a wish to always be happy might have unintended consequences), interstitials give infographic histories of wishes, showing how the Western wish-industrial complex has exploited the countries where wishes are mined (largely in the Middle East). The book is exceptionally imaginative while also being wonderfully grounded in touching human relationships, existential quandaries, and familiar geopolitical and socio-economic dynamics. Mohamed’s art balances perfectly between cartoon and realism, powerfully conveying emotions, and her strong, clean lines gorgeously depict everything from an anguished face to an ornate bottle. Charts and graphs nicely break up the reading experience while also concisely building this larger world of everyday wishes. Mohamed has a great sense of humor, which comes out in footnotes and casual asides throughout.
Immensely enjoyable.Pub Date: Jan. 10, 2023
ISBN: 978-1-524-74841-8
Page Count: 528
Publisher: Pantheon
Review Posted Online: Oct. 26, 2022
Kirkus Reviews Issue: Nov. 15, 2022
PERSPECTIVES
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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