by Gabrielle Bell ‧ RELEASE DATE: May 1, 2014
These are more like sketchbooks from an artist who perhaps needed to clear away the clutter before moving on.
A collection of comic diary entries about drawing comics.
After the justified acclaim generated by her previous volume (The Voyeurs, 2012), this feels more like a stopgap—part travel journal of her visits to international comics conventions, part monthlong chronicling of every day in July for three successive years, even when, as she often admits, she was experiencing nothing that was inspiring her to draw comics. “I have ten days left of this arbitrary, self-imposed month of daily comics regimen and it is starting to wear on me,” she admits in July 2011. “It’s not so easy. I can’t just crank these things out. I have to try to reveal enough to create some sort of emotional impact but not so much that anyone feels compromised. And the most interesting stories are the ones I can never tell.” The approach works as illumination of the artist’s mind, creative process and challenges, but the stories she can’t tell would likely be more interesting. There are a lot of drawings on planes (with jostled penmanship) and chance encounters at airports. There are postmodern responses from friends on what she is drawing, reservations about “comics about me doing comics.” A couple of exceptions rise above the mundane: There’s a surrealistic entry in which she buys a bottle of “Brain Booster” and suddenly remembers everything, until it wears off and she can’t remember anything. There’s also a shift in tone and perspective in the entry on a trip to Colombia, after reading Montaigne, purportedly drawn by the secretary she hired to chronicle the activities of “Miss Bell,” including an appearance where Miss Bell is asked, “How do you manage to promote your work in spite of your obvious social awkwardness?”These are more like sketchbooks from an artist who perhaps needed to clear away the clutter before moving on.
Pub Date: May 1, 2014
Page Count: 140
Publisher: Uncivilized Books
Review Posted Online: March 15, 2014
Kirkus Reviews Issue: March 15, 2014
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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
Page Count: 160
Review Posted Online: Aug. 18, 2019
Kirkus Reviews Issue: Sept. 1, 2019
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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
Page Count: 144
Review Posted Online: Nov. 2, 2013
Kirkus Reviews Issue: Nov. 15, 2013
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