A valuable resource for the cottage industry of Maus research.
An omnibus of criticism attests to the enduring legacy of Art Spiegelman’s masterpiece.
Editor Chute, a scholar who specializes in graphic narrative in general and Spiegelman in particular, curates a collection that draws on works from around the world (including pieces translated from German and Hebrew for the first time) and different disciplines (journalism, literary criticism, philosophy, psychology). The book includes pieces from the 1980s, before Maus had been published in book form in 1992 (it was serialized from 1980 to 1991), and it extends into the current political climate, when it remains hailed as a cultural milestone but is also often threatened with banning from libraries and school curricula. The contributors examine an array of pertinent questions: What does it mean to translate such a uniquely devastating experience into the form of a comic? What is the relationship between the artist and his subject and between father and son? Is it unseemly for such a work to provide entertainment or even meaning in the wake of the Holocaust, not to mention profit and prestige for its creator? How can the creator re-create something he was too young to experience, despite interviews and extensive research? There is much information on Spiegelman’s successful request to have the book shift from the New York Times bestseller fiction list to the nonfiction list as well as the awarding of the Pulitzer Prize. The exhaustive obsessiveness of Maus criticism seems by now to have transcended the Joycean level, but the contributors present convincing cases that the work can bear such critical weight. From Ken Tucker’s visionary review of the early work in the Times through Marianne Hirsch’s introduction of “postmemory” to describe Spiegelman’s relationship to the material, the essays are sure to generate dialogue among literary historians, critics, and scholars as well as the legion of Maus mega-fans across the globe. Other contributors include Adam Gopnik, Philip Pullman, and Alisa Solomon.
A valuable resource for the cottage industry of Maus research.Pub Date: Nov. 15, 2022
ISBN: 978-0-593-31577-4
Page Count: 496
Publisher: Pantheon
Review Posted Online: Aug. 2, 2022
Kirkus Reviews Issue: Sept. 1, 2022
PERSPECTIVES
An autobiography as toxic and addictive as any drug its author has ever ingested.
The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.
Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.
An autobiography as toxic and addictive as any drug its author has ever ingested.Pub Date: Jan. 25, 2010
ISBN: 978-0-446-56989-7
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
IN THE NEWS
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
PERSPECTIVES
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