A work that ranks with the best journalism and the finest graphic artistry.
A masterful mix of journalistic reporting and graphic art.
The plainspoken title offers little hint of the devastation within, as the Italian artist Igort (5 is the Perfect Number, 2003, etc.) focuses his considerable talents on 20th-century atrocities that bled into the 21st, as Russian totalitarianism and seemingly ceaseless war have made a mockery of human rights. The first notebook is more of an oral history, as the interviews recorded by the artist testify to the horrors of famine in the Ukraine—sanctioned by Josef Stalin—and human resilience in the face of hunger, disease, deportation, and exile. “What emerged was a programmatic plan that, by military might, crushed the Ukraine, obliterated its independence movements, destroyed its identity,” writes Igort, followed by the communist edict: “Ukrainian culture doesn’t exist! In order to carry out cultural and physical genocide they had to follow a plan defined down to the last detail.” The second notebook works more like a piece of investigative reporting. “I spent five years in Ukraine, Russia, and Siberia, trying to understand, to document,” writes the author. “What was the Soviet Union? What was it like to have lived through this experience that had lasted over seventy years?” He also tells the stories of other journalists who had tried to document the atrocities and who had paid with their lives. He illuminates the life and work of Anna Politkovskaya, a writer who saw herself as a truth-teller in the lineage of Tolstoy and Dostoyevsky and whose writing put her in grave danger. “Her empathy, her ability to listen and share, took her beyond the limits of her own method,” writes Igort. “She had shed the journalist’s distance and was left simply a human being. And that was her death sentence.” As well reported and written as these notebooks are, the visual artistry reinforces the impact, with a richness and evocation of emotional detail that transcend words.
A work that ranks with the best journalism and the finest graphic artistry.Pub Date: April 26, 2016
ISBN: 978-1-4516-7887-1
Page Count: 372
Publisher: Simon & Schuster
Review Posted Online: Feb. 29, 2016
Kirkus Reviews Issue: March 15, 2016
An exemplary demonstration of the transformative possibilities of graphic narrative.
A powerful, unsettling use of the graphic medium to share a profoundly disturbing story.
If a boy is not born a monster, how does he become one? Though Backderf (Punk Rock and Trailer Parks, 2008) was once an Ohio classmate of the notorious Jeffrey Dahmer, he doesn’t try to elicit sympathy for “Jeff.” Yet he walks an emotional tightrope here, for he recognizes that someone—maybe the other kids who laughed at and with him, certainly the adults who should have recognized aberration well beyond tortured adolescence—should have done something. “To you Dahmer was a depraved fiend but to me he was a kid I sat next to in study hall and hung out with in the band room,” writes the author, whose dark narrative proceeds to show how Dahmer’s behavior degenerated from fascination with roadkill and torture of animals to repressed homosexuality and high-school alcoholism to mass murder. It also shows how he was shaken by his parents’ troubled marriage and tempestuous divorce, by his emotionally disturbed mother’s decision to move away and leave her son alone, and by the encouragement of the Jeffrey Dahmer Fan Club (with the author a charter member and ringleader) to turn the outcast into a freak show. The more that Dahmer drank to numb his life, the more oblivious adults seemed to be, letting him disappear between the cracks. “It’s my belief that Dahmer didn’t have to wind up a monster, that all those people didn’t have to die horribly, if only the adults in his life hadn’t been so inexplicably, unforgivably, incomprehensibly clueless and/or indifferent,” writes Backderf. “Once Dahmer kills, however—and I can’t stress this enough—my sympathy for him ends.”
An exemplary demonstration of the transformative possibilities of graphic narrative.Pub Date: March 1, 2012
ISBN: 978-1-4197-0216-7
Page Count: 224
Publisher: Abrams ComicArts
Review Posted Online: Dec. 17, 2011
Kirkus Reviews Issue: Jan. 1, 2012
BOOK REVIEW
SEEN & HEARD
“Life is the biggest bargain. You get it for free,” reads one of the Yiddish sayings that introduce the chapters, in a book...
Memory comes alive in this compelling amalgam of drawing, narrative and archival photography.
A prolific illustrator of children’s books and an artist whose work has appeared in the New York Times Book Review and other magazines, the author made a major leap into memoir with Mendel’s Daughter (2006), his debut in the genre. Where that well-reviewed volume focused on the Holocaust from the perspective of his mother, this follow-up continues the story of Lemelman’s family through the author’s Brooklyn boyhood. Though there’s an innocence to his tales of working at his father’s candy store—squashing cockroaches, playing pranks and exploring the worlds of the streets (“There was always something going on at the Market…Life was everywhere”)—this was not an idyllic childhood, nor is it rendered sentimentally. After immigrating to America following World War II, Lemelman’s parents turned family life into an ongoing battle as they balanced the nonstop demands of a neighborhood shop with the challenges of raising two rambunctious sons. “Deh Tateh” had served in the Soviet army after surviving the Holocaust, complained incessantly about life in America and barely hid his alcoholism. “Der Mameh” refused to back down to her husband, insisted she was more of a help in the store than he thought she was and left her son feeling deprived. The author and his brother Bernard became both allies and antagonists within the family dynamic. It all comes to vivid life through the artist’s drawing and through a narrative that conjures the voices of his dead parents to complement the author’s perspective, which retains a childlike spirit. The family chronicle unfolds against the backdrop of a tumultuous era—the assassination of a president, the escalation of the war in Vietnam and, perhaps most significant for the family, the changing demographics of a neighborhood that initially brought new waves of customers but saw a rise of anti-Semitism that drove so many families and businesses from what had long been their home.
“Life is the biggest bargain. You get it for free,” reads one of the Yiddish sayings that introduce the chapters, in a book that is both a celebration and an affirmation of life.Pub Date: Sept. 5, 2010
ISBN: 978-1-60819-004-1
Page Count: 320
Publisher: Bloomsbury
Review Posted Online: June 3, 2010
Kirkus Reviews Issue: June 1, 2010
BOOK REVIEW
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