An unusual, unforgettable, incomparable pulpy punch.
Award-winning cartoonist/illustrator/author/playwright Feiffer (Backing into Forward, 2010, etc.) delivers his first graphic novel, a sprawling, kinetic noir of giant women, jumbled identities and warped relations.
Annie Hannigan hates her mother. The resentment—and teenage Annie’s incessant acting up—stems from her sense that mom Elsie has abandoned her since the murder of Annie’s father, an honest cop who ran afoul of the mob during Prohibition. Lately Elsie has been busy working as the secretary of alcoholic, abrasive private eye Neil Hammond, an associate of her late husband’s who promised to solve the murder, though he's made little progress for two years. When a towering, classy blonde steps into Hammond’s office and hires him to track down an equally tall, equally blonde woman, it sets off a series of events that will pepper the subsequent decade with bullets, beatings and betrayals. Mixed in is a prizefighter who is light on his feet but down in the mouth; Annie’s milquetoast partner in crime who comes into his own while serving in WWII’s Pacific theater; fleshy scandals of golden-age Hollywood; a mysterious bat-wielding giant of a woman who communicates only through song; and Feiffer’s twistedly comic take on humanity. Things come to a head during a USO show in the jungles of Tarawa, where parties bristle with cross-purposes and secret agendas until gunfire lays the truth bare. The story is wickedly imagined and deftly plotted, drawing on numerous classic noir influences while including charmingly unique flourishes like Elsie thwarting a pack of street toughs (one of whom wears a crown à la Jughead) after appropriating a pistol from a disagreeable communist liquor-store clerk. Feiffer’s illustrations have a rough-hewn quality, with the jumbled lines of his figures and faces clumping evocatively like Giacometti sculptures, while his human forms move with the fluidity of Degas’ horses across open panels of dancing and boxing. The entire work feels pulled from an earlier time yet explosively modern, a madcap relic animated by an outrageous mind.
An unusual, unforgettable, incomparable pulpy punch.Pub Date: Aug. 25, 2014
ISBN: 978-0-87140-314-8
Page Count: 160
Publisher: Liveright/Norton
Review Posted Online: March 19, 2014
Kirkus Reviews Issue: April 1, 2014
PROFILES
IN THE NEWS
A not-very-illuminating updating of Chaucer’s Tales.
Continuing his apparent mission to refract the whole of English culture and history through his personal lens, Ackroyd (Thames: The Biography, 2008, etc.) offers an all-prose rendering of Chaucer’s mixed-media masterpiece.
While Burton Raffel’s modern English version of The Canterbury Tales (2008) was unabridged, Ackroyd omits both “The Tale of Melibee” and “The Parson’s Tale” on the undoubtedly correct assumption that these “standard narratives of pious exposition” hold little interest for contemporary readers. Dialing down the piety, the author dials up the raunch, freely tossing about the F-bomb and Anglo-Saxon words for various body parts that Chaucer prudently described in Latin. Since “The Wife of Bath’s Tale” and “The Miller’s Tale,” for example, are both decidedly earthy in Middle English, the interpolated obscenities seem unnecessary as well as jarringly anachronistic. And it’s anyone’s guess why Ackroyd feels obliged redundantly to include the original titles (“Here bigynneth the Squieres Tales,” etc.) directly underneath the new ones (“The Squires Tale,” etc.); these one-line blasts of antique spelling and diction remind us what we’re missing without adding anything in the way of comprehension. The author’s other peculiar choice is to occasionally interject first-person comments by the narrator where none exist in the original, such as, “He asked me about myself then—where I had come from, where I had been—but I quickly turned the conversation to another course.” There seems to be no reason for these arbitrary elaborations, which muffle the impact of those rare times in the original when Chaucer directly addresses the reader. Such quibbles would perhaps be unfair if Ackroyd were retelling some obscure gem of Old English, but they loom larger with Chaucer because there are many modern versions of The Canterbury Tales. Raffel’s rendering captured a lot more of the poetry, while doing as good a job as Ackroyd with the vigorous prose.
A not-very-illuminating updating of Chaucer’s Tales.Pub Date: Nov. 16, 2009
ISBN: 978-0-670-02122-2
Page Count: 436
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2009
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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