Readers will be smitten with Naima, and they will hope for more of her. (Graphic novel. 14-adult)

(H)AFROCENTRIC COMICS

VOLUMES 1–4

From the Hafrocentric Comics series

Originally published in four  separate volumes, this graphic novel introduces the outspoken college-student revolutionary Naima Pepper and her friends.

Naima is a mixed-race, half-black, half-white, student struggling to reconcile the inequalities that she sees on the campus of the fictional Ronald Reagan University and in the surrounding neighborhoods of Oakland, California. She decides to start an online anti-gentrification movement, Mydiaspora.com, envisioning it as a social networking space for black people to congregate when they tire of “white folks.” To raise funds, Naima and her friends decide to throw a concert. Naima and her best friend, Renee, go on a quest to organize support for the concert, including a humorous meeting in which they try to entice a white, dreadlock-wearing hipster couple to contribute solar panels. Following this, Naima is in need of a senior internship to graduate. When she can’t find an internship that suits a revolutionary, her fairy godmother (who looks like Fannie Lou Hamer) creates one as a “racial interpreter” that finds Naima answering stereotypical questions asked by white people about black people. The novel hosts a multicultural cast of college students who engage politically, blending satire and history for a recipe of topics millennials don’t shy from. Sporting a tank top with the word “Ally” written above a photo of John Brown, perched on top of the literal soap box she preaches from, Naima Pepper is a force to be reckoned with.

Readers will be smitten with Naima, and they will hope for more of her. (Graphic novel. 14-adult)

Pub Date: Sept. 1, 2017

ISBN: 978-1-62963-448-7

Page Count: 136

Publisher: PM Press

Review Posted Online: Aug. 21, 2017

Kirkus Reviews Issue: Sept. 1, 2017

Did you like this book?

No Comments Yet

Gorgeous and troubling.

HEART OF DARKNESS

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. 19, 2019

Kirkus Reviews Issue: Sept. 1, 2019

Did you like this book?

Chwast and Twain are a match made in heaven.

A CONNECTICUT YANKEE IN KING ARTHUR'S COURT

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

ISBN: 978-1-60819-961-7

Page Count: 144

Publisher: Bloomsbury

Review Posted Online: Nov. 3, 2013

Kirkus Reviews Issue: Nov. 15, 2013

Did you like this book?

No Comments Yet
more