A bold, messy conflagration that revels in all of the trespasses and heroism of which only human beings are truly capable.

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THE ART OF WAR

A GRAPHIC NOVEL

What’s black and white and red all over? This harrowing revenge piece that blends globalization anxiety and the Sino-American struggle for global dominance with acute violence and technology run amuck.

Debut creators Roman and DeWeese use the teachings of the ancient Chinese general, Sun Tzu, as the foundation for an epic dystopian story of brotherly love and corporate greed set in a nightmarish American wasteland circa 2032. Our nominal hero, Kelly Roman, has come home from the military prison where he served time for a friendly-fire incident that has scarred him body and soul. Worse, Kelly discovers that his brother, Shane, has died in the service of a resurrected Sun Tzu, whose mastery of warfare now extends into a heavily armed global financial market controlled by his company, Trench. To get things started, Trench’s human resources manager neatly snips off Kelly’s hands just to prove that he won’t succumb in battle. (Lots of things get sewn back on in the future, apparently.) In Manhattan, Kelly mentors under Sun Tzu and clashes with the general’s daughter, Qing, all while maneuvering against a mysterious competitor, Vespoid, whose leader, The Prince, competes fiercely against Trench. There are also enough sci-fi high-concept ideas to fill a kitchen sink, from genetically-engineered soldiers to militarized black holes to the integration of insect biotech to produce more accurate algorithms. Much like James O’Barr’s bestselling graphic novel The Crow, the art here is purposefully rough, incendiary and ugly at times, with a provocative style that dares readers to keep flipping to the end. It would fit in well with the likes of Vertigo’s Army @ Love or even the black-and-white visions of Brian Michael Bendis’ Torso or Goldfish graphic novels, but there’s something about the immediacy and volume of the single narrative that lends this martial nightmare a little something extra.

A bold, messy conflagration that revels in all of the trespasses and heroism of which only human beings are truly capable.

Pub Date: July 31, 2012

ISBN: 978-0-06-210394-9

Page Count: 352

Publisher: Perennial/HarperCollins

Review Posted Online: July 17, 2012

Kirkus Reviews Issue: Aug. 1, 2012

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A not-very-illuminating updating of Chaucer’s Tales.

THE CANTERBURY TALES

A RETELLING

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 20, 2010

Kirkus Reviews Issue: Sept. 1, 2009

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An original project worth watching as it shapes up to something that may be quite magnificent.

BERLIN

BOOK ONE

This black-and-white historical narrative, written and illustrated by Lutes, collects eight volumes of his ongoing comic book set in Berlin during the late ’20s. It’s a multilayered tale of love and politics at the beginning of the Nazi era, as Lutes follows the stories of three characters: a 20ish art student from the provinces, a textile worker, and a young Jewish radical. Their lives intersect in only the subtlest way—Lutes depicts them crossing paths at some great public events, such as the Mayday march that closes this part of his book. And Lutes plays with perspective in a visual sense as well, jumping from point-of-view frames to overhead angles, including one from a dirigible flying above in honor of the Kaiser. At street level, Lutes integrates his historical research smoothly, and cleverly evokes the sounds and smells of a city alive with public debate and private turmoil. The competing political factions include communists, socialists, democrats, nationalists, and fascists, and all of Lutes’s characters get swept up by events. Marthe, the beautiful art student, settles in with Kurt, the cynical and detached journalist; Gudrun, the factory worker, loses her job, and her nasty husband (to the Nazi party), then joins a communist cooperative with her young daughters; Schwartz, a teenager enamored with the memory of Rosa Luxembourg, balances his incipient politics with his religion at home and his passion for Houdini. The lesser figures seem fully realized as well, from the despotic art instructor to the reluctant street policeman. Cosmopolitan Berlin on the brink of disaster: Lutes captures the time and place with a historian’s precision and a cinematographer’s skill. His shifts from close-ups to fades work perfectly in his thin-line style, a crossbreed of dense-scene European comics and more simple comics styles on this side of the Atlantic.

An original project worth watching as it shapes up to something that may be quite magnificent.

Pub Date: June 1, 2001

ISBN: 1-896597-29-7

Page Count: 212

Publisher: Drawn & Quarterly

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: May 1, 2001

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