A moving but also very funny meditation on time, age and grace.

DISPLACEMENT

A 20-something cartoonist with a unique sense of humor sets off on a cruise to the Caribbean with her nonagenarian grandparents.

In this follow-up to her graphic memoir An Age of License (2014), the talented Knisley offers a pointed juxtaposition to her earlier travelogue set in Europe. When her grandparents Phyllis and Allen decided to take a cruise ship to the Caribbean, the author (recovering from a recent breakup) accompanied them on the 10-day journey. And she worried—a lot. Among Knisley’s concerns were her grandparents’ progressive dementia, their physical limitations, the potential for norovirus (“puking/pooping virus”), her own insomnia and anxiety, and the virulent rudeness of the thousands of other passengers. “This is not at all like my last trip,” writes the author. “I traveled around Europe on my own, drinking wine, learning languages, and having a passionate love affair. That trip was about independence, sex, youth, and adventure. This trip is about patience, care, mortality, respect, sympathy and love.” In between her amusing drawings depicting life on the ship and the strange comedy that came with taking care of her elders, Knisley offers excerpts from her grandfather’s World War II memoir. This inclusion lends the book an interesting contrast between her grandparents’ worldview when they were her age and Knisley’s frenetic, impatient, all-too-busy inner self. It’s also worth noting that the narrative storytelling is delightful, combining easy-to-follow layouts with the artist’s unique visual style, vivid watercolors and quirky sense of humor. The result is an impressive high-wire act that balances observational humor and a highly tuned sense of self with a moving portrait of the ways compassion can affect even the most self-aware among us. Knisley says these books lock into place a certain time in her memory. Readers are fortunate she brought her notebooks with her on these unusual journeys.

A moving but also very funny meditation on time, age and grace.

Pub Date: Feb. 8, 2015

ISBN: 978-1-60699-810-6

Page Count: 168

Publisher: Fantagraphics Books

Review Posted Online: Nov. 18, 2014

Kirkus Reviews Issue: Dec. 1, 2014

Did you like this book?

No Comments Yet

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

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

Did you like this book?

No Comments Yet
more