A witty, insightful clash of cultural perspectives, but some extended professorial digressions tend to render the poetic...
Spirited first fiction—a novel in verse, no less—blends social commentary with a tricky love story across the ages involving the 14th-century Persian sensualist poet Hafez and a teenaged New York beauty.
The verse might be free, but in New York as we know it the path to liberation in love is fraught with peril. Iranian-American Columbia professor Pirooz, lonely and despairing, goes to the Sonora Desert to kill himself. Fate brings him to the shadow of two saguaro cacti, which happen to be the reincarnations of two legendary Persian poets. Rumi and Hafez talk Pirooz out of his funk, and he returns to New York, but the encounter kindles in Hafez a yearning for life as he knew it before he became a plant, so he transforms into a curly-haired young cabbie and reintroduces himself to Pirooz by giving him a ride. The professor is overjoyed to have such a boon companion, but Hafez also remains true to his former nature by falling hard for precocious Miraz, only 14 but in her last year of high school. Despite the admonitions of Pirooz, who warns him about American laws such as the ones against sex with minors, and the appearance of cooler-headed Rumi, who seems able to change his appearance at will, Hafez and Miraz delay their bliss only long enough for her to turn 15, then run away together to Montauk, where they cavort naked in the ocean until Hafez is arrested and charged with statutory rape. The trial, which proceeds in spite of Miraz’s pregnancy and protests, is a rumination on love and the law; in a flight of fancy Hafez is freed, returning to Manhattan with his beloved intending to live happily ever after only to encounter tragedy in the city’s mean streets. Can Love survive?
A witty, insightful clash of cultural perspectives, but some extended professorial digressions tend to render the poetic pedantic.Pub Date: Feb. 1, 2003
ISBN: 1-57962-082-5
Page Count: 254
Publisher: Permanent Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2002
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
Chwast and Twain are a match made in heaven.
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. 2, 2013
Kirkus Reviews Issue: Nov. 15, 2013
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