An excellent combination of personal insight and historical sweep.
The second volume of the author’s critically acclaimed graphic memoir of the Vietnam War era.
The son of a French mother and a Vietnamese diplomat father, Truong combines powerful visual imagery with deft narrative as he recounts his teenage years in London and France while developing mixed emotions and allegiances about the war tearing his homeland apart. Like the masterful Such a Lovely Little War (2016), the story benefits from the author’s unique perspective, formed by the very different perspectives of his parents (whose marriage seems to be disintegrating), by seeing the war from afar while surrounded by those of different nationalities, and by maturing from childhood through adolescence during a turbulent era. As a teenager, Truong saw the war escalate on TV while experiencing the foment of Beatlemania, psychedelia, and the protest movement as the culture swirled through waves of upheaval. “Blimey! The VC don’t mess around,” he responded to a letter from home that reported of Viet Cong activity. Military uniforms mixed with those of Sgt. Pepper in his imagination, while playing soldier got confused with the real thing as filtered through the media. The author couldn’t resist the influence of the peace movement, the vitriol directed toward the United States and their South Vietnamese puppet regime, or the romanticizing of the Viet Cong as guerrilla freedom fighters. Yet he understood the implications a vindictive totalitarian government would have in South Vietnam, and he feared for the safety of family and friends. (He didn’t know until later that some of his cousins had joined the National Liberation Front and were killed in the warfare.) The young man who would become the author felt confused by the cultural barrage from different sides, and both the war and his responses to it are more complex than those who would simplify it into good-and-evil, hawk-and-dove can recognize.An excellent combination of personal insight and historical sweep.
Pub Date: Oct. 1, 2017
Page Count: 280
Publisher: Arsenal Pulp Press
Review Posted Online: Aug. 28, 2017
Kirkus Reviews Issue: Sept. 15, 2017
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An erudite and artful, though frustratingly restrained, look at Old Testament stories.
The Book of Genesis as imagined by a veteran voice of underground comics.
R. Crumb’s pass at the opening chapters of the Bible isn’t nearly the act of heresy the comic artist’s reputation might suggest. In fact, the creator of Fritz the Cat and Mr. Natural is fastidiously respectful. Crumb took pains to preserve every word of Genesis—drawing from numerous source texts, but mainly Robert Alter’s translation, The Five Books of Moses (2004)—and he clearly did his homework on the clothing, shelter and landscapes that surrounded Noah, Abraham and Isaac. This dedication to faithful representation makes the book, as Crumb writes in his introduction, a “straight illustration job, with no intention to ridicule or make visual jokes.” But his efforts are in their own way irreverent, and Crumb feels no particular need to deify even the most divine characters. God Himself is not much taller than Adam and Eve, and instead of omnisciently imparting orders and judgment He stands beside them in Eden, speaking to them directly. Jacob wrestles not with an angel, as is so often depicted in paintings, but with a man who looks not much different from himself. The women are uniformly Crumbian, voluptuous Earth goddesses who are both sexualized and strong-willed. (The endnotes offer a close study of the kinds of power women wielded in Genesis.) The downside of fitting all the text in is that many pages are packed tight with small panels, and too rarely—as with the destruction of Sodom and Gomorrah—does Crumb expand his lens and treat signature events dramatically. Even the Flood is fairly restrained, though the exodus of the animals from the Ark is beautifully detailed. The author’s respect for Genesis is admirable, but it may leave readers wishing he had taken a few more chances with his interpretation, as when he draws the serpent in the Garden of Eden as a provocative half-man/half-lizard. On the whole, though, the book is largely a tribute to Crumb’s immense talents as a draftsman and stubborn adherence to the script.An erudite and artful, though frustratingly restrained, look at Old Testament stories.
Pub Date: Oct. 19, 2009
Page Count: 224
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
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Drawings, words, and a few photos combine to convey the depth of a tragedy that would leave most people dumbstruck.
A new life and book arise from the ashes of a devastating California wildfire.
These days, it seems the fires will never end. They wreaked destruction over central California in the latter months of 2018, dominating headlines for weeks, barely a year after Fies (Whatever Happened to the World of Tomorrow?, 2009) lost nearly everything to the fires that raged through Northern California. The result is a vividly journalistic graphic narrative of resilience in the face of tragedy, an account of recent history that seems timely as ever. “A two-story house full of our lives was a two-foot heap of dead smoking ash,” writes the author about his first return to survey the damage. The matter-of-fact tone of the reportage makes some of the flights of creative imagination seem more extraordinary—particularly a nihilistic, two-page centerpiece of a psychological solar system in which “the fire is our black hole,” and “some veer too near and are drawn into despair, depression, divorce, even suicide,” while “others are gravitationally flung entirely out of our solar system to other cities or states, and never seen again.” Yet the stories that dominate the narrative are those of the survivors, who were part of the community and would be part of whatever community would be built to take its place across the charred landscape. Interspersed with the author’s own account are those from others, many retirees, some suffering from physical or mental afflictions. Each is rendered in a couple pages of text except one from a fellow cartoonist, who draws his own. The project began with an online comic when Fies did the only thing he could as his life was reduced to ash and rubble. More than 3 million readers saw it; this expanded version will hopefully extend its reach.Drawings, words, and a few photos combine to convey the depth of a tragedy that would leave most people dumbstruck.
Pub Date: March 5, 2019
Page Count: 160
Publisher: Abrams ComicArts
Review Posted Online: Nov. 25, 2018
Kirkus Reviews Issue: Dec. 15, 2018
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