A well-rounded collection of stories with something for everyone, sure to inspire readers to research the full history of...

READ REVIEW

DISTRICT COMICS

AN UNCONVENTIONAL HISTORY OF WASHINGTON, DC

Editor Dembicki's (Trickster, 2010) latest collection is an anthology of illustrated stories and vignettes from Washington D.C.'s colorful past.

Spanning the birth of the capital to 2009, this collection unearths vivid moments from the District's history. These moments include anecdotes, such as one about James Hampton's religious art made from garbage in Andrew Cohen's "Dark Was the Night," as well as deeper looks at specific moments in history. One such can be found in Rebecca Goldfield and Paul W. Zdepski's "Taps," an in-depth look at the bugle player from John F. Kennedy's funeral and at the mourning of the nation. The storytelling and art styles vary greatly, with stand-out uses of the graphic form found in Michael Rhode and Kevin Rechin's comical and cartoonish take on the Army Medical Museum ("Not Such a Collection as the Timid Would Care to Visit at Midnight") and in Peter S. Conrad's spy drama "Karat." While there is the occasional misstep—stories with too much exposition or not enough context—weaker pieces are easily compensated for by the more successful, such as Grant Jeffrey Barrus and Jacob Warrenfeltz's "Rolling Thunder," a tribute to Vietnam veterans told in a past/present narrative with dual, monochromatic palettes and a huge emotional punch. This anthology is marked by style consistently well matched to substance in a vast range of topics.

A well-rounded collection of stories with something for everyone, sure to inspire readers to research the full history of their favorites. (editor's note, contributors) (Graphic historical fiction. 10 & up)

Pub Date: Sept. 1, 2012

ISBN: 978-1-55591-751-7

Page Count: 256

Publisher: Fulcrum

Review Posted Online: April 19, 2012

Kirkus Reviews Issue: Aug. 1, 2012

Did you like this book?

No Comments Yet

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

Did you like this book?

A PEOPLE'S HISTORY OF THE UNITED STATES

For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.

Pub Date: Jan. 1, 1979

ISBN: 0061965588

Page Count: 772

Publisher: Harper & Row

Review Posted Online: May 26, 2012

Kirkus Reviews Issue: Jan. 1, 1979

Did you like this book?

No Comments Yet
more