An engrossing marriage of literature and pulp.
Following the acclaimed 1994 graphic-novel adaptation of City of Glass, adaptations of the remaining books in Auster’s experimental noir trilogy now join the first in this complete collection, each illustrated by a different artist: comics legend Mazzucchelli, New Yorker cover artist Mattotti, and cartoonist Karasik, who also art directed all three.
In City of Glass, a traumatized mystery writer finds himself playing detective. He becomes embroiled in a case involving a femme fatale and her deeply troubled husband, who had been inhumanely raised by a mad professor in an attempt to rediscover “God’s language.” Ghosts—presented mostly in picture-book format (one large image above a chunk of text) rather than the sequential panels of the other two stories—follows a private investigator who stakes out the apartment of a man who seems to do little other than write and read. As the investigator (named “Blue”—all characters’ names are colors) compiles reports of his mundane observations, he comes to question exactly who is observing whom. In The Locked Room, a hack writer inherits the literary legacy (and wife and child) of his vanished and exceptional childhood friend, attaining a blissful life—until he can’t resist trying to track down the friend, who forbids being found on penalty of death. Themes of identity run through the books, as do literary references and contemplations on the writerly life—particularly the idea that a writer does not have a life of his own. (“Paul Auster” also appears as a character.) The stories resist easy interpretation, but opaque moments, like characters’ descents into madness or explanations of complex theories, receive rich visualization from the talented trio of artists: Mazzucchelli’s crisp, confident lines; Mattotti’s sumptuous shading; and Karasik’s inventive paneling.
An engrossing marriage of literature and pulp.Pub Date: April 8, 2025
ISBN: 9780553387643
Page Count: 400
Publisher: Pantheon
Review Posted Online: Feb. 1, 2025
Kirkus Reviews Issue: March 1, 2025
PERSPECTIVES
Even so, this remains Macbeth, arguably the Bard of Avon’s most durable and multilayered tragedy, and overall, this enhanced...
A pairing of the text of the Scottish Play with a filmed performance, designed with the Shakespeare novice in mind.
The left side of the screen of this enhanced e-book contains a full version of Macbeth, while the right side includes a performance of the dialogue shown (approximately 20 lines’ worth per page). This granular focus allows newcomers to experience the nuances of the play, which is rich in irony, hidden intentions and sudden shifts in emotional temperature. The set and costuming are deliberately simple: The background is white, and Macbeth’s “armor” is a leather jacket. But nobody’s dumbing down their performances. Francesca Faridany is particularly good as a tightly coiled Lady Macbeth; Raphael Nash-Thompson gives his roles as the drunken porter and a witch a garrulousness that carries an entertainingly sinister edge. The presentation is not without its hiccups. Matching the video on the right with the text on the left means routinely cutting off dramatic moments; at one point, users have to swipe to see and read the second half of a scene’s closing couplet—presumably an easy fix. A “tap to translate” button on each page puts the text into plain English, but the pop-up text covers up Shakespeare’s original, denying any attempts at comparison; moreover, the translation mainly redefines more obscure words, suggesting that smaller pop-ups for individual terms might be more meaningful.
Even so, this remains Macbeth, arguably the Bard of Avon’s most durable and multilayered tragedy, and overall, this enhanced e-book makes the play appealing and graspable to students . (Enhanced e-book. 12 & up)Pub Date: Sept. 9, 2013
ISBN: N/A
Page Count: -
Publisher: The New Book Press LLC
Review Posted Online: Nov. 6, 2013
Kirkus Reviews Issue: Dec. 1, 2013
Immensely enjoyable.
The debut graphic novel from Mohamed presents a modern Egypt full of magical realism where wishes have been industrialized and heavily regulated.
The story opens with a televised public service announcement from the General Committee of Wish Supervision and Licensing about the dangers of “third-class wishes”—wishes that come in soda cans and tend to backfire on wishers who aren’t specific enough (like a wish to lose weight resulting in limbs falling from the wisher’s body). Thus begins a brilliant play among magic, the mundane, and bureaucracy that centers around a newsstand kiosk where a devout Muslim is trying to unload the three “first-class wishes” (contained in elegant glass bottles and properly licensed by the government) that have come into his possession, since he believes his religion forbids him to use them. As he gradually unloads the first-class wishes on a poor, regretful widow (who then runs afoul of authorities determined to manipulate her out of her valuable commodity) and a university student who seeks a possibly magical solution to their mental health crisis (but struggles with whether a wish to always be happy might have unintended consequences), interstitials give infographic histories of wishes, showing how the Western wish-industrial complex has exploited the countries where wishes are mined (largely in the Middle East). The book is exceptionally imaginative while also being wonderfully grounded in touching human relationships, existential quandaries, and familiar geopolitical and socio-economic dynamics. Mohamed’s art balances perfectly between cartoon and realism, powerfully conveying emotions, and her strong, clean lines gorgeously depict everything from an anguished face to an ornate bottle. Charts and graphs nicely break up the reading experience while also concisely building this larger world of everyday wishes. Mohamed has a great sense of humor, which comes out in footnotes and casual asides throughout.
Immensely enjoyable.Pub Date: Jan. 10, 2023
ISBN: 978-1-524-74841-8
Page Count: 528
Publisher: Pantheon
Review Posted Online: Oct. 26, 2022
Kirkus Reviews Issue: Nov. 15, 2022
PERSPECTIVES
PERSPECTIVES
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