Meager in plot but, still, a quite moving story of mourning and rebirth that avoids the obsessive sentimentality plaguing so...
First fiction from prizewinning poet Ashley, about the slow recovery of a young woman traumatized by her unhappy marriage and her baby’s death.
When a city couple decides to sell their apartment and move full-time into their summer house, you can be pretty sure they’re either very happy together or very miserable. For Dore and Evan Dover, it’s obviously the latter. Dore, now in her late 30s, was married once before and had a baby girl who died in a car accident. After the child’s death, her marriage collapsed and she had a breakdown of sorts, but eventually put herself back together, married Evan, and began a new life. Now, however, she seems to be having a relapse. The story is told entirely from Dore’s point of view, and it follows her daily routines as she packs up the apartment and moves with Evan to a little house on an island six hours from the city. There, Dore works in the garden and takes long walks along the shore, while Evan spends his weekdays at his father’s place in the city and comes out to the island for weekends. What’s wrong? Evan admitted to having an affair with a girl at the office, but he assures Dore that it’s all over and done with. The deeper pain still seems to come from Dore’s loss of her little girl, Lise, and her inability to forgive herself for driving the car in which Lise was killed. Ashley’s is an intensely interior story, largely a collection of regrets and reminiscences, but it isn’t without direction, following as it does the train of thought and feeling by which Dore concludes that her life is with Evan and their life is in the city. Eventually they return, together, to start all over again.
Meager in plot but, still, a quite moving story of mourning and rebirth that avoids the obsessive sentimentality plaguing so many similar accounts.Pub Date: July 1, 2003
ISBN: 1-57962-090-6
Page Count: 192
Publisher: Permanent Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2003
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
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
An original project worth watching as it shapes up to something that may be quite magnificent.
This black-and-white historical narrative, written and illustrated by Lutes, collects eight volumes of his ongoing comic book set in Berlin during the late ’20s. It’s a multilayered tale of love and politics at the beginning of the Nazi era, as Lutes follows the stories of three characters: a 20ish art student from the provinces, a textile worker, and a young Jewish radical. Their lives intersect in only the subtlest way—Lutes depicts them crossing paths at some great public events, such as the Mayday march that closes this part of his book. And Lutes plays with perspective in a visual sense as well, jumping from point-of-view frames to overhead angles, including one from a dirigible flying above in honor of the Kaiser. At street level, Lutes integrates his historical research smoothly, and cleverly evokes the sounds and smells of a city alive with public debate and private turmoil. The competing political factions include communists, socialists, democrats, nationalists, and fascists, and all of Lutes’s characters get swept up by events. Marthe, the beautiful art student, settles in with Kurt, the cynical and detached journalist; Gudrun, the factory worker, loses her job, and her nasty husband (to the Nazi party), then joins a communist cooperative with her young daughters; Schwartz, a teenager enamored with the memory of Rosa Luxembourg, balances his incipient politics with his religion at home and his passion for Houdini. The lesser figures seem fully realized as well, from the despotic art instructor to the reluctant street policeman. Cosmopolitan Berlin on the brink of disaster: Lutes captures the time and place with a historian’s precision and a cinematographer’s skill. His shifts from close-ups to fades work perfectly in his thin-line style, a crossbreed of dense-scene European comics and more simple comics styles on this side of the Atlantic.
An original project worth watching as it shapes up to something that may be quite magnificent.Pub Date: June 1, 2001
ISBN: 1-896597-29-7
Page Count: 212
Publisher: Drawn & Quarterly
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: May 1, 2001
BOOK REVIEW
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