A colorful and richly textured graphic novel.
A migrant Filipino farmworker searches for his estranged wife in Depression-era San Francisco.
This graphic narrative is several things at once—a noirish mystery, a vibrant work of historical fiction, and a tale of immigrant dreams and adversity. The year is 1929, and although he was trained as a lawyer back in Manila, Bobot now picks fruit in the fields of Watsonville, California, living in a crowded shack with other homesick Filipinos and pining for the wife who hasn’t replied to his letters in months. But a tip from his cousin Benny brings him to San Francisco in search of Elysia, whom Benny says he has spotted there. To the background strains of popular songs like “Blue Skies” and “Ain’t Misbehavin’ ” (whose lyrics snake their way through the comic’s panels), Bobot prowls the diners, pool halls, and nightclubs of Manilatown. A special invitation—plus the well-tailored suit of the book’s title—gain him entree to the high-end Barangay Club, where he first lays eyes on La Estrella, a glamorous chanteuse…who just might be his wife? Ayuyang spins a captivating tale that is both an homage to starry-eyed Hollywood movies of the period and a corrective that highlights the anti-Asian racism faced by immigrants as well as the thriving communities they formed. The expressionistic artwork is washed in blue, green, red, or amber hues signaling a scene’s setting and mood. The narrative ends with a series of surprising plot twists and a coda that hints at a sequel to come.
A colorful and richly textured graphic novel.Pub Date: May 2, 2023
ISBN: 9781770466661
Page Count: 212
Publisher: Drawn & Quarterly
Review Posted Online: May 9, 2023
Kirkus Reviews Issue: June 1, 2023
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Using modern language, McDonald spins the well-known tale of the two young, unrequited lovers. Set against Nagar’s at-times...
A bland, uninspired graphic adaptation of the Bard’s renowned love story.
Using modern language, McDonald spins the well-known tale of the two young, unrequited lovers. Set against Nagar’s at-times oddly psychedelic-tinged backgrounds of cool blues and purples, the mood is strange, and the overall ambiance of the story markedly absent. Appealing to what could only be a high-interest/low–reading level audience, McDonald falls short of the mark. He explains a scene in an open-air tavern with a footnote—“a place where people gather to drink”—but he declines to offer definitions for more difficult words, such as “dirges.” While the adaptation does follow the foundation of the play, the contemporary language offers nothing; cringeworthy lines include Benvolio saying to Romeo at the party where he first meets Juliet, “Let’s go. It’s best to leave now, while the party’s in full swing.” Nagar’s faces swirl between dishwater and grotesque, adding another layer of lost passion in a story that should boil with romantic intensity. Each page number is enclosed in a little red heart; while the object of this little nuance is obvious, it’s also unpleasantly saccharine. Notes after the story include such edifying tidbits about Taylor Swift and “ ‘Wow’ dialogs from the play” (which culls out the famous quotes).Pub Date: May 10, 2011
ISBN: 978-93-80028-58-3
Page Count: 80
Publisher: Campfire
Review Posted Online: April 5, 2011
Kirkus Reviews Issue: April 15, 2011
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
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