Exploring a serious issue with compassion and humor, this story should appeal to both animal lovers and Philly residents.
Russell’s graphic novel follows a dog’s harrowing journey after he is abandoned on the streets of Philadelphia and eventually taken to a crowded shelter.
Midnight’s idyllic life with his loving owner “Grandma” is turned upside down in an instant when the elderly owner’s grandchildren abandon the dog after the woman is hospitalized. Captured by an animal control officer, the terrified dog is brought to an overcrowded open-access shelter filled with “pigs, chickens, reptiles, wildlife, little critters, dogs, and cats. These shelters are where the tame and the wild things go.” The noisy, stinking place is a nightmarish hellscape for Midnight. He befriends another dog named Mister who enlightens him about the shelter’s dark realities, which include neutering and possible euthanasia if an animal isn’t adopted. The two dogs are “Phillybred” and, in addition to being hardcore Eagles fans, communicate in the city’s distinctive vernacular (“you’re gonna eat whatever jawn they hands ya”). With the goal of finding a forever family, the two dogs maneuver their way through an inefficient system marked by prejudgment and indifference. The hundreds of illustrations (which all began as etched ceramic tiles) give the work a unique, decidedly organic feel—Koszalka does an impressive job of conveying a wide scope of emotions (fear, anger, despair, joy) through her art. But the real power here is the narrative, which pulls no punches and is based on a true story. Midnight and Mister’s plights are deeply disturbing, but thanks to kind-hearted volunteers, advocates, and animal owners, their stories are ultimately hopeful rather than sad cautionary tales. As Midnight reflects, “like Grandma used to say, ‘things happen for a reason.’ Maybe cuz when somethin’ really good happens after all the bad stuff happens, there’s gotta be a reason for that. But I dunno. I ain’t no philosophizer.”
Exploring a serious issue with compassion and humor, this story should appeal to both animal lovers and Philly residents.Pub Date: Jan. 1, 2025
ISBN: N/A
Page Count: -
Publisher: Archimedes' Printing Shoppe & Sundry Goodes
Review Posted Online: Nov. 15, 2024
Review Program: Kirkus Indie
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
Gorgeous and troubling.
Cartoonist Kuper (Kafkaesque, 2018, etc.) delivers a graphic-novel adaptation of Joseph Conrad’s literary classic exploring the horror at the center of colonial exploitation.
As a group of sailors floats on the River Thames in 1899, a particularly adventurous member notes that England was once “one of the dark places of the earth,” referring to the land before the arrival of the Romans. This well-connected vagabond then regales his friends with his boyhood obsession with the blank places on maps, which eventually led him to captain a steamboat up a great African river under the employ of a corporate empire dedicated to ripping the riches from foreign land. Marlow’s trip to what was known as the Dark Continent exposes him to the frustrations of bureaucracy, the inhumanity employed by Europeans on the local population, and the insanity plaguing those committed to turning a profit. In his introduction, Kuper outlines his approach to the original book, which featured extensive use of the n-word and worked from a general worldview that European males are the forgers of civilization (even if they suffered a “soul [that] had gone mad” for their efforts), explaining that “by choosing a different point of view to illustrate, otherwise faceless and undefined characters were brought to the fore without altering Conrad’s text.” There is a moment when a scene of indiscriminate shelling reveals the Africans fleeing, and there are some places where the positioning of the Africans within the panel gives them more prominence, but without new text added to fully frame the local people, it’s hard to feel that they have reached equal footing. Still, Kuper’s work admirably deletes the most offensive of Conrad’s language while presenting graphically the struggle of the native population in the face of foreign exploitation. Kuper is a master cartoonist, and his pages and panels are a feast for the eyes.
Gorgeous and troubling.Pub Date: Nov. 5, 2019
ISBN: 978-0-393-63564-5
Page Count: 160
Publisher: Norton
Review Posted Online: Aug. 18, 2019
Kirkus Reviews Issue: Sept. 1, 2019
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