A somewhat sanitized portrait; Duncan might have preferred something bolder.
Cartoonist Jones takes an admiring glance at the truncated life and roller-coaster times of the woman who traversed three continents to revolutionize dance.
Denounced as everything from a “wild voluptuary” to a “jumping Jezebel,” Isadora Duncan (1877–1927) famously remarked, “People do not live nowadays. They get about 10 percent out of life.” Every page of this admiring graphic biography reminds readers that the American dance pioneer herself always got 100 percent. The thin volume depicts a number of turbulent scenes from Duncan’s personal and professional experiences, underscoring the frenetic exuberance with which she conducted her many affairs. With bold strokes and supple lettering, Jones’s pen-and-ink drawings attempt to animate Duncan’s boundary-smashing style, onstage and off: as the barefoot, tunic-clad artist whose free-flowing movements transformed classical dance, and as the convention-defying single mother of two and very public lover of famous figures and political causes. “With this book, I’m asking a generation in flip-flops to imagine how traffic stopped when Isadora strolled down 5th Avenue in her homemade sandals,” writes Jones. It’s difficult to extract the truth about Duncan’s life, the author acknowledges, from the diverse, often contradictory accounts supplied in the dancer’s writings, reminiscences by her contemporaries and biographies with various agendas. Jones’s portrait depicts a gifted artist driven by a passion to realize at whatever cost her feminist vision of the dancer of the future: “woman in her purest expression, body and soul in harmony, emerging from centuries of civilized forgetfulness, no longer at war with spirituality—the highest intelligence in the freest body.” Interestingly, although Jones espouses Duncan’s unabashed belief that “to expose is art, to conceal is vulgar,” and doesn’t shy away from depicting the great tragedies of her subject’s life, she tends to suggest rather than explicitly spell out the dancer’s more controversial actions: dalliances with women, numerous suicide attempts, proclivity for public drunkenness.
A somewhat sanitized portrait; Duncan might have preferred something bolder.Pub Date: Nov. 18, 2008
ISBN: 978-0-8090-9497-4
Page Count: 144
Publisher: Hill and Wang/Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 2008
BOOK REVIEW
An erudite and artful, though frustratingly restrained, look at Old Testament stories.
The Book of Genesis as imagined by a veteran voice of underground comics.
R. Crumb’s pass at the opening chapters of the Bible isn’t nearly the act of heresy the comic artist’s reputation might suggest. In fact, the creator of Fritz the Cat and Mr. Natural is fastidiously respectful. Crumb took pains to preserve every word of Genesis—drawing from numerous source texts, but mainly Robert Alter’s translation, The Five Books of Moses (2004)—and he clearly did his homework on the clothing, shelter and landscapes that surrounded Noah, Abraham and Isaac. This dedication to faithful representation makes the book, as Crumb writes in his introduction, a “straight illustration job, with no intention to ridicule or make visual jokes.” But his efforts are in their own way irreverent, and Crumb feels no particular need to deify even the most divine characters. God Himself is not much taller than Adam and Eve, and instead of omnisciently imparting orders and judgment He stands beside them in Eden, speaking to them directly. Jacob wrestles not with an angel, as is so often depicted in paintings, but with a man who looks not much different from himself. The women are uniformly Crumbian, voluptuous Earth goddesses who are both sexualized and strong-willed. (The endnotes offer a close study of the kinds of power women wielded in Genesis.) The downside of fitting all the text in is that many pages are packed tight with small panels, and too rarely—as with the destruction of Sodom and Gomorrah—does Crumb expand his lens and treat signature events dramatically. Even the Flood is fairly restrained, though the exodus of the animals from the Ark is beautifully detailed. The author’s respect for Genesis is admirable, but it may leave readers wishing he had taken a few more chances with his interpretation, as when he draws the serpent in the Garden of Eden as a provocative half-man/half-lizard. On the whole, though, the book is largely a tribute to Crumb’s immense talents as a draftsman and stubborn adherence to the script.
An erudite and artful, though frustratingly restrained, look at Old Testament stories.Pub Date: Oct. 19, 2009
ISBN: 978-0-393-06102-4
Page Count: 224
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
BOOK REVIEW
BOOK REVIEW
From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)
Pub Date: Nov. 1, 1992
ISBN: 0-374-17563-2
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1992
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