Newcomer Kerr shows off his considerable talents to good effect here, though the story isn’t much more than a rehash of The...
A junior Irish terrorist is sent on a peace-promoting exchange trip to Milwaukee. It’s not a good idea.
Wil Carson is a nasty little thing, but he's the narrator, so you've got to learn to live with his eccentricities. These include a love for weapons of all kinds, a marked lack of squeamishness around violence, and a rabid hatred of all things Catholic. At age 14, Wil is already an up-and-coming member of Ulster Freedom Fighters, a Protestant terrorist group in Belfast. He’s chosen to take part in an exchange program that sends disadvantaged Protestant and Catholic kids to live with families in the American Midwest, in the hope of fostering togetherness and understanding. This ideal starts to go to pot right away on the plane over, when Wil gets into it with a couple of “Taigs” (Catholic boys). Seething resentment smolders in his cynical breast even after he arrives in the comparatively bucolic suburbs of Milwaukee. There, in the home of a distant and somewhat frightening preacher, his dotty wife, and their teenaged son Derry, Wil is allowed to soak himself in the lazy luxuries of 1980s American suburbia. Unable to keep the lid on his Taig-hating ways, however, he soon indoctrinates rage-prone Derry with his views. It doesn't take more than a couple run-ins with other Ulster lads for the usual bored teenage high-jinks to turn extremely ugly. The Belfast-born author, who came to Milwaukee himself in a real-life exchange program, convincingly models the story on his own experiences. There's a potent frisson between the silky cadences of Wil's criminal blarney and the dull-witted characters who surround him. But even with the story’s abundance of dark wit, the violent climax is much too predictable.
Newcomer Kerr shows off his considerable talents to good effect here, though the story isn’t much more than a rehash of The Butcher Boy mixed with a little Clockwork Orange.Pub Date: June 6, 2002
ISBN: 0-7868-6798-1
Page Count: 304
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2002
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
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
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