by Trisha R. Thomas ‧ RELEASE DATE: July 1, 2002
Spare prose zeroes in on the details that make characters come to life: another solid drama from the author of Nappily Ever...
A troubled wife falls for the cop who chased off her abusive husband.
When superstar baseball player Dell Fletcher becomes addicted to prescription painkillers after unsuccessful surgery for a torn ligament in his knee, his personality also changes. Nicknamed the Roadrunner for his speed, Dell not only can’t run anymore—he can barely get as far as the bathroom to throw up. His beloved young son is beginning to look at him askance, wife Leah is losing patience. When he lashes out in a rage and slaps her one night, she calls the cops. LAPD Officer Angel Lopez interviews Leah, notes the bruise on her face, and takes Dell to the stationhouse. Lopez idolizes the player and has no intention of booking him, but he does serve up a lecture about appropriate behavior. Dell, meanwhile, can think of nothing but getting more Vicodin. In the squad car headed back to his house, simmering tensions between the men erupt into a fight. Lopez loses control and slams into a tree; when he comes to, Dell is gone. Lopez tells Leah what happened (sans any detail that won’t make him look good), and as the days go by with no sign of Dell, he begins to insinuate himself into the household, playing dad to her son and getting as close as he dares to her. Worn out with worry and years of stress, she eventually succumbs. But the cop’s increasingly controlling behavior and odd outbursts unnerve Leah, who suddenly orders him off the premises. Dell’s unexpected return from a rather unlikely hiding place will trigger another showdown between the men.
Spare prose zeroes in on the details that make characters come to life: another solid drama from the author of Nappily Ever After (2001).Pub Date: July 1, 2002
ISBN: 0-609-60584-4
Page Count: 256
Publisher: Crown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2002
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by Peter Kuper ; illustrated by Peter Kuper ‧ RELEASE DATE: Nov. 5, 2019
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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by Mark Twain ; adapted by Seymour Chwast ‧ RELEASE DATE: Feb. 18, 2014
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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