A heartbreaking and hopeful story of a woman's messy mettle.
A woman finds herself when she loses 42 birds.
Daphne works as an assistant to a woman who makes “positive-thought recordings,” affirmative messages for people to listen to in order to “impede the roar of the unhappy mind.” But she is occupied with her own unhappiness: her ex-husband and his new wife have been granted majority custody of their son, Noah. Her state doesn’t get easier when she's asked to take care of her boss’s 42 parrots, worth more than $100,000—some of which, her son notices, are members of a supposedly extinct species. Things go amusingly awry, and she must enlist the help of her hapless but well-meaning boyfriend, Laker, as well as an unreliable team of house painters, all named Lee Anthony. Like Daphne, Laker is a recovering alcoholic, frequently unemployed, and disproportionately inclined toward bad luck. When they discover the birds are infested with mites, their efforts to rid themselves of the problem are by turns hilarious and tragic, absurd and alarming. So, too, are their efforts to regain a healthy family structure and control over their lives. Unferth (Wait Till You See Me Dance, 2017, etc.) has written a heart-wrenching, occasionally unbelievable tale of family and feathers. The illustrations, by Haidle (Mind Afire, 2013), are beautiful. They are understated and playful without sacrificing texture or creativity. Each page is inventive; never strictly confined to the traditional graphic-novel structure of boxed illustrations, Haidle allows the characters and elements to burst from between the lines. Drawn in very few strokes, styled with elegant simplicity, Daphne, Noah, and Laker are expressive, emotional, and individual.
A heartbreaking and hopeful story of a woman's messy mettle.Pub Date: Nov. 7, 2017
ISBN: 978-1-936787-65-4
Page Count: 160
Publisher: Black Balloon Publishing
Review Posted Online: Oct. 30, 2017
Kirkus Reviews Issue: Nov. 15, 2017
A gorgeous symphony.
Illustrator McGuire (What’s Wrong With This Book, 1997, etc.) once again frames a fixed space across the millennia.
McGuire’s original treatment of the concept—published in 1989 in Raw magazine as six packed pages—here gives way to a graphic novel’s worth of two-page spreads, and the work soars in the enlarged space. Pages unspool like a player-piano roll, each spread filled by a particular time, while inset, ever shifting panels cut windows to other eras, everything effervescing with staggered, interrelated vignettes and arresting images. Researchers looking for Native American artifacts in 1986 pay a visit to the house that sprouts up in 1907, where a 1609 Native American couple flirtatiously recalls the legend of a local insatiable monster, while across the room, an attendee of a 1975 costume party shuffles in their direction, dressed as a bear with arms outstretched. A 1996 fire hose gushes into a 1934 floral bouquet, its shape echoed by a billowing sheet on the following page, in 2015. There’s a hint of Terrence Malick’s beautiful malevolence as panels of nature—a wolf in 1430 clenching its prey’s bloody haunch; the sun-dappled shallows of 2113’s new sea—haunt scenes of domesticity. McGuire also plays with the very concept of panels: a boy flaunts a toy drum in small panels of 1959 while a woman in 1973 sets up a projection screen (a panel in its own right) that ultimately displays the same drummer boy from a new angle; in 2050, a pair of old men play with a set of holographic panels arranged not unlike the pages of the book itself and find a gateway to the past. Later spreads flash with terrible and ancient supremacy, impending cataclysm, and distant, verdant renaissance, then slow to inevitable, irresistible conclusion. The muted colors and soft pencils further blur individual moments into a rich, eons-spanning whole.
A gorgeous symphony.Pub Date: Dec. 9, 2014
ISBN: 978-0-375-40650-8
Page Count: 320
Publisher: Pantheon
Review Posted Online: Oct. 14, 2014
Kirkus Reviews Issue: Nov. 1, 2014
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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