A beautiful, promising work that doesn’t quite coalesce.
The debut graphic novel from author/illustrator Greenberg winkingly follows a master storyteller’s journey through an ancient land of men, gods, magic and love.
The story opens on a kayaking meet cute between two psuedo-Inuits who are held apart by an invisible, unknowable force. Undeterred, the soul mates marry and settle in for a long South Pole winter of just talking—no problem when the husband is a master storyteller from the far-off land of Nord. He recounts his mysterious origins as a babe in a basket among the reeds of Sky Lake, discovered by three distinct sisters who each wanted the boy for her own. A medicine man obliged by splitting the boy’s soul in thirds, though a teensy bit escaped into the ether. The newly formed triplets lived disturbingly unbalanced, extreme lives until a rite of passage reunited them, cramming an overabundance of personality into a single boy—but giving him plenty of yarns to spin. Still, he longed for the missing part of his soul and set off across the frozen sea to find it. He journeyed to the savage woods of Britanitarka and the sprawling metropolis of Midgal Bavel, battled Cyclopes and sea monsters, navigated palace intrigue and blood feuds, surviving by his silver tongue and divine intervention. Along the way, the book depicts the larger history and culture of these ancient lands, particularly the common worship of the god Birdman and his ravens, Kid and Kiddo. Greenberg’s flat, rich illustrations are gorgeous. Her simple, detailed lines contrast with a heavy, matte black, as strategic, restrained color breathes dioramic depth into the pages. The sheer number of tales and the deft paneling (particularly expressive during spell castings) keep the pace brisk and the thrill of discovery palpable. But an irreverent, contemporary tone runs throughout, and this, combined with the early-Earth mythology’s tendency to closely resemble well-known stories (particularly from the Old Testament) without developing the significance of these similarities, undermines the book’s grander ambitions, leaving the work wavering between epic and precious, style and substance, the best of Wes Anderson and the worst.
A beautiful, promising work that doesn’t quite coalesce.Pub Date: Dec. 3, 2013
ISBN: 978-0-316-22581-6
Page Count: 176
Publisher: Little, Brown
Review Posted Online: Oct. 4, 2013
Kirkus Reviews Issue: Oct. 15, 2013
BOOK REVIEW
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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