An unusual, unforgettable, incomparable pulpy punch.
Award-winning cartoonist/illustrator/author/playwright Feiffer (Backing into Forward, 2010, etc.) delivers his first graphic novel, a sprawling, kinetic noir of giant women, jumbled identities and warped relations.
Annie Hannigan hates her mother. The resentment—and teenage Annie’s incessant acting up—stems from her sense that mom Elsie has abandoned her since the murder of Annie’s father, an honest cop who ran afoul of the mob during Prohibition. Lately Elsie has been busy working as the secretary of alcoholic, abrasive private eye Neil Hammond, an associate of her late husband’s who promised to solve the murder, though he's made little progress for two years. When a towering, classy blonde steps into Hammond’s office and hires him to track down an equally tall, equally blonde woman, it sets off a series of events that will pepper the subsequent decade with bullets, beatings and betrayals. Mixed in is a prizefighter who is light on his feet but down in the mouth; Annie’s milquetoast partner in crime who comes into his own while serving in WWII’s Pacific theater; fleshy scandals of golden-age Hollywood; a mysterious bat-wielding giant of a woman who communicates only through song; and Feiffer’s twistedly comic take on humanity. Things come to a head during a USO show in the jungles of Tarawa, where parties bristle with cross-purposes and secret agendas until gunfire lays the truth bare. The story is wickedly imagined and deftly plotted, drawing on numerous classic noir influences while including charmingly unique flourishes like Elsie thwarting a pack of street toughs (one of whom wears a crown à la Jughead) after appropriating a pistol from a disagreeable communist liquor-store clerk. Feiffer’s illustrations have a rough-hewn quality, with the jumbled lines of his figures and faces clumping evocatively like Giacometti sculptures, while his human forms move with the fluidity of Degas’ horses across open panels of dancing and boxing. The entire work feels pulled from an earlier time yet explosively modern, a madcap relic animated by an outrageous mind.
An unusual, unforgettable, incomparable pulpy punch.Pub Date: Aug. 25, 2014
ISBN: 978-0-87140-314-8
Page Count: 160
Publisher: Liveright/Norton
Review Posted Online: March 19, 2014
Kirkus Reviews Issue: April 1, 2014
PROFILES
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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