An artistic confessional of identity, sexual deliverance, and self-acceptance.
A queer woman narrates the evolution of her sexuality, womanhood, and capacity for love in this graphic memoir.
“Time hasn’t healed all my wounds and yet here I am, still very much alive,” writes Canadian artist Delporte at the beginning of this exploration of her journey as a “late-life lesbian.” Her expressive prose makes copious references to books by Annie Ernaux, Dorothy Allison, and Lauren Berlant, as well as such provocative films as Chantal Akerman’s 1975 cult classic Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, which depicts a widowed housewife’s mundane routine spiced up by sex work (and murder). The author admits to episodes of unwanted sex with men, considering it “the price I paid for a bit of affection.” Later, she would “come to call what happened an inadvertent rape.” To cope with these ordeals, Delporte sought out psychotherapy in her later years, and she also dealt with disassociation and extended respites from intimacy. In cursive text featuring tender poetic declarations and line drawings in both colored pencil and watercolor brushstrokes, the author/illustrator describes her gradual emergence as a lesbian: cutting her hair, changing her dress code, and feeling liberated from the “demands” of conventional femininity. She began a punk rock band, channeled French philosopher Monique Wettig and Finnish author and illustrator Tove Jansson, and fell in love with a woman with whom “for the first time, there was space for my trauma when we had sex.” Delporte’s eye for artistry shines throughout both the text and illustrations, and her evocatively resonant watercolors illustrate her deeply felt sexual trauma, her insecurities and early trepidations about her queer inclinations, and, in pages bathed in vibrant swaths of intermingling colors, her most intimate desires. Delporte’s memorable artwork brims with vitality and authenticity.
An artistic confessional of identity, sexual deliverance, and self-acceptance.Pub Date: Jan. 16, 2024
ISBN: 9781770466807
Page Count: 268
Publisher: Drawn & Quarterly
Review Posted Online: Nov. 28, 2023
Kirkus Reviews Issue: Jan. 1, 2024
An accessible, informative journey through complex issues during turbulent times.
Immersion journalism in the form of a graphic narrative following a Syrian family on their immigration to America.
Originally published as a 22-part series in the New York Times that garnered a Pulitzer for editorial cartooning, the story of the Aldabaan family—first in exile in Jordan and then in New Haven, Connecticut—holds together well as a full-length book. Halpern and Sloan, who spent more than three years with the Aldabaans, movingly explore the family’s significant obstacles, paying special attention to teenage son Naji, whose desire for the ideal of the American dream was the strongest. While not minimizing the harshness of the repression that led them to journey to the U.S.—or the challenges they encountered after they arrived—the focus on the day-by-day adjustment of a typical teenager makes the narrative refreshingly tangible and free of political polemic. Still, the family arrived at New York’s JFK airport during extraordinarily political times: Nov. 8, 2016, the day that Donald Trump was elected. The plan had been for the entire extended family to move, but some had traveled while others awaited approval, a process that was hampered by Trump’s travel ban. The Aldabaans encountered the daunting odds that many immigrants face: find shelter and employment, become self-sustaining quickly, learn English, and adjust to a new culture and climate (Naji learned to shovel snow, which he had never seen). They also received anonymous death threats, and Naji wanted to buy a gun for protection. He asked himself, “Was this the great future you were talking about back in Jordan?” Yet with the assistance of selfless volunteers and a community of fellow immigrants, the Aldabaans persevered. The epilogue provides explanatory context and where-are-they-now accounts, and Sloan’s streamlined, uncluttered illustrations nicely complement the text, consistently emphasizing the humanity of each person.
An accessible, informative journey through complex issues during turbulent times.Pub Date: Sept. 8, 2020
ISBN: 978-1-250-30559-6
Page Count: 192
Publisher: Metropolitan/Henry Holt
Review Posted Online: Aug. 17, 2020
Kirkus Reviews Issue: Sept. 1, 2020
An erudite and artful, though frustratingly restrained, look at Old Testament stories.
The Book of Genesis as imagined by a veteran voice of underground comics.
R. Crumb’s pass at the opening chapters of the Bible isn’t nearly the act of heresy the comic artist’s reputation might suggest. In fact, the creator of Fritz the Cat and Mr. Natural is fastidiously respectful. Crumb took pains to preserve every word of Genesis—drawing from numerous source texts, but mainly Robert Alter’s translation, The Five Books of Moses (2004)—and he clearly did his homework on the clothing, shelter and landscapes that surrounded Noah, Abraham and Isaac. This dedication to faithful representation makes the book, as Crumb writes in his introduction, a “straight illustration job, with no intention to ridicule or make visual jokes.” But his efforts are in their own way irreverent, and Crumb feels no particular need to deify even the most divine characters. God Himself is not much taller than Adam and Eve, and instead of omnisciently imparting orders and judgment He stands beside them in Eden, speaking to them directly. Jacob wrestles not with an angel, as is so often depicted in paintings, but with a man who looks not much different from himself. The women are uniformly Crumbian, voluptuous Earth goddesses who are both sexualized and strong-willed. (The endnotes offer a close study of the kinds of power women wielded in Genesis.) The downside of fitting all the text in is that many pages are packed tight with small panels, and too rarely—as with the destruction of Sodom and Gomorrah—does Crumb expand his lens and treat signature events dramatically. Even the Flood is fairly restrained, though the exodus of the animals from the Ark is beautifully detailed. The author’s respect for Genesis is admirable, but it may leave readers wishing he had taken a few more chances with his interpretation, as when he draws the serpent in the Garden of Eden as a provocative half-man/half-lizard. On the whole, though, the book is largely a tribute to Crumb’s immense talents as a draftsman and stubborn adherence to the script.
An erudite and artful, though frustratingly restrained, look at Old Testament stories.Pub Date: Oct. 19, 2009
ISBN: 978-0-393-06102-4
Page Count: 224
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
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