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GO TO SLEEP (I MISS YOU)

CARTOONS FROM THE FOG OF NEW PARENTHOOD

A volume that will serve as a cherished keepsake for mother and son and will resonate strongly with other mothers.

A celebration of new motherhood, for new mothers, by a graphic artist who was then a new mother.

Knisley (Kid Gloves: Nine Months of Careful Chaos, 2019, etc.) admits that she “spent much of my pregnancy worried that having a baby would derail my work.” Instead, it gave her work a new focus and fresh meaning as well as some occasional respite from the overwhelming duties of motherhood. The author calls her latest a “baby book” and a “sketchbook,” and it is very much a work accommodating the pace and demands of having a baby. The sketches have an on-the-fly immediacy, and there’s little attempt to sustain a narrative beyond a one-page panel. Who has the time? Or the concentration? Whether she’s “running on (baby) fumes” or admitting that “some days it feels like there’s nothing left,” Knisley captures the exhilaration and exhaustion that a newborn brings to a household and its established routines. She explores “Some Unexpected Aspects of Mommification”—“you cannot think about anything bad happening to a kid without getting messed up for days”—demonstrating how motherhood changed her perspective and behavior in ways she hadn’t anticipated even though she had likely given the upcoming changes plenty of thought. For example, “I expected breastfeeding to be hard, but I had NO IDEA.” Throughout, the drawings and text capture the frenzied pace, the love and humor, the experience of feeling depleted and having nothing more to give—but then having to give some more. For all of the immediacy of the sketches, there’s also a recognition of passing through stages and enjoying what you can while you can—because “Sleeplessness, Screaming & Teething Are Fleeting!” (drawn in a manner that could serve as a tattoo).

A volume that will serve as a cherished keepsake for mother and son and will resonate strongly with other mothers.

Pub Date: Feb. 25, 2020

ISBN: 978-1-250-21149-1

Page Count: 192

Publisher: First Second

Review Posted Online: Nov. 4, 2019

Kirkus Reviews Issue: Dec. 1, 2019

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HEART OF DARKNESS

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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A CONNECTICUT YANKEE IN KING ARTHUR'S COURT

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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