GRISO

A unicorn traverses the world, searching for another of his kind.

Translated from Portuguese, this Brazilian import, from a prolific master of the imaginary realm, zigzags through time and cultures to track the rare beast. When readers first glimpse Griso, his black body is edged with white and blue dots. The third-person narrative explains that “the last of the unicorns…was galloping all across the plains in search of another…just like him.” A chart at the book’s end notes that this portrayal is based on seventh-century Germanic art. The animal transforms in each mesmerizing spread, appearing in the color/style of the new art form: a Persian bas-relief, ancient Greek vase painting, a Tang dynasty mural. Mello trusts viewers to make these visual leaps as the shape-shifter interacts with horned whales, buffalo, and, at the height of danger, a medieval knight on a horse whose armored head bears a spike. The text unites the disparate compositions into a brilliantly cohesive story, presenting context about the time of day—e.g., bedtime—or the unicorn’s feelings of terror or loneliness. While Griso’s goal is unmet in one sense, in a scene set in Egypt, he does connect with another unique creature—the last of the winged horses, who is also weary, “having flown all across the plains in search of…another just like him.” Claudia de Moraes’ musings on unicorn sightings provide concluding inspiration.

An evocative, enchanting tale of the quest for community.