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Habibi

4.02 of 5 stars 4.02 · rating details · 10,930 ratings · 1,382 reviews

From the internationally acclaimed author of Blankets (“A triumph for the genre.”—Library Journal), a highly anticipated new graphic novel.

Sprawling across an epic landscape of deserts,harems, and modern industrial clutter, Habibi tells the tale of Dodola and Zam, refugee child slaves bound to each other by chance, by circumstance, and by the love that grows between them....more

Hardcover, 672 pages

Published September 20th 2011 by Pantheon

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Nov 04, 2011 Seth Hahne rated it 5 of 5 stars

Shelves: comics

A couple weeks ago, I read and reviewed Chester Brown's Paying For It , a book singularly concerned with separating love from sex. Brown forwards the idea that fewer problems arise if we segregate sex as completely as we can from the relational sphere. He does this to such an extent that he proposes that sex is a pleasure best paid for and made entirely transactional. It's not spoiling anything to say that Brown, as he represents himself in the book, is more wholly concerned with sex than he is...more

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Seth Hahne Thanks!

And yeah, I'd agree Thompson's history as an Evangelical fundamentalist and his current status a post-Evangelical atheist probably inform a lo...more Thanks!

And yeah, I'd agree Thompson's history as an Evangelical fundamentalist and his current status a post-Evangelical atheist probably inform a lot of his work. Ideological transition commonly crops up in the creative expressions of those who make that shift.

Sometimes, their works are governed almost entirely by the transition itself. Converts are often overly zealous in repudiation of where they came from or where they're going. Sometimes they're sympathetic to those who believe what they used to believe. Sometimes they're angry and hurt and their lives are marked for years by their reaction against what they believed.

Unfortunately, it's often difficult to discern the voice of the author from the voice of his characters or their narrative. I think Habibi, for all its complexity, is a remarkably difficult work from which to parse out Thompson's voice. Blankets, being more overtly personal, is much easier—but even then Blankets is a book of nostalgia and weltschmerz and is more focused on a Craig that was than it is on a Craig that is.

Looking at some of the kind of gross issues you point out, I think it's probably ultimately more satisfying to discuss them within their narrative stream than to figure out where exactly Thompson comes down on things (just because those waters seem too foggy a territory to accurately chart). I find Zam's interest in rescuing Dodola interesting because Thompson does two things to let us know he's in on the joke (if I may use joke here non-humourously):

1) For the first, he wraps Zam's protective interest up in Zam's possessive sexual desire (he, in part, wants to save Dodola because he himself desires her). Even Zam recognizes his protective interest as being not entirely pure. He objectifies Dodola and (if I recall) its his broken desire to rescue Dodola that ultimately loses her in the early half of the book; in seeking to provide for Dodola so that she no longer needs to visit the caravans, he abandons her to be kidnapped. (Forgive me if I'm wrong, it's been a year since I last read the book.)

2) For the second, Zam is clearly portrayed as an unsuitable savior at that point. His motive for rescuing her is impure and unfilial. Not entirely so, of course, he does cherish her as a kind of mother sister lover—but it's in his impure hesitation regarding the last of these that he shows himself imperfect. Whether correct or not, his conscience gnaws at him and tells him he's not properly respecting Dodola by his sexual interest. And even when one's conscience is messed up, it is still wrong to go against conscience—since conscience is our guide to moral duty, every breach of conscience is definitionally a moral breach. It's only when Zam can see his sexuality purely and without the aspect of possessive objectification that he even has the option of being suitable to rescue Dodola (within the narrative scope at any rate).

I'll be interested to see how you feel after you finish the book.(less)
Nov 29, 2012 10:49am

Seth Hahne I don't believe that the motivations for sex and love fall down binary lines like that. I know that both women and men will sometimes pursue sexual ex...more
Apr 15, 2013 08:55am

Jun 18, 2012 Teresa rated it 4 of 5 stars

Recommended to Teresa by: Nick Kives

This is a gorgeous book, from cover to cover and all the illustrations (and calligraphy) in between. I wasn't sure in the beginning that I would like it, but I quickly found I did, and then the pages turned quickly as well.

In the beginning, because of the age of one of the main characters at the start, I (naively?) thought the story was set in the past, but not too far into it, I realized the time is now. And because of that, the story is relevant, as regards the treatment of females, of those w...more

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Jan 31, 2012 Richard rated it 1 of 5 stars

I tried, really really hard I tried, but Habibi has defeated me. I simply cannot help myself, I put Richie Rich's face on the men and Veronica's on the women. Graphic novel remains, for me, a term of art without substantive affect on my vision. To me, they're comic books, and I didn't ever like comic books.

So sorry. I'll go now.

Rating: 4* of five

The Publisher Says: "My name is David Brandstetter. I'm a claims investigator for the Medallion Life Insurance Company." He handed her a card. She didn'...more

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Dec 12, 2012 Caro rated it 2 of 5 stars

Shelves: graphic-novels

It's just too bad. This book is conceived in a truly spectacular way, and visually, it succeeds and succeeds and succeeds. Even at its most whimsical and farflung, the stories of the prophets and the references to mysticism thread elegantly through the narrative. Thompson has a knack for portraying themes through symbolism in an elaborate, poignant manner.

The book was at its best, actually, during these side-stories. The basic narrative is, rather literally, fucked. The theme of the story is co...more It's just too bad. This book is conceived in a truly spectacular way, and visually, it succeeds and succeeds and succeeds. Even at its most whimsical and farflung, the stories of the prophets and the references to mysticism thread elegantly through the narrative. Thompson has a knack for portraying themes through symbolism in an elaborate, poignant manner.

The book was at its best, actually, during these side-stories. The basic narrative is, rather literally, fucked. The theme of the story is commodification, consumption, exploitation, and Thompson undermines all of it through his depictions of women. Dodola is exploited and raped again and again and again in a particularly unsettling manner: you can see that the narrative is grappling with some serious problems through these events, but she's also positioned in repellingly titillating ways as it's happening. Women are given plenty of excuses to be naked (and their bodies are generally given the same idealized shape); men are stuffed into formless drapery; and nobody has any kind of meaningful sex until the end. The last point would not be an issue if Thompson's treatment of sex left it at a point of convincing redemption.

It's not that exploitation, as a topic, is off-limits (and believe me I have SO MUCH sympathy for the environmental parallels he draws); it's the fact that you shouldn't engage in a practice you're actively condemning!

For instance, the scene where Dodola, as a nine-year-old, has compassion for her much older husband's vulnerabilities is moving and brave. What is not moving and brave is the way Thompson depicts her during this panel - naked, approaching him sexually - and the fact that this compassion manifests as (it's implied) "tending to his needs."

And this isn't even to touch the flagrant Orientalism. For a book so meticulously researched you'd think he'd at least know to avoid all those harem cliches. For god's sake.

So, so disappointing to see someone so talented fail in such a fundamental way. (less)

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Jan 16, 2012 oriana rated it 5 of 5 stars

Shelves: books-with-pix

I will hopefully write a real review of this, but in the meantime I put it on my CCLaP best-of-2011 list, and here's what I said there:

My hopes for this one were pretty low, as I'd found Blankets to be flaccid and hokey and saccharine and generally pretty boring. Habibi, though, is downright spectacular. The illustrations are absolutely gorgeous, complex and inventive and enthralling. The story is huge and sweeping, a sad tale of two people with insanely awful lives who find each other and save...more

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Jul 30, 2012 Luc Abdullah added it

Shelves: graphic, english, fiction

Dari segi ilustrasi, sangat menarik dan jalan cerita yang WTF tapi sakit kepala aku baca with all the theories of theologies crashing in my head.

Pada penghujung cerita, aku teringat filem The Skin I Live In. Tak sama pun, tapi serupa.

Craig seperti sangat menyukai kisah para nabi pembawa agama langit.

Kalau ditanya berbaloi tak baca buku ni? Berbaloi kerana ia memang WTF/
Kalau ditanya best tak baca buku ni? Iqra.

Bagi aku lah, buku ni paling saiko pernah aku baca. Kisah ngeri pun tak cukup saiko m...more

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Dec 03, 2011 Madeline rated it 3 of 5 stars

I don't usually read graphic novels, but on the recommendation of my roommate (and the fact that this is one beautiful-looking book) I started reading this. At first, I wasn't sure how to review it, because frankly I had a lot of conflicting feelings about it. Some parts I loved, some parts I hated, some parts I wonder if I just misunderstood. But it's okay, because that just means I was given an opportunity to write a review in what is, personally, my favorite reviewing style, which is:

THE GOOD...more

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Oct 23, 2012 Hanif added it

Shelves: graphic-novel-manga

For those who are new to Thompson's work, I strongly suggest you to read Blankets before Habibi. There's some kind of 'link' (perhaps) to why he came out with Habibi.

I'd like to give 4 or up to 5 stars for his impressive drawings, calligraphy and affectionate storytelling of two slaves, however considering to some offensive mixed up fiction and illustration together with prophet narratives, injection of cliche orientalist perspectives and other mumbo jumbos along the story line, it turned up to...more

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Sep 26, 2012 Mac rated it 3 of 5 stars

I can’t remember the last time my thoughts were divided so cleanly in half when considering a book I’d read. For every “so,” I had a “but” to countermand it. The synthesis of these opposing opinions, it seems, is a middling rating – but I wouldn’t say that it’s any sort of mediocre book.

So. The initial reaction I have, at a gut level (said gut having been conditioned by too much school and cultural theory), is to go running to find Edward Said’s ghost and show him what this guy did. How, really,...more I can’t remember the last time my thoughts were divided so cleanly in half when considering a book I’d read. For every “so,” I had a “but” to countermand it. The synthesis of these opposing opinions, it seems, is a middling rating – but I wouldn’t say that it’s any sort of mediocre book.

So. The initial reaction I have, at a gut level (said gut having been conditioned by too much school and cultural theory), is to go running to find Edward Said’s ghost and show him what this guy did. How, really, is this book anything but an Arab-fetish, taking all of the most base clichés about Islam and the Middle East (and India, and Africa, etc.) and turning them into a violent, debauched narrative of gratuity and sanctimony? And how dare Craig Thompson, some kid from Wisconsin, think he could sit down and tell this story, which clearly doesn’t belong to him. The T.E. Lawrence of the graphic novel, it seems – cultural appropriation at its finest. As though a trip to Morocco and some library research makes him some kind of expert – perhaps in the same way that every preening college student comes back from his study-abroad trip with a “totally new understanding of the world, man,” but surely not enough to write a 700-page book about it. Right?

But. Why is it that we feel as though a culture can only be explored by writers who belong to that culture? Didn’t we get a little tired of only white people living in New York on “Friends” and “Seinfeld?” Aren’t we usually disappointed when a writer fails to explore the world beyond the tip of her nose? Do we need a lengthy biography every time a writer releases a book, just to make sure he or she is qualified to examine whatever it is he or she is examining? I’m not convinced this is so – can’t a writer, in good faith, create a character of a different race than herself, or a different socioeconomic background, or a different religious heritage? If, instead of Islam, this story took on Christian Gnosticism as its subject and treated its characters in largely the same way, would this internal conversation even be taking place? Isn’t it the political context of the books release date dictating much of this questioning? And is it fair to judge a work of art on anything other than its contents – particularly its author’s background and the time period in which she writes? A lot of rhetorical questions here.

So. On the other hand, it still feels a little icky. The simultaneous condemnation of and titillation by the harem, the implicit accusation of primitive simplicity in contemporary humans, the moony acceptance and nobility (noble savagery?) of the main characters as they dreamily confront their fates – it all feels contrived and dishonest: sentimental. The author is going to teach his audience something, he’s going to be the one to make us understand the way life works in a completely generalized, non-specific “Arab World.” I keep returning to the lack of authority here, but even from a Muslim writer this would feel pretty exoticized.

But. It’s a fairy tale. Fairy tales take place in exotic worlds, and this one doesn’t actually exist on a map. Plus, there’s no way a writer releases a book like this in 2011 and doesn’t have some of these things in mind – but should he? By creating this world as he has, Thompson is able to explore a great deal more than just religion – the economic tensions and contradictions at work here are obvious, and he can expose the real causes of the brutality and ugliness he describes. It’s not that he condemns Islam, he just uses a representation of its cultural and political existence to tell a story and make a point.

I think that might be the key – he uses it. This is a story about the exotic East, not of anywhere. It’s a mythological world without any specificity to it, and it’s based on myths and stereotypes that originated in the West, and therefore feels false and sentimental. I use that word again because I think it’s important: we don’t have honesty here, we have sentiment, and the lack of honesty is what makes us cringe when we see yet another sleaze in a turban or fez force himself on Dodola (the erotic renderings of these scenes don’t help). Thompson may be trying to humanize a religion, he may be trying to show the shared origins of Islam and Christianity to a world of suspicious xenophobes, but his attempts are weighed down by his insistence on sentiment and cliché, and it’s very difficult to find the honest human story that exists beneath it.

All of that is to ignore the successes of this work, which are real and impressive. The art, it goes without saying, is outstanding. The arabesques that decorate backgrounds, the visual puns and plays that he makes with the Arabic alphabet are all fascinating and beautiful. Some serious, painstaking work went into this book, and certainly a great deal of skill. I think it’s also worth commending Thompson for his ambition – while he’s playing a dangerous game, and potentially stepping on some toes, there’s ambition here that one doesn’t always find in graphic novels (I’ve read enough about twee hipsters being sad and lonely while riding buses and trains). Globalization, exploitation of all kinds, misogyny, religion: these are weighty topics, and exploring them should be encouraged. The book is well-meaning and fearless, and that’s to be commended, even if its honesty is hamstrung by cliché.

However, I can’t walk away in an entirely positive mood. In a way, Habibi has a very dark message. If we strip away the context and focus on the text, we have a story about people. And while Zam, Dodola, and a few others (Noah the fisherman, e.g.) are more or less real characters, the book is almost entirely populated by rapists, thieves, and sadists. In some ways this highlights the small kindnesses that spring up here and there – bright spots in a field of darkness, which make them all the more moving – but in a much more troubling way it sends an implicit message about the darkness itself. While Thompson’s interpretation of Koranic stories and the interweaving of them into the narrative does serve a kind of liberal-tolerant agenda of normalizing the religion that, in the early 21st century, seems to scare Americans the most, placing it against this background is a complicated move, with (what one would hope are) unintended consequences: The effect is to say, ultimately, that it is not Islam that is evil, the real problem is the people who practice it.
(less)

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Sep 17, 2012 Kris rated it 4 of 5 stars

It's almost tragic that Thompson spent years drawing this book but I consumed it in an evening; the same was true of his earlier work, Blankets as well. But the thing is, though they read quickly, no detail is lost. And there is a lot of detail to look at, especially in this volume. If he spent six years or whatever drawing it, you can see it on every page. It is a visual treat. I also can't believe that Thompson doesn't actually know Arabic. Crazy.

I see online that I'm supposed to not like this...more It's almost tragic that Thompson spent years drawing this book but I consumed it in an evening; the same was true of his earlier work, Blankets as well. But the thing is, though they read quickly, no detail is lost. And there is a lot of detail to look at, especially in this volume. If he spent six years or whatever drawing it, you can see it on every page. It is a visual treat. I also can't believe that Thompson doesn't actually know Arabic. Crazy.

I see online that I'm supposed to not like this book because of Orientalism. And it is troubling, because he does rely on stereotypes at points; basically a lot of the Arabs are stock characters and settings, foremost being the slave markets and harems. But above all that is a discourse on the connections and similarities between the Judeo-Christian tradition and Islam. It's well-researched and thoughtful, perhaps reflecting the influence of his fundamentalist Christian upbringing and later rejection of it.

As for the love story... I was rooting for them to find each other, but at the same time I could see where the story was going to lead, even from the very beginning. Seeing that connection, so early, was a bit alarming/creepy, given that Zam was three and Dodola was twelve when they met. I could also predict certain other circumstances, which I will not go into. However, it was still so tragic and well-told that I really did want the best for both of them.

Perhaps my only point of contention was the sudden shift in setting; we move from a rather medieval setting to a modern industrial world. There are hints here and there, but it was still a shock. It was meant to be startling, I know, but with that change in setting the book also gains yet another plot line, another morality tale, in man's relationship to the world around him. The desert is polluted, the people are suffering, and tracts of dialogue are dedicated to the subject but with no resolution. There were certain things I was hoping to happen that didn't, and so I felt a tiny stab of disappointment. Which is how I felt about Blankets, honestly.

So: both beautiful books, but always so sad at the end. Sad because the tone is sad, sad because it's over, but also sad because it could have been more.(less)

6 likes · like · see review

Jenny Ng I've been passing up this book for the longest time. I wanted more Thompson after Blankets, but seeing the subject material of his new book intrigued...more
Sep 18, 2012 01:17pm

Kris Apparently Thompson wrote this book to assuage some post-9/11 guilt about Islamophobia. So it doesn't help that he relies on these old stereotypes to...more
Sep 18, 2012 09:10pm

Sep 20, 2011 Alex rated it 5 of 5 stars

I do not think I am unique in that I suffer from a problem in reading graphic novels; I try and go through them in one sitting and tend to focus more so on the text at the cost of not taking in the art--or vice versa depending on the work.

Having just read HABIBI in a single sitting I am both overwhelmed, and dare I say awed, by the scope of the story but also deeply disappointed in myself for not taking a significantly longer amount of time to make my way through this book. The story is, to borr...more

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Dec 16, 2011 Nnedi rated it 5 of 5 stars

I can’t recommend this book enough. This graphic novel is a testament to the fact that the physical book should never die. Habibi is a work of art full of Arabic calligraphy, bleeding pages and detailed imagery that is both Arab and African, modern and ancient. And equally as exquisite, compelling and daring is the book’s story of two slaves, one African and one Arab and how the world shapes, destroys, and evolves them. THE Best Book of 2011.

14 likes · like · see review

Dec 31, 2012 Eric rated it 4 of 5 stars

Shelves: graphic-novels

This is unlike any graphic novel I've read: on the one hand it is the harrowing and touching story of two young orphans in an imaginary North African kingdom that looks a lot like Morocco. It traces their relationship and the horrors of slavery and poverty that they experience. This brief description makes the book seem much more of a traditional narrative, which it decidedly is not. There are long, visually stunning passages on Islamic history and theology. There is a dream-like, non-linear str...more

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May 06, 2013 Luis rated it 5 of 5 stars · review of another edition

Este es una obra de arte brutalmente arrolladora, es majestuosa, impecable, tanto en sus dibujos como también en la historia que nos presenta.
La forma en la cual esta hilada la trama es sumamente inteligente e ingeniosa, muestra ambas caras de una cultura árabe en constante cambio, Habibi es una obra muy sincera, el autor trata con maestría el significado de varias cosas muy cotidianas, es una historia llena de sacrificios y crueldad, que gira en buena medida en torno a la culpa, pero también f...more

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Sep 29, 2011 Katiarai rated it 3 of 5 stars

Shelves: comics-graphic-novels

I think the review from The Guardian really explains my reaction to this book the best. The artwork is beautiful. But the lack of a specific location and time period really weakens the story and characters allowing neither to fully take off nor grow. So instead as I read I kept waiting to fully understand the scope of all that was happening and the reason it was written/drawn as it was only to find nuggets and glimmers without the satisfaction that existed in Blankets' fully developed concept.

T...more

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Feb 21, 2012 Sarah Pi rated it 3 of 5 stars

Shelves: comics

This is a difficult book to rate. If I were rating on the artwork alone, I would give it four or five stars. Thompson's penwork is outstanding. He has grown as an artist over the course of his career, and he started at a pretty decent level too. Gorgeous design work, beautifully composed panels. Not Thompson's, but the hardcover edition is itself beautifully designed and a pleasure to hold.
Unfortunately, I don't think the story is quite equal to the art. It's very good, probably better than my t...more

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Dec 05, 2011 Kelli Fisher rated it 2 of 5 stars

Shelves: comics

Habibi is a laboriously gorgeous comic, with beautiful drawings, inks and atmosphere. Ever since Craig Thompson announced it on his blog years ago, I had been really excited. I had loved Goodbye Chunky Rice, liked Blankets, and was sure that Thompson would craft a beautiful story with all the care that it would require.

It's a real shame that it's a hopelessly orientalist narrative with virtually every other *ism you can think of added in with bonus writing that really isn't that great. We spend...more Habibi is a laboriously gorgeous comic, with beautiful drawings, inks and atmosphere. Ever since Craig Thompson announced it on his blog years ago, I had been really excited. I had loved Goodbye Chunky Rice, liked Blankets, and was sure that Thompson would craft a beautiful story with all the care that it would require.

It's a real shame that it's a hopelessly orientalist narrative with virtually every other *ism you can think of added in with bonus writing that really isn't that great. We spend 672 pages with Dodola and Zam (sometimes also known as Habibi, other times known as Cham*) but, at the end, I can really tell you very little about either character. Dodola likes stories! She considers Zam her true child! That's really it. With Zam, all I can tell you is that he is in love with Dodola. That really is all I could tell you about his character.

And perhaps that wouldn't be so bad, if Dodola and Zam weren't the only characters that are given even the briefest amount of depth. Basically, every man excepting one is out to covet and salivate over female flesh, and even that exception has a moment when first introduced where it's unclear whether or not he would have done something to Dodola were Zam not to claim her as his. The women (the very few there are) are all sexualized with absolutely no autonomy. No, not even Dodola.

On the topic of Dodola, where do I even start. As a child she is sold to be a middle-aged man's bride, who rapes her (but also teaches her to read!). When her husband is murdered in front of her, she is sold into slavery (but that's where she meets Zam!). She escapes with a child to live in the desert, where she sleeps with the men in traveling caravans in order to get food. When she is raped, it is to cause trauma for Zam, and promptly thereafter she is captured to be a part of the Sultan's harem.

Yes, that's right. Captured. To be a part of the Sultan's Harem.

There, she gets a few servants to wait on her (black, of course), she gets pregnant and frets over what Zam would think of her, she sleeps with the Sultan to keep him enticed, which works for a while until it doesn't. She then gets thrown into a polluted river with the expectation of drowning her (along with a large amount of women the sultan throws away because he is ~bored~), where Zam rescues her and nurses her back to health. Afterwards, she lets Zam have "what he's always wanted~" and they start a sexual relationship.

Dodola has no autonomy in Habibi. She is almost always sexualized, but never does it seem to be anything Dodola herself controls. She makes mention of not viewing her body as her own, as it has always belonged to other men, and how her attempt to start a romantic relationship with Zam was phrased is made me sick. It wasn't about her wants, or needs, beyond that she wanted to bear Zam's child and she wanted to make Zam happy. Dodola never says that she wants to sleep with him other than as a means to an end, and the reader has no reason to think that she would want to be with him. Even her dreams and fantasies involve her naked with her back arched to expose breast and ass. The rape scenes are an attempt for righteous indignation and criticism, but how they are rendered is as much about romanticizing the act and giving the viewer a free pass to indulge as it is about damning. At one point I decided to start counting how many pages Dodola appeared sexualized or naked, but I lost heart after I got to 85 pages.

There's more, including making a butchery of the Hijra (also known as the third gender) wherein Zam becomes one and later intends to kill himself for having "wrecked" his body in front of God and Dodola PLUS some inexplicable bigotry where Zam, who has been raised completely separate from society goes into town and screams at the Hijra going around that they are filthy and unnatural*, or how the romance came completely out of left field and didn't touch on the emotional incest at all, but frankly thinking about this book more is upsetting. There are some nice comic layouts that flow very well, and the art is gorgeous, which is the only reason this book has that second star. I would not recommend this book to anyone.

*there is no explanation for the shifting names that I can recall
*which makes zero sense that someone removed from society would come in and immediately show bigotry. Confusion I could have understood, but vitriol?(less)

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Jun 11, 2012 Jenny rated it 5 of 5 stars

Shelves: league-extraordinary-dorks, read2012, around-the-world, graphic-novels-or-comics, location-saudi-arabia

Intense, beautifully drawn, moving, and I feel like I learned something. Not bad for a 'graphic novel.' I'm holding back on other comment until my "League of Extraordinary Dorks" book club discusses it.

Several tidbits from an interview with the author in a Boston Phoenix article were very illuminating:
"Habibi is set in a fairy-tale Islamic dystopia — half Blade Runner, half Arabian Nights."
This is true! It feels like the past and the horrible future depending on where you are.

"Each of Habibi's n...more

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May 18, 2012 Cyndi rated it 5 of 5 stars Recommends it for: Any fan of graphic novels

Recommended to Cyndi by: Goodreads Group

This was a winding journey through survival, desperation, sacrifice and ultimately to true love and companionship.

The artwork was sublime and ethereal. The story, though cruel, was redeemed by the overall beauty of the fight to survive and thrive in a world with only mythology to sustain you.

Although there were some very confusing elements to this story it was worth the finish.

My only problem arose from the fact that some of the tale was so sad that I had to take some breaks.

This was my first di...more

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Dec 23, 2011 Mala rated it 5 of 5 stars

FANTASTIC! -a mixture of Islamic stories in symbolism of the plot, a genuine story of survival, and stunning graphic designs that portray both emotions and linear concepts. After reading Habibi, .....I simply want to read it again! (and that doesn't occur often for me). I love the depth of feeling that Craig Thompson brings to Habibi. I definitely recommend this graphic novel to all "mature" readers (due to visuals of nudity, and some images implying a rape scene) and to all who enjoy reading ab...more

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Jan 21, 2012 Spencer rated it 3 of 5 stars

Shelves: comics

you know how cecil b demilles bible epics were both sanctimonious and salacious (look how wicked they are! - she is taking a softly lit bath in asses milk!) Well, this is the demille of graphic novels. Its epic in length, and overwhelmingly beautiful in its detail. It talks a lot about God, and it centers around a woman who has had a lifetime of negative experiences with sex. First as a child bride, then as a whore, then as the Sultans favorite, then as someone who falls in love with a eunuch. I...more

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Dec 04, 2011 sara ahmed rated it 5 of 5 stars

Shelves: graphic-novels, 18

I absolutely adore Craig Thompson and all his comics and illustrations. I could tell a lot of research was put into this, but not necessarily accurate research. I loved how the stories from the Quran were illustrated, but the only reason I can't give this 5 stars is because of the Prophets and Angels illustrations. I could have given this a 4 star and a half, but that's not possible.

The story, the illustrations, the characters, the dialogs, the brilliant brilliant calligraphy was beyond beautif...more

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May 04, 2013 Timothy Eklund rated it 4 of 5 stars

Habibi looks gorgeous. It really, really does. So much pen and ink flowing into so many figures and designs and diagrams across so many stunning pages, where even the copyright information is hand-scripted (I'm a sucker for handwriting, I must say). Just on the merits of a thing to look at, Habibi is worth a lot of praise.

And yet so much of the content is ugly. The inside cover depicts a (beautifully illustrated, of course) flow of trash and refuse, and the theme echoes over the course of the no...more Habibi looks gorgeous. It really, really does. So much pen and ink flowing into so many figures and designs and diagrams across so many stunning pages, where even the copyright information is hand-scripted (I'm a sucker for handwriting, I must say). Just on the merits of a thing to look at, Habibi is worth a lot of praise.

And yet so much of the content is ugly. The inside cover depicts a (beautifully illustrated, of course) flow of trash and refuse, and the theme echoes over the course of the novel. Dodola and Zam frequently find themselves as cast-off dregs of society, undergoing the worst life has to offer: rape, poverty, starvation, mutilation, racism, and on and on.

It reminds me very much of A Contract With God and Will Eisner's Tenement Stories, right down to the expressionistic illustrative style. Eisner's work and Habibi both depict life in a thoroughly seedy and grimy locale, where the characters are forced to grapple with ever-so strongly felt emotions concerning lust and shame and grief.

But where Eisner focused on the Jewish slums of New York, where he grew up, Thompson uses an oddly fictionalized fairy tale Arabic kingdom of Wanatolia, where Sultan's harem-palaces straddle hydroelectric dams and Westernized cityscapes. This makes the parable-nature of the story that much more clear, but it also made me feel disconnected in place. Whereas the sumptuous illustrations and calligraphy made me want to learn Arabic, I could never place exactly where actual Arabic culture ended and where Thompson's dream-scape of Wanatolia began. It was hard to separate the reality from the age-old story-telling conventions, the truth from the problematic caricature. Despite the whole work being drenched in Middle-Eastern cultural motifs, I never felt like I was actually engaging with another culture. It's not so much a story about that culture as it is one that uses that particular aesthetic. More Aladdin than Persepolis, if you know what I mean. And compounded with the bleak, grimy feel of the world, this can be problematic.

The book has a lot to say about sex and shame and such things, but I'd have to read it again and think about it more to really speak to that. The book often seems to leer on Dodola like so many male characters in the book do, and I'm not sure whether that really jives with the book's message, but like so many parables and stories, this seems like one where it takes some thinking to decide on an exact interpretation. If I had more time to keep it checked out from the Library, I'd be happy to dive into what it says about shame and sex and so on, and I'm probably going to spend the day reading various interpretations online. It's absolutely to the book's credit that there's something there to interpret and debate about, regardless of whether the ultimate message is agreeable (I'm not sure that it is, but we'll see).

Habibi is an absolutely beautifully illustrated book that tells an engaging story. Through the majesty of its artistry, the book compels you to unpack it, but what's there when you do can feel off-putting and unfortunate, particularly the book's use of Arab culture in a way that feels blurred and fictionalized. The kind of book that inspires lots of essays. For the illustration alone it deserves four stars.
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May 01, 2013 Thomas Waterton rated it 5 of 5 stars · review of another edition

Shelves: books-that-shaped-me, fiction, graphic-novels

This is going to be a long rambling review, but I can't help it. My mind is doing somersaults.

Habibi is not only the greatest graphic novel that I have ever read, but one of the greatest works of fiction in any medium. Visually, it is the most beautiful graphic novel that I have come across. But more importantly, style and substance are more perfectly matched than I have ever seen before in the medium. Much of the art it based on abstract Islamic styles which evolved due to a religious prohibiti...more This is going to be a long rambling review, but I can't help it. My mind is doing somersaults.

Habibi is not only the greatest graphic novel that I have ever read, but one of the greatest works of fiction in any medium. Visually, it is the most beautiful graphic novel that I have come across. But more importantly, style and substance are more perfectly matched than I have ever seen before in the medium. Much of the art it based on abstract Islamic styles which evolved due to a religious prohibition on representation, but there is also a wonderful interplay between word and image performed with Arabic calligraphy. The purely representative imagery is also beautifully done, building on the style Thompson had previously developed in Blankets.

Habibi is not just a test for the eyes, though. Since reading David B.'s comic Epileptic over Christmas, I have been searching intensely for another graphic novel that gave to its subject matter more than illustration. With Habibi I have found it. Not only is Thompson's use of Arabic techniques a revelation, but also his mastery of conventional techniques. The energy conveyed in Habibi's intricate panelling is palpable, its vistas are stunning and shocking, and its character design expertly walks the line between caricature and humanity. I cannot imagine how much of the book could have ever been replicated in pure text.

As for the narrative itself, Habibi is astonishingly ambitious. On my reading, which is by no means the only one, it is a history of flawed humanity enacted through the lives and settings of two characters, it is a study of the meaning of sexuality, and it is an examination of the cultural role of myth. None of these topics were denied the gravity that they fully deserved.

There is one elephant in the room, however. I am still not yet sure how I feel about the moral status of Thompson's appropriation of Arabic culture. The nature of Habibi, with its liberal usage of Islamic theology, Sufism, Arabic folktales, explicit content and social criticism, screams of a certain cultural distance. Even the most liberal Muslim might have reason to object to the "mix-and-match" approach taken here, especially since the author is a white American Christian from a conservative background. At times it does feel like a work about the Middle East by a Westerner and for Westerners. Some might say that it relies on a kind of exoticism or Orientalism. In the end, though, I see this as more of a metatextual rather than a textual issue - after all, I would feel no misgivings if Habibi was written by someone from an Middle Eastern background, which makes me wonder if I should really have misgivings at all.

As it stands, Habibi is a triumph of its medium, both in terms of technical skill and in novel contribution. You would be doing yourself a major disservice not to check it out.(less)

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Apr 21, 2013 Julia rated it 3 of 5 stars

Shelves: comics

Nadim Damluji wrote a great review/critique of Habibi that I read before reading the actual book. Now that I've read it, my review boils down to pointing to his review and saying, "Yes, this."

The only thing I'll add is that Thompson is fully in control of his artwork, but much less in control of his story, which aims for epic and ends up muddled. Habibi is huge for a graphic novel, but it's still not long enough to cover as much ground as Thompson attempts without dropping promising story thread...more

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Apr 20, 2013 Maura added it

Shelves: makebelieve

Admittedly, I was drawn into the work (sustained through completion) aesthetically & by way of formative vulnerabilities to the whole alchemical-spirit-transcends,-through-struggle,-its-conditions-of-dysfunction/adversity trope, as well as the one about spirits forged in broken places seeking out same in others. I'd like to say with honest confidence that I avoided mental & emotional enchantment at the hand of the story(teller), but the truth is that I needed help applying a critical len...more

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Apr 19, 2013 Mikko added it · review of another edition

This review has been hidden because it contains spoilers. To view it, click here. Zam ja Dodola ovat kaksi orpoa, jotka asuvat aavikolla. Vanhempi heistä, Dodola, kaapataan sulttaanin haaremiin ja nuorempi, Zam, lähtee perään ihmeelliseen suurkaupunkiin pelastustehtäviin.

Pidin tästä jopa enemmän kuin Blanketsista. Mielenkiintoinen kirja siinä mielessä, että sen kritisoijia tuntuu ärsyttävän yhtaikaa kaksi seikkaa: Toisaalta Thompson on heistä orientalisti, joka ihannoi ylenmääräisesti mystiikkaa ja huuhaata (kirjan mystiikkaa ja uskontoa käsittelevissä jaksoissa). Toisaalta t...more Zam ja Dodola ovat kaksi orpoa, jotka asuvat aavikolla. Vanhempi heistä, Dodola, kaapataan sulttaanin haaremiin ja nuorempi, Zam, lähtee perään ihmeelliseen suurkaupunkiin pelastustehtäviin.

Pidin tästä jopa enemmän kuin Blanketsista. Mielenkiintoinen kirja siinä mielessä, että sen kritisoijia tuntuu ärsyttävän yhtaikaa kaksi seikkaa: Toisaalta Thompson on heistä orientalisti, joka ihannoi ylenmääräisesti mystiikkaa ja huuhaata (kirjan mystiikkaa ja uskontoa käsittelevissä jaksoissa). Toisaalta taas itämaisuuden yli-ihannoinnin vastapainoksi kriitikoiden mielestä Thompson kuvaa arabit "toisina" ja "barbaareina" (kirjan nykyhetkeä kuvaavissa jaksoissa).

Toisin sanoen sen sijaan, että kahden erilaisen näkökulman näyttäminen olisi ennemminkin rehellistä ja tasapainottaisi kertomusta jonkinlaiseen välimallin totuuteen (paha ei saa palkkaansa, mutta ihminen voi kuitenkin selviytyä, toteaa kirja ajoittain), negatiivisesti suhtautuneille kriitikoille nämä kaksi näkökulmaa ovat karikatyyreja itsessään eivätkä täydennä toisiaan.

Se mikä on turhan monelta jäänyt huomaamatta, on narratiivin satumaisuus: "Ylimystifiointi" ja muut häiritsevät aspektit eivät ole jotenkin perustarinan mukaan limittyvää erillistä tarinaa, vaan osa samaa tarinaa. Mooses, Nooa, Abraham, Jeesus, Muhammad ja muut eivät ole vain mukana alleviivaamassa pointtia, vaan tarinan rakennuspalikoina, todellisina henkilöinä.

Thompson on itse vakaan kristillisestä taustasta (kuten satuttavan osuva ja kaikilla tavoilla rehellinen Blankets osoitti), joten hän kohtelee islamin mytologiaa kuin se olisi edelleen elävä totuus. Tätä voi olla monen sekularistisen lukijan vaikea sulattaa. Mystiikka kuuluu islamiin osaksi sisäänkirjoitettuna, halusi sitä tai ei. Sen sijaan esimerkiksi uskomukset UFO:ista hakemassa omiaan taivaaseen eivät kuulu kristinuskoon. Ateistin voi olla vaikeaa ymmärtää, että nämä eivät kaikesta huolimatta ole sama asia tai palvele samaa tarkoitusta, vaikka voivat kuulostaa yhtä huuhaalta.

Jos jokin tarinassa häiritsee, se on ennemminkin sen naivistinen ympäristöpoliittisen kannanoton ja kapitalismin kritisoinnin halu, joka menee pois hienovaraisesta ja merkityksellisestä mystiikasta kohti yliyksinkertaistavaa tolloilua. Toisaalta juuri sadunomaisuuden tähden teokselle antaa anteeksi tämänkin. Karikatyyrit kuten tarinan pääantagonisti, sikamainen sulttaani, kuuluvat myös itämaisiin satuihin eikä siitä pitäisi tehdä suurta numeroa jonkinlaisena rasistisuutena. Päähenkilöt ovat kuitenkin itsejään ja aitoja, heidän tarinansa on originelli.

Ja juuri karikatyyrisen ja satumaisen tarinan (sulttaani heittää jalkavaimoistaan kymmeniä järveen, koska on heihin kyllästynyt) kautta lukijan pitäisi ymmärtää ettei Thompson tee tässä statementtia islamista, vaan myös kristikunnasta ja itse asiassa koko nykyisen maailman tilasta. Tarina voisi tapahtua ihan hyvin vaikka Kiinassa, Argentiinassa tai Irlannissa. Arabimaailma on valittu miljööksi paitsi sen visuaalisten virikkeiden, myös sen murrosvaiheen vuoksi missä se paraikaa elää ja kiehuu. Olennaisena valinnan syynä myös islamin risteäminen ja samankaltaisuus kristinuskon kanssa.

Ja visuaalisuudesta puheenollen, kirja on kertakaikkisen upea - jos mahdollista, vielä hehkuvammalla tavalla mustavalkoisuudessaankin lukijan silmille ryöppyävä kuin Blankets. Yksityiskohtien, huolellisuuden, käsityöläisyyden ja hahmojen elävyyden tuntu huokuu valtavasta kirjajätistä lukijan kasvoille.

Juuri elävyyden ja yksityiskohtien takia Zamille ja Dodolalle tahtoo kaikkea hyvää heidän kilvoittelussaan maailmaa, muita ihmisiä ja itseään vastaan.(less)

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Mar 29, 2013 Heidi rated it 5 of 5 stars

Shelves: sarjakuvat

Tämä oli todella hyvä! Yhdistelmä riipaisevaa tarinaa, arabiankielen hämmästyttävää symboliikkaa (josta ymmärsin ehkä puolet), tuhannen ja yhden yön legendoja suoraan Koraanista ja välillä Raamatusta, runollisuutta ja vertauskuvia. Pureskeltavaa riittäisi pitkäksi aikaa. Kaikki tämä kerrotaan naisen kautta, joka on kaikkea muuta kuin islamilaisittain puhdas: hän joutuu myymään ruumistaan henkensä pitimiksi jo lapsuudesta asti. Tarina ja sen maailma olikin varsin julma ja armoton, muttei silti la...more

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Mar 16, 2013 John Beck rated it 5 of 5 stars

Shelves: reviewed, fiction, graphic-novels

http://andalittlewine.blogspot.com/2012/03/book-9-of-52-habibi.html

I finished Craig Thompson's Habibi last week, and I've spent that time trying to decide what to say about the graphic novel.

Epic is the first word that comes to mind. The two protagonists, Dodola and Zam, begin the tale as children living in an abandoned boat in the midst of a desert wasteland; later the scene shifts to a city that is a post-industrial wasteland. Everything in the world is wrong, and people are the problem. Thomp...more http://andalittlewine.blogspot.com/2012/03/book-9-of-52-habibi.html

I finished Craig Thompson's Habibi last week, and I've spent that time trying to decide what to say about the graphic novel.

Epic is the first word that comes to mind. The two protagonists, Dodola and Zam, begin the tale as children living in an abandoned boat in the midst of a desert wasteland; later the scene shifts to a city that is a post-industrial wasteland. Everything in the world is wrong, and people are the problem. Thompson does a fantastic job of pulling back on the drumbeat whenever his political/ social/ environmental message threatens to become to ham-handed. For any other writer, Habibi would represent an artistic pinnacle. But Thompson is not any other writer; I'll try not to hold it against him.

They survive on their ark because Zam has a talent for finding water, while Dodola trades sex for food from passing caravans. Dodola is Zam's foster mother, barely a teenager yet fully an adult, teaching the boy and caring for him above her own safety.

Sex is the only constant in Habibi's world- from the open chapter (recounting one version of Dodola's wedding night as a child-bride) through all Dodola and Zam's adventures and misadentures. I think Thompson wanted us to view Dodola as a strong character, someone who uses the only weapon she has in the world (her body) to her greatest advantage. And it is true that she uses her sexuality to get what she wants from merchants and sultans, but I found the repetition of the theme overwhelming and numbing. It's not that I dislike Dodola, but I find I pity her much more than I admire her. In that, she is an unusual heroine.

Sex is also a constant for Zam, whose youthful lust for Dodola confuses and shames him, who becomes a eunuch as a way to survive on the streets of the city and in an attempt to flee the confusion that Dodola inspires, who struggles to find a masculine identity when he winds up a slave in the same harem where Dodola is imprisoned and later when he finds himself unable to provide for Dodola financially, emotionally or physically.

In Habibi, Thompson plays with a number of themes: the art of storytelling; sexual and gender identity; the nexus of accountability, responsibility and morality. It is drawn in meticulously stunning black and white; it is packed with intense, intimate portraits of its characters, and the line between the characters and the calligraphic symbols that give depth to their mysticism is blurred often and elegantly.

Habibi is a great vehicle for a discussion of all these themes, but Thompson is laboring under the impossible task of following up on his masterful graphic novel memoir, Blankets. How do you top a book that was lauded as the book of the year, the book of the decade, that won the industry's highest awards for artistry, storytelling and originality? The truth may be that you can't. As beautifully rendered as Habibi is, it never hit me with the moments of gut wrenching honesty that Blankets did.(less)

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Feb 25, 2013 Helmut Barro rated it 5 of 5 stars

Shelves: comics

Hättest Du mal an Gott geglaubt!

Das erste, was einem bei diesem Buch auffällt, ist die opulente Gestaltung. Ein tolles Hardcover mit Prägung, feste Klebebindung, dickem Papier und sattem Schwarzweißdruck macht schon auf den ersten Blick ordentlich was her. Leider sind solche Gestaltungstricks oft genug Fassade für schwachen Inhalt (siehe Alan Moores The League of Extraordinary Gentlemen: Black Dossier); hier allerdings findet sich passend zum prächtigen Äußeren auch ein entsprechend prächtiger I...more Hättest Du mal an Gott geglaubt!

Das erste, was einem bei diesem Buch auffällt, ist die opulente Gestaltung. Ein tolles Hardcover mit Prägung, feste Klebebindung, dickem Papier und sattem Schwarzweißdruck macht schon auf den ersten Blick ordentlich was her. Leider sind solche Gestaltungstricks oft genug Fassade für schwachen Inhalt (siehe Alan Moores The League of Extraordinary Gentlemen: Black Dossier); hier allerdings findet sich passend zum prächtigen Äußeren auch ein entsprechend prächtiger Inhalt.

Die Geschichte um Dodola und Zam, ihrem "Habibi", ist eine tragische, voller Verletzungen, Zerstörung und Hoffnungslosigkeit. Direkt das erste Erlebnis, das der Leser mit Dodola erlebt, ist die Vergewaltigung, die sie als verkauftes Kind mit ihrem Ehemann durchmachen muss; dieser folgen viele weitere im Laufe der Geschichte. Prostitution, Sklaverei und Demütigungen werden ihr Alltag, dem sie nur durch ihren Freund Zam für gewisse Zeit entkommen kann. Doch selbst dieser Hoffnungsschimmer währt nicht lange, und Zam selbst hat dann auch seine Last am Leben zu tragen...

Grausig, wie stellenweise die Brutalität der sie umgebenden Menschen dargestellt wird; grausig, wie die Umweltverschmutzung einer verantwortungslosen Gesellschaft alles in den Abgrund zieht, während die gehobene Schicht in Prunk und Völlerei lebt. Umrahmt wird das ganze durch die Vergleiche mit alten arabischen Texten, dem Koran, alchemistischen Ideen, religiösen und mystizistischen Erzählungen, die ich äußerst intellektuell anregend fand und einen gelungenen Gegenklang zur emotionalen Erbarmungslosigkeit der Haupterzählung bieten, die ansonsten unerträglich wäre. So muss man als Leser neben einem dicken Fell auch die Bereitschaft für eine rationale Auseinandersetzung mit einem wirklich nicht als einfach zu bezeichnenden Inhalt mitbringen.

All das ist kein leichter Stoff, keine wirklich angenehme Unterhaltung. Für mich ist die ganze Geschichte aber bei "Habibi" zweitrangig, denn sie tritt hinter der unglaublichen gestalterischen Lust, die auf jeder Seite des dicken Bands spür- und sichtbar ist, weit zurück. Eigentlich jede einzelne Seite wartet mit ungewöhnlicher Panelgestaltung und überraschenden Details auf: großartig, wie die arabischen Buchstaben kalligrafisch über die Panels fließen, wie die äußerst detaillierten Muster das Auge hypnotisieren, wie die Haupterzählung und die alchemistischen Beschreibungen ineinander passen ohne auch nur fühlbaren Übergang. Begeisternd, wie manche Seiten voller abstrakter Einzeldetails ein rundes Gesamtes ergeben, dessen Zauber man sich nur schwer entziehen kann. Dabei sind selbst die krassen Szenen dieses Buchs nie plakativ oder sensationslüstern, und intime Momente, in denen die Charaktere ihre Seele offenbaren, rühren allein durch die dezente und einfühlsame Erzählung der Zeichnung.

Ein wirklich ungemein beeindruckendes Buch. (less)

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About Craig Thompson

Craig Ringwalt Thompson (b. September 21, 1975 in Traverse City, Michigan) is a graphic novelist best known for his 2003 work Blankets. Thompson has received four Harvey Awards, two Eisner Awards, and two Ignatz Awards. In 2007, his cover design for the Menomena album Friend and Foe received a Grammy nomination for Best Recording Package.

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Trivia About Habibi

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Quotes from Habibi

“You're more than a story.” — 21 people liked it

“They say a man's inspiration is visual, but for a woman, it's the narrative.

Abandon both the narrative and the visual. Close your eyes, measure your breath.

Dead weight is sloughed off, dust swept away, forms dissolve into one atmosphere.

The rib cage opens, the lungs fill, the breast rises.

Waves sweep up the body on their swell, rocking it rhythmically.

Feet planted, the back arches, the pelvis reaches forward.

Oxygen kindles a flame, sprawling through the belly, and gathering in a warm blaze.

The hand reaches to meet the sensation.

Calligraphy spills from the inkwell.

Open your eyes, sharpen your focus, and exclaim:

There are no separations.” — 17 people liked it

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