An unbelievable reading experience. Fitzgerald is a master of language, with a facility for style that is unmatched. The way he could shift voice andAn unbelievable reading experience. Fitzgerald is a master of language, with a facility for style that is unmatched. The way he could shift voice and approach within the space of a couple of lines astounded me.
I read this book in my 20s and didn't really get it. It does require a little extra time on this Earth, I think, to fully grasp all that is happening. From the nuance of relationship to the demon of drink, this is a story of well-traveled experience. I'm also struck by how much the author took it on the chin by making his avatar, Dick Diver, the closest thing the book had to a villain. Clearly, guilt weighed on his own soul.
Much has been made for the emotion and sympathy Grant Morrison inspires with this unconventional story, but I am surprised I didn't hear more about thMuch has been made for the emotion and sympathy Grant Morrison inspires with this unconventional story, but I am surprised I didn't hear more about the revolutionary approach to violence that Frank Quitely employed for the book. The little panels are the equivalent of the ultra-rapid editing in current action movies. Astounding!...more
Coming out of any Renee French book is a process. As a reader, you have to re-emerge from her mindscape and slowly find your way back to lucidity. JumComing out of any Renee French book is a process. As a reader, you have to re-emerge from her mindscape and slowly find your way back to lucidity. Jump out too fast, and you might get the bends.
It's no secret I'm a huge fan of Renee's work. Editing her early career retrospective Marbles in My Underpants was the fuzziest of pet projects for me. That book marked the end of a certain phase of her career, and since then, I've been able to watch and read as a fan as Renee's cartooning has continued to roam into new and unexpected places. H Day reads like a delivery on everything she has done this century. In comparison, books like The Ticking and the oddly delightful Micrographica appear now as if they were bathroom mirrors fogged over by steam, and H Day is the reflection we find waiting for us when the glass is wiped clean.
To describe H Day seems kind of pointless. I am only going to make it sound literal, which is wrong and which kind of ruins it, but here we go: H Day is a dual narrative, at once physical and mental. French makes use of the printed book and its left-right capabilities. Open the comic and on one side, the even-numbered pages (verso), you have images of a human being at war with her own body, a migraine headache manifesting as a physical deformity that manipulates her and that she manipulates in turn. On the other side, the right-side, odd-numbered pages (recto), you have the story of a dark and foreboding city where ants are taking over, smothering the inhabitants and covering them in some weird cocoon of bandages. Within this narrative, you have a girl and her dog who get separated from each other and the dog's journey to find her again.
Flip back and forth between the pages, compare left to right and back again, and you will see movement, like watching a silent film on an old penny arcade viewmaster machine. Indeed, silent films came to mind throughout my reading of H Day, and not just because it's wordless. The city side is drawn in heavy detail, using lots of pencil shading and texturing to create a completely solid world. The blocky buildings, dark shadows, and imposing angles reminded me of the ambitious early cinema of Josef von Sternberg and Fritz Lang. The framing and construction are expressionistic and scary. In contrast, the headache side is drawn with less detail, the figures in pencil outline, the interior sometimes shown in x-ray. For anyone who follows French's daily sketch blog, certain images that seemed random once upon a time now make sense. Now we know why she was drawing those wicker baskets and traps.
The visual metaphors aren't overly complex on the surface. The headache girl's physical agony is driving the narrative of the city. You should hopefully get that right away. It's how the images develop, how the artist pulls you along and expresses herself, that is important. Complexities emerge, deeper meanings suggest themselves to you. Rational thought is your least effective tool for interpretation, you have to let the pictures work their magic. I actually read H Day as an advance pdf on my iPad, and so I was able to scroll back and forth, click through, move the drawings at my own speed, one picture morphing into the next instantaneously without any division. Too many avant-garde and abstract cartoonists are content to just play with the flow of images, to detail their hallucinations and the psychoses without concerning themselves with whether or not they ultimately communicate anything with their drawings. Renee French is in a class by herself; indeed, a class most cartoonists would do well to take. H Day schools each and every one of them. There is meaning here, there is feeling, Renee French never forgets that her audience wants to end up with something when they close the book. H Day is devastating and wonderful and the final images are too, too sublime. Dare I say, the conclusion is sentimental in the ways that people who decry all sentimentality forget that art should be? So many alternative cartoonists depict real life as caricature, whereas Renee abandons real life altogether and ends up being far more honest. For as “out there” as her stories and images always are, she never for a second stops being human.
If H Day doesn't dominate end-of-year lists in a few months, I'm done with the whole stinking lot of you....more
Very few comics have made me cry. This is one of them. The last handful of pages are masterful, as Scott Chantler reframes a scene we've visited severVery few comics have made me cry. This is one of them. The last handful of pages are masterful, as Scott Chantler reframes a scene we've visited several times before in the book, giving it new resonance and tying the whole narrative together in a way that packs real power. It's a brilliant example of thoughtful storytelling, emotional without being manipulative. But then, there isn't a pen stroke in this comic that isn't perfectly planned. Two Generals should be given to all prospective cartoonists as a tutorial on how to visually tell tales. Adhering to a strict layout based on a nine-panel grid, Chantler frequently relies on silence and small details to relate change, movement, and outward expression of inner thought and feeling. His pin-point eyes tell more about a character's internal conflict than most other comics artists manage when rendering a complete face. Also, his sparse use of color avoids gimmickry and instead conveys an added layer of meaning. The portentous use of the dark wine color that also adorns the cover of this handsomely designed graphic novel alerts us to deaths to come, like a more serious employment of the Star Trek red shirt. Except here, under the grim specter of war, any man is as expendable as any other.
Two Generals is based in large part on the diaries of the author's grandfather, a lieutenant in the Canadian army in World War II. Chantler's approach is, in some ways, "just the facts, ma'am," avoiding mawkish sentimentality; yet, he is not scared of nostalgia, humor, or genuine human connection. The comic also manages to honor the brave fighters without cheerleading or propaganda, in much the same way another visual medium, television, payed tribute to the soldiers in the miniseries Band of Brothers and The Pacific. I'm considering putting Two Generals on the same shelf as those DVD sets, even if it would fly in the face of my compulsive filing system. Someone get this novel in the hands of Tom Hanks, stat....more
The Siegels expertly render what it's like to grow up with a dream--all of the hard work and the obstacles, the things in life that threaten to derailThe Siegels expertly render what it's like to grow up with a dream--all of the hard work and the obstacles, the things in life that threaten to derail us, and the reward of passion. The comic book medium proves a good place to show dance, the art lightly moving across the page with appropriate grace....more