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Fantagraphics has been teasing something new from Daniel Clowes for a few weeks and now and here’s the official word: Patience, a new 180-page graphic novel from Clowes is coming in March 2016. It’s described as “an indescribable psychedelic science-fiction love story.” Certainly the art seems like a technicolor throwback to some of Clowes earlier genre-influenced work, as well as The Death Ray.
The book veers” with uncanny precision from violent destruction to deeply personal tenderness in a way that is both quintessentially “Clowesian,” and utterly unique in the author’s body of work,” the blurb continues. “This 180-page, full-color story affords Clowes the opportunity to draw some of the most exuberant and breathtaking pages of his life, and to tell his most suspenseful, surprising and affecting story yet.”
“Patience is the best book yet by probably my favorite cartoonist ever,” said Fantagraphics associate publisher Eric Reynolds, “and I can’t wait for people to have the chance to not take my word for it.”
The preliminary cover image, above, also recalls come earlier Clowes work, including the cover to David Boring and the splash pages to some of his Eightball work. But you’ll be able to check all that out for yourself when The Complete Eightball comes out in a few weeks. It’s good to have Daniel Clowes back.
By Daniel Clowes
180 Pages * Full Color * 7 7/8″ x 10 1/4″
The Tony Awards nominations are out today, honoring the best on Broadway, and Fun Home tied for most nominations with 12 (An American in Paris also got 12.) The musical, based on the Alison Bechdel graphic novel, was nominated for Best Musical, Best Score, Best Book, Best Director, Best Actor in a Musical (Michael Cerveris), Best Actress in a Musical (Beth Malone), three in the Best Featured Actress category ( Judy Kuhn, Sydney Lucas and Emily Skeggs,) Best Scenic Design, Best Lighting Design and Best Orchestration.
I was lucky enough to see this last week, and its deserving of every honor it gets, a truly mesmerizing and heartbreaking night of theater. If I had to pick one performance to call out it would be 12 year old Sydney Lucas, who is simply astonishing as Small Allison. Alison Bechdel’s memoir about her family life, family secrets, coming out and dealing with the past has achieved a cultural significance that no graphic novel save Maus has ever come close to.
Bechdel drew a brief but powerful coda to the Fun Home experience as a webcomic for Vulture.
And the NY Times profiles her and the strange experience of seeing your life turned into a musical::
“She is a curious human being, and she’s curious about herself most of all,” Ms. Malone said of Ms. Bechdel. “Even her look is all about telling the truth — no ornamentation, nothing pretty. She hates lies — lies and embellishments are what got her dad killed.”
Ms. Bechdel has no formal role in creating the musical, but checks in often, answers questions by email and offers the periodic note. She asked them to change one sentence, to make clear that her father, a fastidious home restorer and antiques collector, had used real William Morris wallpaper, and not an imitation.
By: Heidi MacDonald
Blog: PW -The Beat
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Girl in Dior has been getting great press worldwide for its depiction of one of the most influential premiere collections in fashion history, but there are a couple of classic superhero connections as well.
Sixty-eight year old fashion spoiler alert!
As Girl in Dior aptly depicts, the designer’s debut collection split the fashion world. For some, the longer length of the skirts in Christian Dior’s first collection in 1947 was a step backward, but what ultimately won the day was a sense that Dior had tapped into deeper, more vital currents in the post-war West. Besides changing the course of fashion for a generation and, along the way, mentoring his successor in innovation, Yves Saint Laurent, Dior inspired a description that immediately became synonymous with his designs and, over time, any revolutionary break from existing style: the New Look.
Girl in Dior beautifully depicts the entry of this phrase into the fashion lexicon. After noting the presence of legendary Harper’s Bazaar editor Carmel Snow in the front row, author Annie Goetzinger lavishly recreates the moment when, following the show, Snow uttered the phrase that solidified Dior’s place in fashion history.
If you’re reading this site, though, chances are that you’re already thinking that the New Look sounds mighty familiar.
It was, of course, the name famously — and not coincidentally — given to the modernization of Batman's appearance in 1964.
But that wasn’t the first time Dior’s New Look appeared in Batman comics – there’s also a reference contemporaneous with Dior’s early work.
Dior’s New Look garnered a lot of press in the U.S., from the revolutionary collections in the late ’40s to the Dior-mania of the subsequent decade and more. For our purposes, two articles in particular stand out: a January 1948 New York Times piece headlined “New Look to Stay, Expert Asserts” and Life Magazine‘s coverage of Dior’s latest “New Look” collection in February 1948.
To see how such stories influenced comics, we can turn to the June 1948 of Batman, which re-tells Batman’s origin and includes his epic encounter with his father’s murderer, Joe Chill. However, that’s not the only story in this book, which deserves a digital restoration in full on Comixology (hint, hint).
The landmark Batman #47 actually opens with a Catwoman story called “Fashions in Crime.” The tale begins with Catwoman breaking out of jail, only to hear herself mocked by other women as she walks down the street while wearing her civilian clothes:
“Hmmph! She’s wearing a short skirt! She doesn’t have the NEW LOOK!”
As the women go on to ridicule her for not reading the latest fashion magazines, Catwoman makes the painful realization that “since [she’s] been in prison, the style has changed.” But this also gives her an entrepreneurial idea: she creates her own fashion magazine, Damsel, along with a Damsel fashion TV program.
Months later Damsel is the hottest media empire in the fashion world, and the scene shifts to an older socialite, who, wearing an elaborate hat, notes that Catwoman-turned-Damsel-publisher-Madame-Moderne’s latest designer favorite is “a gown by Millie Karnalee.” Karnalee’s name seems odd, but at the time it would have made sense as a pun on the popular American designer Hattie Carnegie, the subject of the January 1948 New York Times piece. Carnegie, besides, ahem, adapting (i.e. copying) Dior’s “New Look” at a lower price for the U.S. market, also made a point of condemning the predilection of younger women not to wear hats.
And despite a nifty later scene wear Batman cracks the case thanks to his encyclopedic knowledge of fashion illustration technique, that’s where the story begins to diverge from the world of Girl in Dior.
Apparently the writers weren’t aware of the free samples and ample cashflow that would have been accrued to the publisher of the world’s hottest fashion magazine, because Catwoman proceeds to use her newfound high-society access to steal clothes and rob women at an exclusive fashion show. Not surprisingly, the scene at Catwoman’s show is rather different from the more modest Parisian runways of the time — in true 1940s Batman fashion, it features “giant needles … scissors … thimbles … and a huge sewing machine!”
Girl in Dior might not end with a fight on oversized designer props, but it is nonetheless a most enlightening read. I could go on, but I’ll leave that to an actual reviewer – ceci n’est pas une critique de Jeune fille en Dior.
Some anniversaries are painful to remember, and so is today’s: the 100th anniversary of the Armenian Genocide. A while ago we told you about a graphic novel about this event, OPERATION NEMESIS: A Story of Genocide & Revenge. The book is out now and in memoriam of those who lost their lives, here’s two illustrations from the book, one by Dan Panosian above and one by Harry Bogosian, below, a student of Paul Pope.
Bogosian’s father, director/monologuist Eric, has also written a book about the Genocide, also out now.
Harry Bogosian released a statement about his piece:
“Both sides of my father’s [actor, playwright, novelist, Eric Bogosian) family are Armenian. My grandfather’s side came over before the Genocide occurred, because even before, tensions and violence against Armenians was escalating. My grandmother’s side fled to America during the Genocide, and sadly my great grandfather who went back to get more family members was killed by the Turks…. For them, it was best to leave that painful history in the past. As I got older, my father educated me on what happened and showed me our history –in fact, the piece I drew for this graphic novel is modeled after a poster that hung for years on his office wall– but still for me it was all something ancient, with no contemporary ties….”
Harry Bogosian, cartoonist / illustrator NY, NY
Before 1995, Howard Cruse was best known as an underground comix artist, first coming to prominence with Barefootz
in the 1970s, with his editorship of Gay Comix
in the early 1980s, and then hitting a real stride with the Wendel
comics in The Advocate
throughout the '80s. Wendel
ended in 1989, though, and Cruse began a major new project, his first graphic novel, Stuck Rubber Baby
, released by the DC Comics imprint Paradox Press
. It gained notice and won awards, but never had the breakout success of something like Maus
or Fun Home
, though I would argue that it is at least close to equal in merit.Stuck Rubber Baby
is a true graphic novel — unlike many other books that get that label, it was not conceived in pieces or published serially; it was always intended to be a long, unified narrative. It tells the story of a man named Toland Polk, mostly through his memories of growing up in Alabama during the early 1960s as a white guy who doesn't really know what he wants from the world or his life, coming to grips both with the civil rights movement and his own homosexuality. Partly in an attempt to try to cure his gay desires, he ends up in a relationship with a fiery college student, activist, and singer named Ginger, and she becomes pregnant. Meanwhile, protests against segregation and racism are growing more and more ferocious, and the white establishment fights back, with tragic, horrifying results. Throughout it all, Toland meets queer characters of various races and ages, and finally decides both that political action is necessary and that he can't pretend to be heterosexual any longer. This primary story is framed as the memories of Toland thirty years later, apparently in a stable relationship with a man, living a solidly bourgeois urban gay life, but still haunted by the past. Other characters' stories and fates are woven through Toland's memories, creating a complex view of this past and his remembering of it.
I've had a weird relationship with Stuck Rubber Baby
over the course of its lifetime: I looked through it when it was first published and decided it wasn't for me; I read the whole book sometimes in the early 2000's and liked it but didn't really engage with it; I recently read it very carefully and closely, which led to something like awe. (The last time I had as powerful a reading experience was when I read J.M. Ledgard's Submergence
over a year ago.)
Many people I know — otherwise intelligent people of impeccably refined taste — don't like Stuck Rubber Baby
. Some claim to appreciate it, but to be put off by its artwork, which they invariably describe as ugly or "just plain bad
." The art is one thing that caused me to bounce off the book when I first tried to read it sometime in 1996 or 1997, when I saw it at the old Shakespeare & Co. bookstore on lower Broadway in Manhattan and spent some time reading through it. (I used to go there when I was bored, or wanted to get away from people, or just felt like hanging out in a bookstore. They were open till midnight and didn't seem to mind if I sat there and read without buying anything.) The images seemed to me then unappealing, cramped, dark. I was also put off by the story's historical setting — I didn't want to read about Alabama in the 1960s, I wanted to read about contemporary New York queers.
I returned to the book in the early 2000's when I found a used copy somewhere and was thinking about doing an essay on various literary representations of AIDS activism. Though not at all directly about AIDS activism, I suspected (rightly) that it was relevant to that topic. I never got far with what I was writing, though, as life and other projects intervened.
My most recent experience of reading Stuck Rubber Baby
was for a course on graphic narratives that I'm taking for my Ph.D. (this is my final term of coursework). It may have been that context that helped open up the book for me, since it required me to read it carefully and deliberately, but I think the more significant factor is simply age. Much of what concerned Cruse when he wrote Stuck Rubber Baby
is now of more concern to me than it was when I encountered the book earlier: questions of memory and experience, of looking back on youthful political awakening, of trying to save something of a younger self for the present age, of making sense of an upbringing in a place very different from New York City, of queer identity.
Queer, indeed. Something that struck me especially forcefully as I read the book this time is how well it captures the feeling of queerness in every sense of the word, even among friends and supportive family members, a feeling that is not only a matter of desire, but is also inflected by the pitfalls and obstacles of making sense of an individual identity within a group — knowing always that there will be something strange about you to anyone, no matter how similar they may seem in experiences or yearnings.
Perhaps that's why the art didn't bother me this time; indeed, for once the art seemed absolutely right for the material. The human figures look like mannequins or weird, plump wax sculptures. The pages are mostly cramped, the panels claustrophobic. (That effect is enhanced by the decision
to print the book in a small format so that it would be displayed on bookstores' fiction shelves rather than in the humor section. I think the art suffers for this, and it would be nice to have a larger format edition, but the cramped feeling is certainly heightened.) The shading often makes it difficult to distinguish skin tones, a powerful effect in a book about the civil rights era, where race seems so obvious and incontrovertible to the characters. Cruse draws an off-kilter world, a sometimes disturbing world, a world where cartoonish figures must find some way to reconcile themselves to very uncartoonish violence and horror.
It's an extremely talky book. The few panels without text stand out, and their presence inevitably feels either like a relief or a shock. The characters are constantly trying to talk their way through things, to find the right words, and more often than not they fail. At the same time, other characters wield words as weapons, with deadly consequences. Again and again, the book returns to ideas of representation and performance, of how identity, performance, and memory can merge or split. Sometimes words help, but often they do not — they accumulate, obfuscate, crowd out action and sight. It's significant that the book becomes more quiet at the end, as Toland finds ways to reconcile himself to the past, to move forward while preserving memory, to admit his own failures and horrors and not simply reduce them to stories he tells over and over again. Music weaves through his memories, and it is music that accompanies him in the end — "There's something I wanna show ya," he says, and the panels open up, the music weaves through the images, and we are left with the silent peace of a city snow storm.
I was struck during this reading at how easily Stuck Rubber Baby
moves through its characters' timelines, how well, for the most part, it prevents us from getting confused as stories are told within stories, memories within memories. The structure overall is basically linear for the major events, but within sequences (and sometimes even individual pages) the movement is more fluid and associational. We're set up for this structure right from the first page, which introduces many of the visual motifs that will reappear throughout the book: the Kennedys, protests, dead bodies... In the first three pages, we move from Toland as an adult in the mid-1990s to Toland as a child and young teenager to Toland and his sister shortly after their parents died in a car accident. The fourth and fifth pages then circle back to develop some of what was glimpsed earlier, then use this new information to bring in Ginger standing with Toland at the March on Washington, where she asks him, "Who're you lookin' at?" to which Toland replies, "Just someone I used to know." (Despite all their talking, what matters most often is what and how these characters look at the world. Also, what is shown and not shown: Cruse is very careful to depict some events and not depict others.) It's an exquisite moment, encapsulating so much of what the book wrestles with, giving poignance to a scene early in the story, and also beginning to develop the characters who will be central to the primary story.
One of the things that makes the Wendel
comics so delightful is Cruse's almost infallible sense of short story form. He produced those comics very quickly, often right up against deadline, and yet more often than not they have a balance of elements that produces far more resonance than many longer works. Reading Stuck Rubber Baby
, you would hardly know that Cruse had never before written any comic much longer than 10 pages, and he melds his short story skills to the longer form by allowing the flow of memory to guide the overall narrative, and so the various short sequences can all work separately on their own toward the larger goal, allowing the book as a whole to leave and return to sequences much as the Wendel
comic did, though now when he wrote it, Cruse could edit both backwards and forwards in a way he could not do when publishing a new installment every couple weeks. Thus, Stuck Rubber Baby
has a far more intentional, unified form than the Wendel
collections. (That said, the Wendel
collections are more fun — their improvisatory energy is, for me at least, pure delight.)
Cruse began the Wendel
comics just as people began to recognize the full horror of the AIDS crisis, and reading Wendel
in chronological order is a particularly powerful experience because what begins as a light, slice-of-life comedy can't help but reckon with life in an ever more terrifying world, a world of yuppies and Reagan and plague. There's a remarkable Wendel
comic from the fall of 1987 in which Wendel and friends go to a big AIDS demonstration in Washington. The majority of the story is given over to a song by a character named Glenn, who has taken on the responsibility of entertaining everybody on the bus from NYC to DC, and who is, he says, wearing the same gown he wore during the night of the Stonewall riots. The comic ends thus:
Cruse doesn't typically use photographic images in his comics, but here reality invades in the form of the Reagan administration and its cronies. The place and date are specific, and the sense of historical continuity is strong — by having Glenn wear the clothes he wore during the Stonewall riots, Cruse insists on the importance of the current moment for gay history and gay liberation.
AIDS is not explicitly mentioned in Stuck Rubber Baby
, but it's an integral context for the story. The book was published before the advent of the drug "cocktail" that helped make HIV, for some people, a chronic, manageable disease rather than a death sentence. Gay people of all backgrounds and beliefs had to come together for political action because their lives were on the line. Silence equals death. Cynicism equals death. Complaisance equals death. In Stuck Rubber Baby
, Toland learns a similar lesson. The connection between Toland's world in the 1960s and his world 30 years later did not need to be spelled out to readers in 1995, and the only reference making the connection is a single, tiny, unobtrusive image in a small panel on page 207:
Behind the picture of Ginger holding the baby before it is given up for adoption hangs the iconic "Silence = Death" ACT UP poster
.Stuck Rubber Baby
is, then, a story of political awakening, but it was written as a call to consciousness, not a comforting nostalgia trip. In the mid-'90s, it was hard to maintain hope. Bill Clinton did not seem to be a significant improvement over George Bush on AIDS policy or gay rights, the Catholic Church was still vehemently anti-gay and anti-safe-sex (I participated with ACT UP in a small protest against the Pope's visit to New York in, I think, 1996), and progress still seemed far off.
Coming of age queer for my generation meant assuming that you had a high risk of dying young. I think one of the reasons I found Stuck Rubber Baby
so powerful when I read it this time was that Toland's struggle against his homosexual desires, his fear that they were not just aberrant but deadly, and his experience of people being killed because of those desires, connected with my own memories of coming to awareness of desires that in all likelihood would lead to a terminal disease. Because of the AIDS crisis and because of how that crisis was represented in the news media and spoken of by the people I knew, queer identity felt to me like a doomed fate. Though I still carry traces of that feeling, and will probably never shed it, given that that was how I first learned to see myself, it doesn't stand in the foreground the way it used to, it doesn't create as much of a sense of being inevitably besieged, of needing to live fatalistically, of forgetting about any future. There is a chasm between that mid-'90s world and now, even though so much of the mid-'90s feels to me like it was just a couple years ago. Toland seems to feel that way about the '60s: he carries its traces and hauntings inside himself, and it isn't until the end that he learns what to do with it all. I'm still learning, myself, what to do with a sense of lived history, when what feels like yesterday also feels like multiple lifetimes ago, and when the terrors of youth still sometimes scream out in the quiet night of adulthood.
By: Heidi MacDonald
Blog: PW -The Beat
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By Nick Eskey
The guys of CME in front of “Deadeye”
Known for being the fan favorite of major conventions, with its relaxed nature and lines, WonderCon has been gaining in popularity over the last few years.
For this last WonderCon, I was a little underwhelmed with the pick of panel selections, so I decided to spend more time on the sales floor than I usually do. The diversity of vendors, artists, and publishers gathered here are always wonderful to see and explore. During my long exploration, I came across a few booths that I felt deserved a shout out.
C.M.E. (Creative Mind Energy LLC): I’ve seen these guys for a few years now, at both WonderCon and Comic-Con. Every time I do, it’s a great pleasure. CME is a
Design Studio Press
family business that come up with original creative content for various avenues, such as print, television, movies, and video games. The artwork of their comic books are so unique, featuring beautifully, hand drawn scenes. The work stands out and makes a name for itself. One of their latest works, Deadeye, will be coming out this June. Find a copy for yourself. [http://creativemindenergy.com/]
Design Studio Press: This publisher has been around for 15 years. The level of workmanship in each book shows why they’ve been around this long. Design
Studio Press’s content is mostly beautiful reference materials for making art and designing. A couple books of theirs that really impressed me were “How to draw” and “How to render.” Each one’s a thick piece of work; highly detailed, lots of pictures, and very simple to follow. But what really was impressive is that if you download the company’s app on your phone, and train the camera on certain pages, an AR tutorial will appear on the paper, including more than what is there. This is truly the next step in books and technology. [http://designstudiopress.com/]
Abraham Lopez himself
Abraham Lopez: A picture is worth a thousand words, so goes the saying. This artist’s work is indeed worth that many words, creating a hilarious work of fiction. Using a combination of comic and Disney characters, his drawings place them in farfetched, but yes very amusing scenes and situations. During the entire convention, his booth was consistently surrounded. I myself had to buy a few of his prints. They are just that good. But beyond their subject matter, his art is well done and polished. [http://artistabe.deviantart.com/]
Even though WonderCon is over, still check these guys out. They all deserve some patronage in my book. I’d love to see them again at this year’s SDCC.
After several months of waiting, my turn for Roz Chast’s graphic memoir Can’t We Talk About Something More Pleasant? finally came round. It was worth the wait.
You may already know what it is about. Chast’s parents were aging and she tried several times to talk to them about what they would want to do if something happened. Of course no one likes to think or talk about these sorts of things and trying to talk to your parents about it, especially when they don’t want to talk about it, is no easy thing. So Chast’s attempts went nowhere. And her parents continued to age and everything was fine until it wasn’t.
In their early 90s and becoming more frail, unable to keep the apartment clean and relying on a friendly neighbor to pick up things from the grocery store for them, it was only a matter of time before something happened. The call came at midnight. Chast’s mom had fallen while trying to stand on a ladder to change a light bulb. The fall had actually happened a few days before and she refused to go to the doctor. Nothing a little bed rest couldn’t fix. Until she couldn’t get out of bed. While Chast’s mom spent a few days at the hospital she had her father stay with her and her family. It was then she noticed her dad’s mental acuity was nowhere near what she thought it was. Her mom had been taking care of him and covering up just how bad he had gotten.
Thankfully, her mom was not seriously injured. But it was the beginning of the long decline. After more incidents Chast managed to convince her parents that they needed to move into assisted living. It was a nice facility where they had their own apartment and Chast, her husband and kids were nearby and could visit them frequently. Still, the parents did not go willingly.
The memoir is well told with humor and compassion. The art is cartoon-y but expressive. Chast’s story is the story of so many others that it is no surprise really why the book is so popular. I have family members who have had to take care of their aging parents. I have friends who are in the midst of taking care of theirs. It is not easy and our society doesn’t help make it any easier. Care facilities cost astronomical sums of money. Chast’s parents had scrimped and saved their entire lives and it only took a couple of years before they had nearly run through all their savings. Is that what we work all our lives to save for? Not retirement, but to pay for decent end-of-life care? And what happens when the money runs out? What happens if you have no one like Chast to look out for your best interests when you are not able to? It’s a scary prospect.
Growing old sucks. But the thing is, I don’t believe it has to. I don’t know how to change society and culture so that the golden years truly are golden right up to the last breath. But it is definitely something that needs to change.
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Tagged: Roz Chast
It’s been way too long since we’ve heard from Dan Clowes, Shia LaBeouf aside, but the pile of what appears to be artwork in the above tweet suggests he hasn’t been idle.
Clowes’ last work was Wilson, which came out in 2010. (collected versions of Mr. Wonderful, his NY Times comic, and The Death-Ray came out in 2011. In the intervening years he’s been busy with some Hollywood stuff, a major art retrospective and, of course, the Complete Eightball, which is finally coming out in June, squeeee. In 2011, he alluded to a new longer book:
I’m kind of working on a bigger, longer book that I don’t want to talk about or it’ll jinx me. The minute I say, “Oh, I’m doing this,” then the next day I’ll realize I don’t want to do it and I’ll look like an idiot. I’ve done that so many times where somebody will call me up and I’ll mention it one time because I’m excited about it and of course it falls apart and I’m stuck explaining myself for the rest of my life.
In other interviews, Clowes alludes to beginning and abandoning a graphic novel about Hollywood, so this maybe isn’t that but…hey whatever it is, it’s exciting! And only a year to go!
On another note, this marks Clowes’ return to Fantagraphics after some adventures afield with D&Q and Random House. There’s probably a lot more analysis to be made about all that, but we’ll save it for when more than a teaser image is revealed.
Let’s talk about This One Summer. I know many of you have already talked about it, and I’m sure some of those conversations have been very interesting. As a member of the 2015 Caldecott Committee that chose This One Summer by Mariko & Jillian Tamaki as an honor book, I’ll try to clear up some points that have lead to questions. According to the Caldecott definitions, “’A picture book for children’ is one for which children are the intended potential audience. “Children are defined as persons of ages up to and including fourteen and picture books for this entire age range are considered.” (Caldecott Manual, page 10) The Expanded Definitions also says, on page 69, “In some instances, award-winning books have been criticized for exceeding the upper age limit of fourteen. If a book is challenging, and suitable for 13-14 year-olds, but not for younger readers, is it eligible? Yes…” Yes, this book is for older readers. Here’s an interesting look at that question in Travis Jonker’s interview with the Tamakis.
This One Summer is a coming-of-age story about a girl entering adolescence and both appeals to and is appropriate for young readers age 12-14. Twelve, thirteen and fourteen year-olds fall well within the scope of audience for the Caldecott Medal and Honor books. Although this book is challenging in many ways, the committee found it to be “so distinguished, in so many ways, that it deserves recognition” as well as “exceptionally fine, for the narrow part of the range to which it appeals, even though it may be eligible for other awards outside this range.” (page 69 – Caldecott Manual). There are many people who do not realize that the Caldecott terms include books for older readers. I see this as an opportunity for us, as ALSC members and librarians, to deepen understanding of the award.
Committee member Tali Balas add sticker to the book. Photo by Angela Reynolds
According to The Caldecott Manual, a “picture book for children” as distinguished from other books with illustrations, is one that essentially provides the child with a visual experience. A picture book has a “collective unity of storyline, theme, or concept, developed through the series of pictures of which this book is comprised.” (page 10) The committee followed this definition closely, and This One Summer shows, through pictures, a collective unity of all three, with particular strength in storyline and theme. Graphic novels certainly provide us with a visual experience. The Comic Book Legal Defense Fund has a great article on using This One Summer in a classroom, which you can read here, and a “make your case” article for adding it to your collection here. And for those of you who are graphic novel fans, don’t miss this podcast with Mariko Tamaki. I love how she talks about the images being like paragraphs.
The Caldecott Committee, as directed by the manual, considered each eligible book as a picture book and made our decisions based primarily on illustration. The committee gave This One Summer an honor because of its excellence of pictorial presentation for children, as defined in the manual. If you haven’t seen it, take a look at the amazing use of just one color. Jillian Tamaki creates mood so vividly with her washes of indigo, deepening the shade when the plot gets darker. The story has much to do with water; the monochromatic blues remind us just how changeable a lake (and an adolescent girl) can be. The images in the book intertwine and play with the words, creating an authentic summer experience. I just love the image on pages 70-71 where Windy is dancing around the kitchen. It shows her personality, and Rose’s, perfectly: setting up the tension of youthful energy and quiet contemplation. There are many images throughout the book that give us this deeper insight. Go looking for them. They will astound you.
*Special thanks to fellow committee member Sharon McKeller for help with this article.
The post Let’s talk about Caldecott: This One Summer appeared first on ALSC Blog.
Jay Hosler's new graphic novel The Last of the Sandwalkers is not going to grab everyone, but for the right audience it is absolutely terrific. You're going to love it if you like comics, science, adventure and humor.
The Last of the Sandwalkers
by Jay Hosler
First Second Books, 2015
Your local library
*best new book*
Hosler drops readers into the middle of the age of New Coleopolis, the world of beetles where nothing exists beyond their protected oasis. You see, Old Coleopolis was destroyed over 1,000 years ago when the god Scarabus obliterated it with a barrage of coconuts. And yet Lucy, an intrepid young researcher (the sandwalker beetle from the title), is sure that life exists beyond the oasis.
Lucy sets out on an epic quest to prove that life exists in the great world beyond. She is accompanied by Raef, a pun-loving firefly, Professor Bombardier, the wise level-headed elder of the group, and Mossy, a giant Hercules beetle. One disaster strikes after another, as Lucy and her friends confirm their hypothesis and then try to make their way home.
Ajani, an Emerson 5th grader who's avidly read science nonfiction as well as all types of comic books for years, started off our conversation about this saying, "I wish they'd make another one." Ajani's favorite character is the firefly Raef.
"Half the reason is he's a frickin' robot, shooting laser beams at 'Dyna-soars.'" -- 5th grader Ajani describing why he loves Raef
Hosler's humor is sophisticated, layered and yet totally accessible. Ajani loved that the Dyna-soars were birds (they'd look like giants if you were a beetle!), and he definitely got the reference to birds being descendants of dinosaurs. But he also picked up on Raef's character traits, protecting himself and his friends out of steadfast loyalty.
|Lucy & friends try to escape from the "Dyna-soars"|
Hosler, a biology professor at Juniata College, weaves scientific information throughout the story, but this just adds to the wonder and fun of the adventure. As he states on his website
, his goal "is to use the compelling visual power of comics to illustrate the alien worlds that often go unnoticed and unappreciated." My favorite character is Professor Bombardier, so I was thrilled to have Hosler visit for this blog tour and tell us a little more about the Bombardier beetle.
Character Name: Professor Bombardier
Species: Pheropsophus verticalis
Length: 10-13 mm
Color: Mostly dark brown elytra with orange/broan markings.
Habitat: woodlands or grasslands
Superpower: Flaming-hot chemical spray
Many beetles are capable of storing nasty chemicals in their body and secreting them as a means of deterring the unwelcome attention of predators. The pioneering chemical ecologist Thomas Eisner talks about many of them in his book Secret Weapons. The bombardier beetle, however, is probably the most impressive. It has two reservoirs in its abdomen that contain reactive chemicals. When it is disturbed, it releases the chemicals into another chamber that is lined with enzymes. These enzymes initiate a series of chemical reactions. The result is the build up of a blazing hot, extremely irritating concoction that the bombardier beetle can spray at any nuisance that gets on its nerves.
Whipping up such a nasty elixir qualifies the bombardier beetle as a world-class beetle chemist, but it’s also quite a marksman. There is a tiny turret at the tip of a bombardier beetle’s abdomen that it can aim in 360 degrees. When sufficiently annoyed, these beetles will spray their calamitous cocktail in a series of short pulses. A steady stream of chemicals could be hazardous to the beetle’s health. The turret actually cools slightly between pulses and this prevents the beetles from cooking their own abdomen. Sounds far-fetched, I know, but don’t take my word for it. Sir David Attenborough will show you the whole amazing display in this video.The bombardier beetle has also rubbed elbows with some of the great scientists of our time. Charles Darwin even mentions one in his autobiography. Apparently, he was out collecting beetles when he came across a particularly fascinating specimen. Unfortunately, he already had a beetle in each hand. Undaunted, he popped one of those beetles in his mouth for safe keeping so that he could pick up this third specimen. Much to his dismay, he quickly learned that the beetle in his mouth was a bombardier and the repellent experience distracted him so much that he lost all three beetles.
|Bombardier beetle (courtesy of ABC News)|
In Last of the Sandwalkers, Professor Bombardier plays an important role as the guiding hand of our team of intrepid explorers. But don’t be fooled by her patient, genteel demeanor. Threaten her friends and you just might be on the receiving end of a scalding chemical scolding.
Find out more information about the Bombardier beetle here:
Many thanks to Jay Hosler for sharing such a terrific story and great background information. I know this is a graphic novel that my science-loving, comics-fans will read again and again and again.
Make sure to stop by each of the post for The Last of the Sandwalkers blog tour
. Hosler will share information about different characters at each. The review copy was kindly sent by the publisher, First Second. If you make a purchase using the Amazon links on this site, a small portion goes to Great Kid Books. Thank you for your support.©2015 Mary Ann Scheuer, Great Kid Books
Summary: Horror fans take note: if you're a fan of, say, Holly Black, Neil Gaiman, Edgar Allan Poe--you will not want to miss this graphic novel compilation of spooky tales by webcomic artist Emily Carroll. It's beautiful, and frightening, and... Read the rest of this post
Summary: Told through the eyes of a grandmother recalling her childhood during the Nazi occupation of Paris, this story takes the wrenching events of the Holocaust and shows how important it is to remember our history and set it free so that the... Read the rest of this post
Les Miserables The Epic Masterpiece by Victor Hugo, Retold and Illustrated by Marcia Williams. 2015. Candlewick. 64 pages. [Source: Review copy]
It has come to my attention that you citizens known as "Les Miserables" believe that your wretched state of poverty and hunger is an excuse to flout the laws of France. You are mistaken. Every citizen must obey the law, and those who fail to do so will be punished.
Not a loaf of bread nor an apple from a tree will go missing without my learning of it. I will hunt down every criminal--rich or poor. The law shows no discrimination and no compassion.
I also warn all members of the revolutionary republican group "Les Amis de l'ABC" that your days are numbered. Should you seek to lead the miserable underdogs of our society to repeat the Revolution of 1789, you will fail!
The true citizens of France will not support you, and France will never again be a republic. King Louis XVIII is our monarch. He and the laws of France must be obeyed.
Les Miserables is one of my favorite classics. I love, love, love it. So I was quite excited to receive a review copy of this adaptation of Victor Hugo's classic. What did I think of it? Well, I liked it very much. At the very least, it does as good a job as any movie adaptation I've seen in capturing the story and the characters. So if you're looking to enjoy the story in its most basic form, this picture book adaptation wouldn't be a bad choice. Or, if you're looking to share this one with young readers, perhaps before seeing one of the movies, this one would be a fine choice.
I love the story. I love the characters. And Marcia Williams does a good job at remaining faithful to the story and the characters, of capturing why the story matters. The story is told through narration and dialogue (speech bubbles).
That being said, while it is a much shorter read--I read it in one sitting--it is not as wonderful as the original. One could argue it is more straightforward and focused and that it doesn't ramble. It doesn't have thousands of asides that take readers away from "main" story. But there is something beautiful in the original, even in the rambling. One of the things that I love most about original novel is the richness of it--the beauty of the language, the richness of the writing, the great attention to humanity. That is lost in this adaptation for the most part.
© 2015 Becky Laney of Becky's Book Reviews
By: Betsy Bird
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Lost in NYC: A Subway Adventure
By Nadja Spiegelman
Illustrated by Sergio García Sánchez
TOON Graphics (and imprint of RAW, Jr.)
On shelves April 14, 2015
While I’m aware that public transport was invented to meet the very real needs of urban commuters, when you’re the parent of a city child you can be forgiven for taking an entirely different view of things. Simply put: subways were created for the sole purpose of amusing children. How else to explain the fun maps, bright colors, and awe-inspiring bits of machinery? We already knew that kids loved trains. Now put those trains underground. That’s just awesomeness redoubled. Here in New York City a certain level of excitement about subway trains is almost required of our kids. Yet when it comes to books about the subway system, it’s often disappointing. Either it’s too young, too old, or like Count on the Subway by Paul DuBois Jacobs it gives the subway lines the wrong colors. Sure Subway by Christoph Niemann is the gold standard, but what can you offer older metro fans? Lost in NYC by Nadja Spiegelman hits that sweet spot for the 6-10 year old crowd. Visually stunning (to say nothing of its accuracy) with abundant factual information wriggled into every available crevice, you don’t have to be a New Yorker to enjoy this book (though, boy, does it sure help).
When you have a father that moves your family all over the country, it can be easy to disconnect from the places you briefly live. So when Pablo enters Mr. Bartle’s class on the first day of his new school, he rebuffs cheery Alicia’s attempts at friendship. On this particular day the class is taking a field trip to the Empire State Building. Pablo learns about the subway system that will take the class there alongside everyone else, but when he and Alicia are inspecting a map on the subway he’s briefly confused and takes her with him onto the express 2 train and not the local 1. Now separated from their class, the two kids start to fight and next thing you know they have to find their way back to their classmates entirely on their own. Backmatter and a Bibliography of other subway resources appear at the end.
I’m an adult so after reading this story several times you know whom I feel most sorry for? The teacher, Mr. Bartle. Here the man is, taking his class on a routine subway trip, and along the way he loses two of them at the very first stop. A common New Yorker nightmare is the idea that you might lose your child on the subway. Yet in Spiegelman and Sánchez’s hands it’s a nightmare turned into an adventure. It’s the same reason From the Mixed-Up Files of Mrs. Basil E. Frankweiler continues to be read. For children, the thought of being independent in a city as vast as NYC is as enticing as it is horrific. Spiegelman does give Pablo a native guide for the first part of his journey, but pretty soon they two are separated and he has to make his way on his own to his group. This is by no means an interactive book, but I had to withhold a scream when Pablo jumped the 7 train at 42nd Street. He’s lucky he asked for traveling advice as early as he did, else he would have ended up in far distant Queens relatively quickly.
Spiegelman’s writing holds up for the most part. It’s a slim story, clocking in at a mere 52 pages which is only slightly more than your average picture book. Some of that is rounded out with the backmatter too. Filled with history and brimming with photographs, engravings, and other stunning images, Spiegelman outdoes herself with the information found there. For certain subway buffs, the info included (with sections like “Why Are There No H, I, K, O, P, T, U, V, W, X, or Y Trains?”) will be particularly pleasing. However, when we look at the story in this book by itself, it does come to a rather abrupt halt. Pablo spends the greater part of the story declaring that he doesn’t need friends. He parts from Alicia on angry terms, yet when the two are reunited they act like the best buddies in the world. I wasn’t quite sure where the switchover on this relationship occurred. Otherwise, everything seems pretty certain and consistent.
Not all subway books are created equal. I remember years ago encountering a NY subway picture book where a normally elevated stop was pictured in the book as underground. Certainly the cover of this book gave me hope. It seemed to be acknowledging from the get-go that the 1 and 2 trains both stop at 96th, 72nd, and 42nd Street (we will ignore the peculiar inclusion of a “33” since we can assume artist Sergio Garcia Sánchez meant 34th Street). As it happens, Mr. Sánchez is a resident not of one of the five boroughs but of Spain. You wouldn’t know it. The New York found within these pages feels so real and so contemporary that I have difficulty understanding that I’m not going to run into the man on the street when I leave for work tomorrow morning. Artists could learn a thing or two from his attention to detail. From the color of the painted columns to the diversity of the city streets, this is indeed the New York I know and love.
The design of Lost in NYC is also a delight to the eyes. Good graphic novels for children are rare beasties. Half the time you’re left wondering if the editors or artists ever took the time to look outside the standard panel format. If Mr. Sánchez feels inclined to use panels in this book, you can bet it’s a strategic decision. The very first page is almost entirely open, only settling into panels when the kids are approaching the rigid format of a school setting. As the teacher, Mr. Bartle, begins to introduce subway history, we see the characters on a massive topographic map. It’s a visual approximation of the cut-and-cover technique used to create subways in a city chock full of hardened bedrock. Once the kids go underground the panels shift to full two-page spreads, and lots of individual vertical panels like the cars on a subway train. When called upon to render the city blocks in such a way where you can see the characters all converge on the Empire State Building from different directions, the artist either shrinks the buildings and blows up the characters, or he overlaps a subway map onto a street map and you can see the kids meet up that way. Then there are the perspective shifts. The view up into the Empire State Building, a wall or two cut away so that you can get a visual sense of some of the seventy-three elevators in the building, is dizzying. I can say with certainty that even if a child were incapable of reading English (or Spanish, since this book is being simultaneously translated) they would still be able to be moved and stirred by this story.
He’s also filled the book with inside jokes. I was so pleased that I took time to read the “Behind the Scenes: Sergio and the Cop” section at the back of the book. In it, Sergio describes a time he visited NYC and was photographing all the details at the 96th Street subway stop when a cop started paying a little too much attention to him. As a result, if you look in the book you can find Sergio and the cop on “virtually every spread.” Once you see it, it cannot be unseen. It also creates a kind of touching secondary story as the two go from antagonists to, finally, taking a selfie together.
Accuracy in illustration, even (or should I say especially?) in fictional stories, is imperative. You have to make the reader inhabit the setting presented, and the best way to accomplish this is through rigorous research and skill. Mr. Sánchez has both and by pairing with Nadja Spiegelman he may well earn himself an Honorary New Yorker decree. Though filled to its gills with accurate Manhattan details, you don’t have to live anywhere in the five boroughs to recognize the fear that comes with having to navigate an unfamiliar public transit system. Particularly if you’re just a kid. An adventure tale wrapped around a nonfiction core of subways subways subways. What’s not to love?
On shelves April 14th.
Source: Final copy sent from publisher for review.
Like This? Then Try:
Professional Reviews: Kirkus
Interview: Comic Book Resources spoke with Nadja Spiegelman and she reveals a lot of behind-the-scenes information about the book.
Awards season is barreling along now. And here are the nominees for the LA Times Book Prizes, which added a graphic novel category several years back. It’s a prestigious literary prize, and the winners over the years—Duncan the Wonder Dog, Finder, Today is the Last Day of the Rest of Your Life among them—have definitely lived up to the billing. This year’s five books chosen include what I would almost call the usual suspects for 2014:
- Roz Chast, Can’t We Talk About Something More Pleasant? A Memoir, Bloomsbury
- Jaime Hernandez, The Love Bunglers, Fantagraphics
- Mana Neyestani, An Iranian Metamorphosis, Uncivilized Books
- Olivier Schrauwen, Arsène Schrauwen, Fantagraphics
- Mariko Tamaki (Author), Jillian Tamaki (Illustrator), This One Summer, First Second
The Chast and Tamaki books were THE graphic novels of 2014, and The Love Bunglers is a masterpiece. Arsene Schrauwen was much admired and deserves all the attention it gets. The Neyestani book doesn’t quite have the same profile, but it’s gotten a lot of recent ink and it’s also a pretty damn fine book.
In other words, good picks.
By: Roger Sutton
Blog: Read Roger - The Horn Book editor's rants and raves
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BirdCatDog [Three-Story Books]
by Lee Nordling; illus. by Meritxell Bosch
Primary Graphic Universe/Lerner 32 pp.
11/14 Library ed. 978-1-4677-4522-2 $25.26
Paper ed. 978-1-4677-4523-9 $6.95
e-book ed. 978-1-4677-4524-6 $25.32
In this innovative wordless picture book told entirely through cartoon panels, three pets escape the ennui of domestication for brief, interconnected adventures in the wild. An introduction explains that readers may read across the six-by-three distribution of rectangular panels for the protagonists’ parallel plot lines — the Tweety-like yellow bird in the blue-saturated top row of panels; the orange tabby in the green-toned middle row; and the bluish-gray guard dog in the yellow-hued bottom row—or read from top to bottom to “get the whole story.” Expressive, accessible art wordlessly follows the pets’ adventures, during which each animal not only interacts (badly) with the other two pets but also comes snout-to-snout (or beak-to-beak) with a wild version of itself: a hawk, a lynx, a wolf. While the consistent panel grid sacrifices the more dynamic layout and pacing afforded by a variety of panel sizes and shapes, this structure (with its protagonist-color-complementing rows) unobtrusively guides readers along. And it’s that much more effective when that structure breaks into a dizzying and hilarious double-page spread of all six creatures in a high-speed chase through the pets’ backyard, a bemused squirrel looking on. Once they have chased off the interlopers, the triumphant pets settle down for well-deserved naps on their well-defended home turf.
From the January/February 2015 issue of The Horn Book Magazine.
The post Review of BirdCatDog appeared first on The Horn Book.
Summary: The Tuskegee Airmen of World War II are, by now, well-known to American and African American history. But the regiment known as the Harlem Hellfighters--the Army's 369th infantry unit--were the first American unit to reach the Rhine in the... Read the rest of this post
By: Wendy Darling,
If you’re a reader of this blog or follow me on Instagram or Twitter, you’re probably aware that I am pretty serious about my food. If I’m not chattering on about books, I’m bombarding you with cake photos, right? So I was delighted to be asked to participate in the blog tour for Princess Decomposia and Count Spatula, a new graphic novel about a princess of the underworld who gets more than she bargained for when she hires a new cook–who happens to be a vampire–for her father’s castle. I quite enjoyed the humorous tone of the story, which is aptly described as “gothy-cute sensibility” and a “very sweet and mildly spooky tale.” It’s a fun one to read with kids, who will enjoy the Princess’ dilemmas and the appealing artwork. This blog tour is especially fun because the author is sharing unique illustrations and recipes with each stop! Ours... Read more »
The post Princess Decomposia and Count Spatula: blog tour appeared first on The Midnight Garden.
By: Mary Ann Scheuer,
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This year's Caldecott Committee broke boundaries by including a graphic novel for young teens among their seven (7!!) books awarded honors. This selection of picture books, meaning books told with and through pictures, serves a wide range of children -- from preschoolers who will adore Dan Santat's Beekle, to teens who are the perfect audience for Jillian and Mariko Tamaki's graphic novel This One Summer.
Before I get any further, if you're considering This One Summer for your child, please learn about it before you order it. I genuinely recommend this for kids who are 13 and 14, but not for elementary students. Skip down to the end if you're specifically looking for information about this book.The 2015 Caldecott Award
for the most distinguished American picture book goes to:Dan Santat
, the author and illustrator of Beekle: The Unimaginary Friend
. This delightful story has charmed our young students at Emerson, with Santat's special message about loneliness, imagination and finding your own special, true friend.
My students are huge fans of Dan Santat's and will be thrilled to see this picture book, which comes so much from Dan's heart, honored and celebrated. Dan truly captures so much of what children value in this world -- playfulness, fun and friendship with an incredible eye and vivid imagination. Perfect for preschoolers, but enjoyed by older kids as well (ages 3-9).Six (!!) Caldecott Honor Awards
were given:Nana in the City
, by Lauren Castillo, captures the relationship between a young boy and his grandmother, as she helps him overcome his fears by listening, understanding and helping him. I especially love how his nana never scolds him, but rather emotionally comes to where this little guy is. Another truly special book, perfect for kids ages 3-6.The Noisy Paint Box
, illustrated by Mary GrandPré and written by Barb Rosenstock, conveys the way abstract artist Vasily Kandinsky experienced colors as sounds and sounds as colors. It's fascinating--this picture book biography didn't appeal to me right away (I brought too many grown-up questions to it), but my 5th grader found it fascinating and the art captivating. Kandinsky listens as “swirling colors trill…like an orchestra tuning up,” and GrandPré shows him lifting his paintbrush much like a conductor. A fascinating intersection of art and music, for ages 6-10.Sam and Dave Dig a Hole
, illustrated by Jon Klassen and written by Mac Barnett, is another huge kid favorite at Emerson precisely because it makes kids laugh and wonder at the same time. Sam and Dave are indeed digging a whole, as you can see on the cover, and they are determined not to stop until they find "something spectacular." What I love best about it is the respect Klassen and Barnett have for kids who love to puzzle over things and think about questions that don't have easy answers, or necessarily ANY answers. They're totally comfortable with that uncertainty, something grownups often forget. Kids from 4 to 10 have loved
, by Yuyi Morales, made me gasp in wonder the very first time I saw it -- and it's had the same effect on children and adults alike. Just look at the colors on the cover -- but then open, and you enter the dreamlike world that Morales creates, combining handmade puppets and carefully crafted stage sets. Morales conveys a sense of an artists' world, and how one artist infuses another artists' dreams and spirit. While this isn't a biography at all, it is an incredible testament to the artistic spirit that appeals to the very young as well as older readers who can put it into more context (ages 3-12).The Right Word: Roget and His Thesaurus
, illustrated by Melissa Sweet and written by Jen Bryant. I adore this utterly splendid book that tells the life of Peter Roget and the creation of his thesaurus. Sweet uses playful illustrations to draw children into young Peter's life, showing them how he loved lists of words and discovered that words had power, especially when gathered together and organized in interesting ways. This is a book children will enjoy pouring over again and again, noticing more details each time. I particularly love showing kids (ages 6-10) the ways science, language and art intersect.This One Summer,
illustrated by Jillian Tamaki and written by Mariko Tamaki. This fantastic graphic novel eloquently captures young teens on the cusp of adolescence, as they spend the summer together. For the first time, the Caldecott Committee said, YES, the illustrations in a graphic novel is a true form of art, one that is vitally essential to the story. It is utterly ground-breaking and I am so happy.
This book speaks to young teens about the way friendships change as they enter the murky waters of adolescence. Rose is so happy to spend the summer once again with her friend Windy, but she rejects many of their past activities as too childish and yearns to mimic the older teens in this beach town. I like the way Kirkus sums it up: "The realistic dialogue and sensitive first-person narration convey Rose’s naïveté and confusion, and Windy’s comfort in her own skin contrasts with Rose’s uncertainty." Teen pregnancy, gossip and a parent's depression all wind their way through this story. I've found it speaks well to young teens, ages 13-15.
Please seek out and share these books with kids in your life. They are each truly special. Early review copies were kindly sent by the publishers Little, Brown, Random House, Candlewick, Houghton Mifflin Harcourt, Macmillan and Eerdmans. We have purchased additional copies for our school library and classrooms, and we will continue purchasing more for gifts. If you make a purchase using the Amazon links on this site, a small portion goes to Great Kid Books. Thank you for your support.©2015 Mary Ann Scheuer, Great Kid Books
click to embiggen.Summary: Ares is the seventh book in O'Connor's very successful Olympians series of graphic novels. In fact, I was amazed to see that we've already gotten to book 7, because that means I've missed quite a few in the middle. For... Read the rest of this post
Fábio Moon and Gabriel Bá, siblings and collaborators, have been working on a new project entitled Two Brothers.
The story was inspired by the work of Brazilian novelist Milton Hatoum. Dark Horse Comics will release the graphic novel on October 27th.
According to the press release, the story follows “twin brothers Omar and Yaqub.” They “may share the same features, but they could not be more different from one another. And the possessive love of their mother, Zana, stirs the troubled waters between them even more.”
Summary: Before writing up this post, I honestly didn't realize that El Deafo by Cece Bell had won the 2015 Newbery Award. Well, now it's also won a Cybils Award for 2014, in the Elementary and Middle Grade Graphic Novels category! And I'm thrilled... Read the rest of this post
Summary: In a recent NPR interview, Joel Christian Gill said, "These stories are quintessentially American stories. I can't say that enough. It's not that I dislike Black History Month. I just don't think Black History Month is enough." I agree... Read the rest of this post
Kathryn and Stuart Immonen are of course well known for their stellar superhero work, but in their “spare time” they turn out some more personal work which though smalelr and quiter, has an even greater scope. 2010’s Moving Pictures was a thoughtful and tense exploration of the relationship between a museum curator in Nazi occupied France, and a German officer set against the backdrop of World War II’s art pillaging.
Now they’re back with the collection of Russian Olive to Red King a very long in the making story about a woman whose lover dies. It’s described as “a tortured love story” featuring “petroglyphs and plane crashes and bad dogs and angry people.”
After being promised for several years, AdHouse is publishing the book in May. And here’s a preview. As you can see, it looks amazing.
Russian Olive to Red King
by Kathryn Immonen and Stuart Immonen.
Published by AdHouse Books
When your lover may be dead, how long can you hold on to what remains? To whatever is left of you? A plane crash, a package, her dog, her voice. A notebook, his writer’s block, and heat-distorted summer memories of a search for Jumbo the Elephant and an absent father.
176 4C pages
7 ” x 10.5″HC
$24.95 US funds
Shipping May 2015
Diamond Order Code: MAR15 0857
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Summary: This book has got a great title. Rest assured the premise lives up to the promise. This was one of my personal favorite titles from this year's excellent crop of Cybils graphic novel finalists. The autobiographical story of how the author... Read the rest of this post