Tag Archives: Tony

Born to Run in the U.S.A.

What can anyone say about this album that probably hasn’t been said a million times before?  I mean, it is a transcendent slice of American rock ‘n’ roll that made rock ‘n’ roll fun again without losing any punch as to the stories it told. The album’s tales nearly burst from exuberance and hope. The young and disenfranchised protagonists still believe they will, as the title track puts it, “get out while [they’re] young,” and will enjoy themselves along the way.

Well, how about saying Born to Run is a forgotten classic?  This may strike many as a weird statement considering the long shadow that The Boss has extended over the American rock landscape in his 47 years (as the very first version of the E Street Band – known then as the Bruce Springsteen Band – was formed in 1971). Yet this characterization really is apropos because while familiar with individual tracks in some form, usually a live version, many haven’t listened to the original album at all or in the manner it was meant to be listened to at the time of its release.

In 1975, the full length album was meant to be a total experience, over and above any tunes that might get cut from it to play as singles. Often the album versions of songs varied in length or composition because the album was for the musician and lovers of music while the single was for the radio and the casual listener.  Further, there was no easy way to change the artist’s presentation of his or her music.

Tape recorders – which would have made it possible to reorder the album – were only just making headway in the market but had not yet become dominant as they would only a few years later when punk broke in the U.S.  Only DJ’s had the equipment to mix songs but these (just emerging) hip-hop techniques were still found only in the ghettos of New York City, cultivated by an audience that completely eschewed the kind of music Springsteen played. Singles – with their radio-friendly edits and B-sides – were about the only way to listen to an album in a different way other than to go to a concert.

What is so striking about Born to Run is that it feels like you are listening to a live band. No, not the kind of cheesy live albums with canned crowd noise that would make Kiss famous. Born to Run definitely has some studio polish with music business veterans Mike Appel and Jon Landau behind the boards but they so well capture the energy of the road-tested E Street band that this album seems as if it’s being played right in front of you, and by a much faster, louder band. After all, the album mostly sticks to mid-tempo songs!

So, no one in the 33 1/3 series – which I highly recommend for music fans with  time constraints – has written on Born to Run (yet). But Geoffrey Himes, music critic for a number of publications but particularly the Washington Post, did pen a really interesting look at the writing process and production of Springsteen’s 1984 classic, Born in the U.S.ABorn in the U.S.A., much like Born to Run, captures its own time period in a striking way. However, we find similar characters to those on Born to Run, years older and much more jaded, looking for some kind of recognition that their wild dreams of youth have been endangered by the economic shifts that struck American industry and towns in the late 70’s and early 80’s.

Review by Tony, Main Library

Body Music by Julie Maroh

The Library just received this graphic by Julie Maroh a few days ago and it hasn’t circulated yet. But the cover of Body Music was delicate and pretty at first glance…

…so I picked it up just to flip through it. And I ended up reading it all straight through in one setting. It was that good.

The interior art is less delicate, using fluid yet solid black lines for the characters and softer lines for the background. The coloring ranges from grey to sepia, matching the emotional tone of the vignettes. The human figure is not always proportional or technically correct but expressive. The crudity of it in places reminds me a little of the work of (fellow Canadian artist) Jeff Lemire.

This book takes a look at love from many perspectives in its twenty-one set pieces. It’s 2018 and I shouldn’t have to say this but if you are the kind of person who has trouble with depictions of same-sex or non-traditional gendered relationships, then you need to just move along. But if your mind and heart are open, you will find the sweet melody alluded to in the title.

Maroh is also the author and artist of Blue is the Warmest Color, which I will definitely read in the near future.

Formats Available:  Graphic Novel

Review by Tony, Main Library

It’s That Time: Ten Great Graphic Novels

Yes, yes, 2017 was another exceptional year for Graphic Novels in the Library!

So many great titles were put out that it was really hard to put this list together. After a while, I decided to not worry too much and just list some of my favorite comics read in the past year. Per tradition, these picks have been listed in alphabetical (rather than rank) order.

All of these works can be checked out from LFPL. Each title has a “Check Our Catalog” link that will take you to where you can view the location and status of the specific item in our system.

After taking a look, if your selection is not available at the branch you wish to go to, you may have the item shipped there by placing a hold request (using the button on the right hand side of the entry).

Black Panther, Book 1: A Nation Under Our Feet Black Panther, Book 1: A Nation Under Our Feet
By Coates, Ta-Nehisi
Illustrator Stelfreeze, Brian
Check Our Catalog

A new era begins for the Black Panther! MacArthur Genius and National Book Award-winning writer T-Nehisi Coates (BETWEEN THE WORLD AND ME) takes the helm, confronting T’Challa with a dramatic upheaval in Wakanda that will make leading the African nation tougher than ever before. When a superhuman terrorist group that calls itself The People sparks a violent uprising, the land famed for its …More

Chilling Adventures of Sabrina Chilling Adventures of Sabrina
By Aguirre-Sacasa, Roberto
Illustrator Hack, Robert
Check Our Catalog

On the eve of her sixteenth birthday, the young sorceress Sabrina Spellman finds herself at a crossroads, having to choose between an unearthly destiny and her mortal boyfriend, Harvey. But a foe from her family’s past has arrived in Greendale, Madame Satan, and she has her own deadly agenda. Archie Comics’ latest horror sensation starts here For TEEN+ readers.Compiles the first six…More

Clean Room, Volume 1: Immaculate Conception Clean Room, Volume 1: Immaculate Conception
By Simone, Gail
Check Our Catalog

From the minds of superstar writer Gail Simone and gifted artist Jon Davis-Hunt comes CLEAN ROOM VOL. 1: IMMACULATE CONCEPTION–a new vision of horror that takes you inside the locked chambers of sex, science, celebrity, and the supernatural.Somewhere between the realms of self-help and religion lies the Honest World Foundation. Its creator started out as an obscure writer of disposable …More

The Fun Family The Fun Family
By Frisch, Benjamin
Check Our Catalog

Beloved cartoonist Robert Fun has earned a devoted following for his circular daily comic strip, celebrating the wholesome American family by drawing inspiration from his real home life… but the Fun Family bears some dark secrets. As their idyllic world collapses and the kids are forced to pick up the pieces, will their family circle become a broken mirror, or a portal to a nightmare world? In …More

ALSO: You can read a staff review of this work by clicking here.
Monstress, Volume 1: Awakening Monstress, Volume 1: Awakening
By Liu, Marjorie M.
Check Our Catalog

Set in an alternate matriarchal 1900’s Asia, in a richly imagined world of art deco-inflected steam punk, MONSTRESS tells the story of a teenage girl who is struggling to survive the trauma of war, and who shares a mysterious psychic link with a monster of tremendous power, a connection that will transform them both and make them the target of both human and otherworldly powers.About the …More

Paper Girls, Volume 1 Paper Girls, Volume 1
By Chiang, Cliff K.
Check Our Catalog

From Brian K. Vaughan, #1 New York Times bestselling writer of SAGA, and Cliff Chiang, legendary artist of WONDER WOMAN, comes the first volume of an all-new ongoing adventure.In the early hours after Halloween of 1988, four 12-year-old newspaper delivery girls uncover the most important story of all time. Suburban drama and otherworldly mysteries collide in this smash-hit series about …More

Rebels: A Well-Regulated Militia Rebels: A Well-Regulated Militia
By Wood, Brian
Illustrator Mutti, Andrea
Check Our Catalog

This is 1775. With the War for Independence playing out across the colonies, young Seth and Mercy Abbott find their new marriage tested at every turn as the demands of the frontlines and the home front collide. Not merely rehashing the tales of the most famous men of the time, Rebels details the epic story of the colonists, explorers and traders, wives and daughters, farmers and volunteer soldiers …More

Roughneck Roughneck
By Lemire, Jeff
Check Our Catalog

From the New York Times bestselling author and award-winning creator ofEssex CountySecret PathDescender, and The Underwater Welder comes an all-original graphic novel about a brother and sister who must come together after years apart to face the disturbing history that has cursed their family.Derek Ouelette’s glory days are behind him. His hockey …More

Valerian: The Complete Collection Valerian: The Complete Collection
By Christin, Pierre
Check Our Catalog

VALERIAN is a saga that every fan of Star Wars and Star Trek will identify with and love. Valerian and his beautiful, sharp-witten and sharp-tongued partner, Laureline, live adventures set against visually stunning backgrounds: complex architectural inventions, futuristic machines, otherworldly landscapes, and odd-looking aliens that are staples of artist Mezieres’s seemingly boundless visual …More

Vision, Volume 1: Little Worse Than a Man Vision, Volume 1: Little Worse Than a Man
By King, Tom
Illustrator Walta, Gabriel Hernandez
Check Our Catalog

The Vision wants to be human, and what’s more human than family? So he heads back to the beginning, to the laboratory where Ultron created him and molded him into a weapon. The place where he first rebelled against his given destiny and imagined that he could be more -that he could be a man. There, he builds them. A wife, Virginia. Two teenage twins, Viv and Vin. They look like him. They have his …More

 

If you are interested in discussing these titles or other works of sequential art, please join LFPL’s Graphic Novel Discussion Group.

Meetings are held at the Main Library on the second Monday of every month, starting at 6:00 PM.

Upcoming meetings will take place on the following dates:

Formats Available:  Graphic Novel

Article by Tony, Main Library

In Defense of Comics, pt. 5: Understanding Comics as a discussion tool

The biggest problem when discussing comics in an analytical way is determining just what they are. It is easier to talk about how they work than to come up with a solid definition, other than the old “I know a comic when I see it” one.  This is particularly true if you wish the definition to cover most (if not all) expressions of comics.

Understanding Comics by Scott McCloud, a classic work of the Comics Studies discipline, defined comics as:

“Juxtaposed pictoral and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.”

In one of the Graphic Novel Discussion Group‘s meetings, McCloud’s definition elicited respect on one level but was hard to defend in toto when combined with some of his other assertions. For instance, his general assertion that writing (the act of inscribing thought in physical space) is distinctly non-pictorial in nature seems hard to defend considering there is a whole species of design – graphic design – that considers writing as a pictorial element (a.k.a. typography). Even within the comics industry, the position of “letterer” has been a long established one and the style of each letterer is often a strong consideration for the development of a particular work’s look.

McCloud violates his own rejection of a single panel as comic (which is asserted on pages 20-21 of Understanding Comics) on page 98 in the third and fourth panels. Granted, he hedges in the next two panels by differentiating between captions and word balloons but I think that’s because the narration is supposed to be framing the picture rather than a part of the world of the picture.  However, it is the introduction of speech and that speech takes time to happen that creates the sequential effect according to McCloud.

His distinction that in-picture indication of sound introduces sound as a narrative element — and thus changes things — doesn’t seem to add up as traditional forms of comics are a species of visual art. How such a sound is conveyed is part of the storyteller’s visual style, most clearly seen in the crafting of sound effect (think of the shape of letters used when you are to hear lightning or a punch to the jaw). Speech or audible sound is still an aspect of the story supplied by the reader’s mind, prompted by the images on the page (be they words or sound effects).

[Cartoon by Bil Keane (copyright holder King Features Syndicate), Fair Use]

So with Family Circus, it is clear that the words are actually speech that takes place in the world of the comic. Really, Bil Keane‘s quotes below the panel are just him avoiding using a word bubble. Maybe this is for sound commercial reasons (designated space on the page), for reasons of composition (to preserve the close-up shot feeling of the panel), or simply for reasons of style.

Further, McCloud misses that there is essentially an unbound panel of text next to the panel with obvious borders that has a picture. (At least) two panels = sequence, no? Here the mind moves from one kind of visual element (pictures) to another (type) and creates a connection, right? This would also apply to the sixth panel on p. 98 (if you ignore that there is no “gutter” – or gap – between the picture and the box with text).

During the discussion, I personally foundered when trying to separate the art of comics from other arts that use sequential methods/techniques. It’s not that I can’t get behind the idea that they are all just parts of “Art” or human communication – a position vigorously defended by a particular participant – but it seems like that kind of flattens out what makes comics differ(ent). Because when I talk about Watchmen, for instance, I don’t think it would be germane to bring in references to the methods of dance or sculpture or broadcast radio.

Part of it to me is that comics are the product of a particular technology, printing. And, as Marshall McLuhan wrote, “the medium is the message.” (1964) Because comics are creatures of print, our eye works a certain way, time is controlled more by how we read than by some static rate of delivery (such as television or radio), and a certain set of senses (sight and touch) are more dominant than others (smell, taste, and hearing).

I was especially flummoxed when asked about animation. My instinct is to treat animated works differently than more realistic film, to include them directly with comics. But animation is film and any distinction there is really just my own (or a general cultural) bias. They work by static broadcast, by use of light that is projected rather than ambient, and incorporate sound directly rather than by visual approximation (sound effect words, sound motion lines, etc.).

And what you would call Building Stories by Chris Ware?  Is it an architectural comic?  A comic box set?  An elaborate game with intricate pictures? A piece of conceptual art?

These distinctions seem a little silly on the surface but they do matter for no other reason than that of marketing. Being able to determine what to call something often guides the producer towards a target audience (and vice versa). If Building Stories is a work of architecture then it will be sold to schools of architecture and design. If it is just a  comic then it will be sold at places where comics are sold. If it is a game then it will be sold at gaming shops. And if it is a work of conceptual art, there might be an installation at some fine art gallery.

But back to Understanding Comics and the discussion it engendered.  One of the participants in this discussion commented that he thought that McCloud was at his best when he was discussing the nuts and bolts of comic structure (e.g., explaining things such as conveyance of time via panels and the structuring of a story via panel placement) and also when explaining the artistic level of abstraction used to carry the story (e.g., highly detailed art for personal narratives versus pictographic expression for symbolic works). He thought that McCloud failed to really differentiate comics distinctly from visual art as a whole but that his presentation feels inspiring if one doesn’t dig too deeply, echoing an argument that Dylan Horrocks leveled at McCloud in his essay, “Inventing Comics.” (2001)

Horrocks feels that McCloud is writing more of a persuasion piece, which he deems a “polemic.” [As an aside, this feels like a mild misuse of the term as “polemic” tends to refer to a vigorous disputation of an argument rather than mounting a defense for – or presenting a supporting argument for – a position.] Further, that McCloud is trying to build a justification for comics as serious art, thereby uplifting the community of comic readers from their previous status as scruffy-looking nerf herders. Doing so comes by way of a definition (highlighted in red above) that excludes many other things that comics could be said to be without discussing why those exclusions make sense.

“Nation building,” as Horrocks calls this effort, seems kind of quaint nearly a quarter of century after the book’s first edition. In the intervening time, comics, comic nerds, and comic fans of all stripes have garnered the respect that McCloud was working towards. Comics are regular parts of academic studies and art galleries, and receive high-toned collections of previous works. Comic fans come from increasingly diverse backgrounds and feel no shame in hiding their passions. Comic industry insiders find that their work no longer traps them in the lower ends of the publishing industry.

And while I tend to like the basic idea, I also have felt the need to add a little meat to McCloud’s definition in this series of essays about comics by mentioning both cultural and historical factors that also have made comics what they are today. Even so, I feel like I am still very, very far off getting to just what makes a comic a comic. However, Understanding Comics did give our discussion a great starting place, and my sense of what is a comic was altered through that discussion. For that alone, I would recommend the book for anyone who wants to explore these questions.

Plus, it’s a fun read!


If you are interested in discussing these titles or other works of sequential art, please join LFPL’s Graphic Novel Discussion Group. Meetings are held at the Main Library on the second Monday of every month, starting at 6:00 PM.

At our next meeting (October 9th), we will be talking about Monster Comics!

The Fun Family by Benjamin Frisch

So-o-o-o, um, yeah…

…let’s just say that The Fun Family by Benjamin Frisch is anything but fun. I’m warning you now. It is probably one of the most messed up comics this side of the works of Daniel Clowes or Kaz. Don’t blame me if you have nightmares, especially after viewing the final page.

This graphic novel is an investigation, albeit phantasmagorical, into the spiritual despair of our current age of ever-mounting anxiety and nostalgia. The tale begins with cartoonist Robert Fun, Frisch’s stand in for Bil Keane, and his family having lighthearted fun at Thanksgiving time. Their holiday meal is interrupted by an automated message from the hospital that Robert’s mother has died. It is this terrible news that cracks apart the family’s facade of harmony and seeming perfection.

Marsha Fun, Robert’s wife and mother of their four children, is clearly unhappy with Robert’s work and his detatchment from the family, which only gets worse after Grandma’s funeral. Eventually, Marsha decides that she can no longer sit on her simmering disappointments and asks for a divorce. The children – Robby, Molly, Mikey, and J.T. – are left to cope with the turmoil in their own ways.

Granted, the adults in this work are clearly self-absorbed which is a fault that many readers will not be able to get past. In a work that initially models a perfect family, it’s fracture is bound to lead to finger-pointing. That the parents should have stepped up will stick in the reader’s craw, no doubt. I would argue, though, that this is one of the many points that Frisch is making along the way, that family dysfunction often occurs at the expense of children.

Despite the trauma, The Fun Family is completely worth the ride. The story clearly works as a deconstruction of that old comic strip chestnut, The Family Circus, and other kitschy Americana. Warning number two, here there be creepy porcelain dolls, Big Eye art, and angel painting!

But more importantly, the work examines – breezily – different spiritual approaches found in modern times. The first is represented by Molly, who sees (or thinks she sees) Grandma in angel form, finding solace and direction through communication with the spirit. The second is Martha’s kooky path of ever-shifting psychological self-investigation of the Human Potential Movement variety, combined with New Age elements. The third is Robert’s own retreat into self-expression as a means of organizing his life, first as the creator of the comic strip and later of sacred paintings. The final path is that of Robbie, the oldest child, who lives, and works as a replacement artist on his dad’s strip, in order to recreate a childhood tableau in which he felt secure.

It is arguable – and is argued strongly by the story’s ending – that this final approach is deeply troubling and damaging as a project. Life continues to move on, people continue to change, and such moments in time were perhaps not as real as they may have seemed at the time. To dedicate one’s life to pursuits that strip mine the past, to succumb to unironic nostalgia, leaves one continuously chasing a dream that can never be realized. This way opens one to a constant sense of disappointment, even despair.

Formats Available:  Graphic Novel

Reviewed by Tony, Main Library


If you are interested in discussing this title or other works of sequential art, please join LFPL’s Graphic Novel Discussion Group.

Meetings are held at the Main Library on the second Monday of every month, starting at 6:00 PM.

Upcoming meetings will take place on the following dates:

  • Monday, June 12, 2017 – Wonder Woman

**Note: The live-action movie Wonder Woman will be released on June 2, 2017**
  • Monday, July 10, 2017 – Marvel’s Spider-Heroes

*Note: The live-action movie Spider-Man: Homecoming will be released on July 5, 2017*
  • Monday, August 14, 2017 – Warren Publishing

 

Top Picks: Graphic Novels of 2016

Well, time has rolled around again for my annual best of list.  This year, I’m going to go about it a little differently.  I’m choosing one selection from each of the 2016 meetings of the Graphic Novel Discussion Group.

The list is in chronological order by month rather than any ranking by preference.  I have included the topic we covered for that month as well.  There are some of the selections where I have only listed the stand-alone work or the series as a whole.

All right, let’s get to it…

Craziness, that’s all I’ve got to say!  If you like the tough-kid Borribles series (a major influence on writers like China Mieville) and the twisted narratives of David Lynch‘s movies then you will love this graphic novel by Farel Dalrymple.

 

This is an incredibly detailed 24 foot-long panoramic drawing by Joe Sacco that tries to capture the full events of just one day of battle in World War I. The set also includes a 16-page booklet to give viewers some historical context.

 

  • The Sandman series (by Neil Gaiman and J.H. Williams III) – Sandman Overture

sanmanoverture

Neil Gaiman finally returns to his award-winning, beloved Sandman series with a prologue tale that explains just how Morpheus was captured in the very first issue of the series.  The art by J.H. Williams III is gorgeous and appropriately psychedelic as befits the adventures of the Lord of Dreams across the galaxy as he attempts to right a wrong from long ago.

 

roadtocivilwar

This volume of the first Civil War series collects the prequels to the main tale.  In it we get to see how key players such as Doctor Strange, Mister Fantastic, Namor, Professor X, and Iron Man form the ultra-secretive Illuminati, as well as how Spider-man is drawn into the conflict between the forces of government control and those superheroes who wish to retain their autonomy.

 

  • May 2016: We did not have a meeting in May so I’m going to put up a comic that I read in 2016 and just loved, Gotham Academy!

gothacadem

Gotham Academy is a prestigious boarding school with a ton of secrets.  Mystery, magic, and the bonding of a special group of students make for a creepy thrill-ride.

 

Brian K. Vaughan and Marcos Martin have beautifully crafted a future where all our expectations about privacy have been turned upside down after a major event that shuts down the Internet for good.  In this world, our main character, a private investigator, and his femme fatale client break rule after rule in search of her missing sister.  Along the way they stumble into a conspiracy that threatens to shake the very foundations of this new social order.

 

Strangers in Paradise was the 13 year project of indie comic writer and artist, Terry Moore.  It was a complicated series of interlocking stories told in a realistic style with a dedicated fan-base addicted to the intensely personal quality of the main characters’ interaction. It mixed several sub-genres – romance, crime drama, and autobiography – while always feeling fresh and compelling.

 

  • Valiant Comics – Harbinger (by Joshua Dysart)harbingah

Honestly, I could have picked a few other titles such as The Death-Defying Doctor Mirage, Archer & Armstrong, or The Eternal Warrior as my favorite Valiant Entertainment selection but Harbinger is the title that originally attracted me to their line of comics.  It is the tale of Peter Stanchek and other teens like him who have psionic powers and are trying to escape Project Rising Spirit, who have been holding them prisoner and conducting experiments on them.  Joshua Dysart‘s pacing is tight and his dialogue is crisp, letting the reader get to know the characters while keeping thrills coming one right after the other.

 

A classic and a cornerstone of many introductory Comic Studies courses, Scott McCloud‘s Understanding Comics is more than just that.  It is also an entertaining comic in itself.

 

Mike Mignola has created one, excuse the pun, hell of a quintessentially quirky supernatural comic character with Hellboy.  This trade is a collection of the various one-offs and other ephemera about Hellboy that were published in other titles.  Also, there is a short story, King Vold, that was created especially for this particular compilation.

 

Well, what can I say?  Doctor Strange is one weird dude and so are most of his stories.  I honestly can’t pinpoint a particular one that I’d suggest because I tend to like him best when he is part of a team, be it The Defenders, the Illuminati, or as Dr. Doom’s sidekick in Jonathan Hickman‘s Secret Wars.

 

lrv1n24

This series is hard to quickly summarize because there have been three different creators, all brothers, with different visions who have participated across the 30+ years of its existence.  The primary two creators have been Jaime Hernandez, whose focus has been on the punk scene of a primarily Latino community in California (presumably East Los Angeles), and Gilbert Hernandez, who has spun out a rich set of stories about a mythical Latin American town called Palomar (and the immigrants in the U.S. who’ve hailed from there).

My personal favorite are the stories that focus around the characters Maggie and Hopey, also known about town as the Locas.  You can see them in action in the above now-iconic picture from Love & Rockets #24.

 


If you are interested in discussing these titles or other works of sequential art, please join LFPL’s Graphic Novel Discussion Group. Meetings are held at the Main Library on the second Monday of every month, starting at 6:00 PM.

Upcoming meetings will take place on the following dates:

dciomfeb2017

Formats Available:  Graphic Novel

Reviewed by Tony, Main Library

The Reading Without Walls Challenge

Gene Luen Yang, creator of works such as American Born Chinese, Boxers, and Saints was appointed National Ambassador of Young People’s Literature this year.  Every National Ambassador picks a platform and Yang chose his to be Reading Without Walls, which means exploring the world through books.

To put this into practice, Yang challenges readers in one of three ways.  He suggests the following:

RWW-Criteria

A further suggestion is that one should read a book that fits all three criteria for the most different reading and the most enriching experience.

Yang also encourages readers when they finish to take a photo of the book (or themselves and the the book) and post it on social media sites with the hashtag #ReadingWithoutWalls in order to inspire others to take the challenge.

Check out his podcast about the challenge.

Article by Tony, Main Library

Timeliness: Ten Books About Racism

OK, I’m going to get real for a moment.

A topic like racism is always difficult, most especially in print (in my opinion).  On one hand, you don’t want it to devolve into a screed because the topic is too important to let get lost in gobs of alienating rhetoric.  On the other, it is exactly that this topic is important that you don’t want to let the emotional import of it get lost in a dry examination, especially so in a time such as we currently face when some attempt to strip out emotion for their own purposes (be those reasons good, bad, or indifferent).

Let me be very clear.  Like it or not, racism exists.  It is a part of our daily existence whether we wish to consciously participate in it or not.  This last point, one’s conscious participation is the very bone – and also the bane – of contention in most debates.

So why not dig into the topic and see what you can learn?

Below are ten books that you can find in the library that can help you explore this topic*:

  1. Burning All Illusions: Writings from The Nation on Race, 1866-2002, edited by Paula J. Giddings
  2. A Different Mirror: A History of Multicultural America by Ronald Takaki
  3. How the Irish Became White by Noel Ignatiev
  4. A Promise and a Way of Life: White Antiracist Activism by Becky Thompson
  5. Racism without Racists: Color-Blind Racism and the Persistence of Racial Inequality in America by Eduardo Bonilla-Silva
  6. The Redneck Manifesto by Jim Goad
  7. Stamped from the Beginning: The Definitive History of Racist Ideas in America by Ibram X. Kendi
  8. The Wall Between by Anne Braden
  9. White Awareness: Handbook for Anti-Racism Training by Judy Katz
  10. White Like Me: Reflections on Race From a Privileged Son by Tim Wise

*These selections are not meant to be the definitive statement on such a complicated social issue.

Of course, I welcome suggestions for additions to this list or for general comments on the topic as a whole.  If you wish to respond,  please click the “Leave a reply” link above.  Please remember that this forum is one that will not publish profanity, racially-charged slurs, personal attacks, or threats of any nature.

Article by Tony, Main Library

 

My Top Ten Graphic Novels of 2015

Man, 2015 was a killer year for the graphic novel format and especially for the library’s ever-expanding collection of graphic titles (thanks to LFPL’s graphic novel selector and manager of the Newburg Branch, Kerry Hunter).

I’ve been sitting on this top ten for so-o-o long because I keep on changing my mind about what should make it and what shouldn’t.  Since it’s way beyond late for best-of lists, let me drop it on you as is…ten picks in alphabetical (rather than rank) order.

Many of the titles are ongoing series so I’ve just named each series as a whole rather than any specific volume. I have included artists when listing creators but some titles have multiple artists so then I’ve only listed the writer.

  • Batgirl by Cameron Stewart/Brendan Fletcher — Barbara Gordon is off to college, living in a new part of town, and Batgirl is changing along with her! The stories are well-paced and the art by Brendan Fletcher is a fresh change of pace from typical superhero fare.

batgirl

  • Bitch Planet by Kelly Sue DeConnick/Valentine De Landro — Imagine The Handmaid’s Tale if it was a women-in-prison exploitation film…set in space!  The art by Valentine De Landro perfectly reflects the 1970’s grindhouse aesthetic that co-creator Kelly Sue DeConnick is evoking.  However, rather than titillating the male gaze, DeConnick serves up an entertaining kick to the groin of Patriarchy!

bitchplanet

  • Deadly Class by Rick Remender — Set in 1987, this tale of punk rock rebellion mixed with a twisted take on the classic boarding school setting is a non-stop thriller.  Rick Remender once again deftly develops his outsider character, here named Marcus Lopez.  Lopez clearly has a lot of heart, screwed up as it may be, as he trains to be an assassin and falls in love with the wrong girl.

deadly class

  • Finder by Carla Speed McNeil — Whoa! It is hard to describe this series as Carla Speed McNeil, both author and artist, has spent the better part of 20 years developing this sci-fi/fantasy tale about a futuristic society that may or may not be here on Earth.  The main character, Jaeger, is the titular Finder, his aboriginal society’s title for a certain kind of shaman.  Issues of race, class, the nature of work, the power of reading, magic, and sexuality are all explored as we follow Jaegar’s travels.

finderthird

  • Ms. Marvel by G.W. Wilson — Kamala Khan is a nerdy but cool first generation Pakistani-American teen just trying to get through school and keep up with her fan obsessions (one of whom is Carol Danvers, a.k.a. Captain Marvel) when she is exposed to the mysterious Terrigen Mist.  Once exposed, Kamala finds herself with new powers, ones that she she uses to keep her hometown safe – even though she has strict immigrant parents, a curfew, and the constant monitoring of the Inhumans to boot.

msmarvel

  • Nimona by Noelle Stevenson — Nimona is one heck of a little hell-raiser and don’t you forget it!  She forces her way into the life of the villain Lord Blackheart so that she can become his apprentice.  As Lord Blackheart battles his arch-nemesis Sir Goldenloin, he finds Nimona just may be too wild to guide.  Noelle Stevenson’s art can be said to be simple and cute but is sophisticated enough to portray the darkness of the soul when needed.

nimona

  • Outcast by Robert Kirkman/Paul Azaceta — Demon possession is tackled by Robert Kirkman, the writer who brought us The Walking Dead.  Kyle Barnes’s life has been ruined by demons by the time he meets Reverend Anderson, who is trying – and failing – to successfully perform an exorcism. The art by Paul Azaceta is creepy, allowing the story to breathe as it unfolds at a psychologically compelling pace.

outcast

  • Polarity by Max Bemis/Jorge Coelho — Can a drifting young man with bi-polar depression be a superhero?  This question is explored in a visually stunning tale from Max Bemis and Jorge Coelho.

polarity

  • Phonogram by Kieron Gillen/Jamie McKelvie — I’m a sucker for comics about music and Phonogram is just that.  But it’s also about identity, magic, the nature of reality, and really great tunes!  Kieron Gillen is an old hipster for sure but he’s got none of the out of touch boringness that such a label suggests…yes, Gillen knows how to keep you coming back for more.  Jamie McKelvie renders the characters and the setting in crisp lines but the real magic is in his facial expressions…every character is clearly their own.  This is a boon as many comics with what I call the “indie autobiographical style” of art fail to strongly differentiate anyone but the main character.

phonogram

  • Rat Queens by Kurtis J. Wiebe — Quick synopsis: four party-hardy women in a medieval world roam the countryside and slay monsters.  Yeah, this could have been stereotypical sword and sorcery fluff but Kurtis Weibe slips in subtle, convincing character details for all four warriors along the way. He also is great with writing banter so I found myself laughing all the way, too.  Roc Upchurch was the artist on the first few issues and his character designs are gorgeous.

ratqueens

 

If you are interested in talking about these comics or others, LFPL’s Graphic Novel Discussion Group is the place for you!  The Group meets at the Main Branch on the second Monday of every month at 6:00 PM.

ThePrivateEye
Join us on June 13, 2016 as we explore the future-noir world of The Private Eye by Brian K. Vaughan (co-creator of the New York Times best-selling series Saga) and Marcos Martin.

Formats Available:  Graphic Novel

Reviewed by Tony, Main Library

In Defense of Comics, pt. 4

 

Display Sign for Graphic Novels

Welcome back to the series! 

So let’s talk comics.  Specifically, just what are comics?

Comics can be said to be stories told with pictures all the time and words some of the time.  As such, the forerunners of comics made their appearance very early and can be found all over the world.  It can further be argued that comics are some of the oldest verifiable stories in human history.

Cave paintings found in Africa, India, and Australia tell the story of early people’s hunts. Later on, Egyptian friezes, ancient Greek pottery, and Mayan codices all convey stories of everything from an individual’s life to the end of the world. Tapestry was used to celebrate and perpetuate historical events (e.g., the Bayeaux tapestry depicts the events of the Norman conquest of England by William the Conqueror).  Japan’s Choju-Giga paintings laid the foundations for today’s Manga as far back as the 12th Century. Closer in time, William Hogarth’s “A Rake’s Progress” – exhibited at the Soanes Museum in London – is a classic work of art that follows the life and rapid decline of Thomas Rakewell, the titular rake.

While related and influential, these predecessors of modern comic books are more properly examples of something broader than comics, sequential art (defined by Will Eisner as, “an art form that uses images deployed in sequence for graphic storytelling or to convey information.”). (Eisner, 1996, p. 6)  These works deployed a variety of media to visually convey their story but those were not some combination of paper, pencil, and ink (as found in modern comic strips, comic books, and manga).  More importantly, they were not the products of a printing process with an eye towards mass forms of distribution, purchase, and consumption.

What, you say?  Comics are not consumed in a mass manner as are movies, TV, or radio.  They may be mass produced but still each reader has to take the singular item (be it comic book, graphic novel, or manga) and use it on their own.

True, the act of reading itself is generally an individual pursuit.  This point ignores obvious instances where it is not, such as author readings and reading of texts in educational settings.  It also stops analysis at the instant of initial consumption without placing that consumption in context.  Much of the reading of comics is done in anticipation of talking about it with others, a behavior pattern that often starts early as experienced comic fans initiate the new reader (ex: an older brother declares his love of Thor, loans his favorite issues to his younger brother, and asks what his sibling thinks of them).

Comics these days are also big business.  They feed into the movie and television industries to the tune of billions of dollars, as well as pushing up sales in bookstores and check-outs in libraries.  That they are so widely spread across the landscape of pop culture, it is inevitable that they will be discussed in some manner by many people on a daily basis.

If you haven’t been following this series of articles but are interested in some of the history of why modern comics are paper-based mass commodities, check out the previous installment. Or if you’d prefer to start at the beginning, you can go directly to Part One.

Also, if you would like to talk about comics further, please join us for the Graphic Novel Discussion Group at the Main Library.  Our next meeting will take place on Monday, December 14th, at 6:00 PM.  The topic will be Webcomics.

GraphicNovelGroup_Webcomics_Main

_____________________________________________________________________________________________

Works Cited: Eisner, W. (1996). Graphic Storytelling & Visual Narrative. Tamarac: Poorhouse Press.

Article by Tony, Main Library