Fresh, thought-provoking, consistently amusing; readers will start to browse, then find they've finished it.
A second collection of daily comic strips from Argentine cartoonist and children’s-book creator Liniers (What There Is Before There Is Anything There, 2014, etc.).
First run in La Nación in 2003 and 2004, the delicately colored strips vary wildly in tone and content but are unified by an appealingly daffy sensibility. The cartoonist has a rotating stable of characters he seems to trot out whenever the mood strikes. Book-loving Henrietta delights in the company of her cat, Fellini, and her teddy bear, Mandelbaum, and enjoys sweetly innocent “adventures.” In one strip, she hangs from a tree branch, explaining to a curious Fellini that “I want to know how I’m going to see the world when I’m a grown-up….” Other recurring characters include Z-25, the sensitive robot (unsurprisingly, he is quite lonely), the top-hatted, carrot-nosed “mysterious man in black,” a squadron of gnomes with tall, striped or polka-dot hats, a flock of penguins, “the bovine movie buff,” and most poignantly, Oliverio the olive, whose punch lines almost always include the tragic realization that he is a foodstuff. Many cartoons celebrate the surreal, others provoke existential musings, and still others are wry acknowledgments of the challenges inherent in producing a daily comic strip (“I recently got an idea for a joke,” confides a man whose hat has grown and shrunk over eight minipanels, “but it got away from me”).
Fresh, thought-provoking, consistently amusing; readers will start to browse, then find they've finished it. (Comic strips. 12 & up)Pub Date: Dec. 27, 2014
ISBN: 978-1-59270-169-8
Page Count: 104
Publisher: Enchanted Lion Books
Review Posted Online: Nov. 4, 2014
Kirkus Reviews Issue: Nov. 15, 2014
Even so, this remains Macbeth, arguably the Bard of Avon’s most durable and multilayered tragedy, and overall, this enhanced...
A pairing of the text of the Scottish Play with a filmed performance, designed with the Shakespeare novice in mind.
The left side of the screen of this enhanced e-book contains a full version of Macbeth, while the right side includes a performance of the dialogue shown (approximately 20 lines’ worth per page). This granular focus allows newcomers to experience the nuances of the play, which is rich in irony, hidden intentions and sudden shifts in emotional temperature. The set and costuming are deliberately simple: The background is white, and Macbeth’s “armor” is a leather jacket. But nobody’s dumbing down their performances. Francesca Faridany is particularly good as a tightly coiled Lady Macbeth; Raphael Nash-Thompson gives his roles as the drunken porter and a witch a garrulousness that carries an entertainingly sinister edge. The presentation is not without its hiccups. Matching the video on the right with the text on the left means routinely cutting off dramatic moments; at one point, users have to swipe to see and read the second half of a scene’s closing couplet—presumably an easy fix. A “tap to translate” button on each page puts the text into plain English, but the pop-up text covers up Shakespeare’s original, denying any attempts at comparison; moreover, the translation mainly redefines more obscure words, suggesting that smaller pop-ups for individual terms might be more meaningful.
Even so, this remains Macbeth, arguably the Bard of Avon’s most durable and multilayered tragedy, and overall, this enhanced e-book makes the play appealing and graspable to students . (Enhanced e-book. 12 & up)Pub Date: Sept. 9, 2013
ISBN: N/A
Page Count: -
Publisher: The New Book Press LLC
Review Posted Online: Nov. 6, 2013
Kirkus Reviews Issue: Dec. 1, 2013
Gorgeous and troubling.
Cartoonist Kuper (Kafkaesque, 2018, etc.) delivers a graphic-novel adaptation of Joseph Conrad’s literary classic exploring the horror at the center of colonial exploitation.
As a group of sailors floats on the River Thames in 1899, a particularly adventurous member notes that England was once “one of the dark places of the earth,” referring to the land before the arrival of the Romans. This well-connected vagabond then regales his friends with his boyhood obsession with the blank places on maps, which eventually led him to captain a steamboat up a great African river under the employ of a corporate empire dedicated to ripping the riches from foreign land. Marlow’s trip to what was known as the Dark Continent exposes him to the frustrations of bureaucracy, the inhumanity employed by Europeans on the local population, and the insanity plaguing those committed to turning a profit. In his introduction, Kuper outlines his approach to the original book, which featured extensive use of the n-word and worked from a general worldview that European males are the forgers of civilization (even if they suffered a “soul [that] had gone mad” for their efforts), explaining that “by choosing a different point of view to illustrate, otherwise faceless and undefined characters were brought to the fore without altering Conrad’s text.” There is a moment when a scene of indiscriminate shelling reveals the Africans fleeing, and there are some places where the positioning of the Africans within the panel gives them more prominence, but without new text added to fully frame the local people, it’s hard to feel that they have reached equal footing. Still, Kuper’s work admirably deletes the most offensive of Conrad’s language while presenting graphically the struggle of the native population in the face of foreign exploitation. Kuper is a master cartoonist, and his pages and panels are a feast for the eyes.
Gorgeous and troubling.Pub Date: Nov. 5, 2019
ISBN: 978-0-393-63564-5
Page Count: 160
Publisher: Norton
Review Posted Online: Aug. 18, 2019
Kirkus Reviews Issue: Sept. 1, 2019
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