Three appreciations for comics on the web

Two very short, one very long. (The comics themselves, I mean.)

(Considering everything else going on in the world in these past weeks, it seems unreal that I can sit down to write a blog post about comics.)

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His Face All Red was Emily Carroll‘s comic offering for this past Halloween, and is one of my favorite works in any medium, ever.

…EVER.

From the first panel onwards, the comic’s atmosphere is one of unspoken strangeness and menace, backed by Carroll’s psychologically acute storytelling. (I always love the simple humanity of Carroll’s characters, whether narrated or purely illustrated; here she creates as much sympathy and pity for her downtrodden, haunted protagonist as she does trepidation.) Add in the fact that the wickedly clever layout turns the physical act of reading a webcomic – every stretch of scrolling, every click to the next page – against the viewer, and the suspense and anxiety build to unbearable levels. The last, horribly silent pages had me unnerved to the point of physical discomfort.

I’ve also been trying to find the time to catch up on Carroll’s more recent comics work: a mythical love story for Valentine’s Day, and a series of dream journal-snippets – many of them just as eerie as His Face All Red, from the looks of it.

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Ryan Andrews’ Nothing is Forgotten hit me in much the same place that Studio Ghibli films do. With the same sweet, thoughtful gravity, and edged with that frisson of the inexplicable, the comic offers a glimpse at the life of a grieving boy, and an odd encounter he has in the woods.

Every wordless, monochrome panel – just ink and soft-grained, digitally applied textures – is so beautifully composed that you could frame it. They’re perfect compressions of action and emotion, light and shadow. This one in particular had me tearing up. (It’s an emotional “spoiler,” so don’t click till you’ve read the whole comic.) Like Carroll, Andrews also turns the process of scrolling into a means to establish pacing and mood.

I originally found the comic via Andrews’ blog post detailing his artistic process, which really gives you an appreciation for the care put into each panel.

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Finally, Digger, Ursula Vernon‘s epic yarn of a no-nonsense wombat transported by an errant tunnel to a land of territorial hyenas, oracular slugs, and veiled warriors in the service of a talking statue of Ganesh, concluded this Thursday after a run of over 4 years.  I’d been reading since sometime in 2008, and I did NOT see that coming. Raise a glass! I’ll miss having Digger to cheer up my Tuesdays and Thursdays.

– E

White is for Witching, by Helen Oyeyemi (2009) E

Date read: 1.10.11
Book from: University library
Reviewer: Emera

Snow White meets haunted-house melodrama meets quasi-vampire story with a decided hint of “Carmilla,” by the author of The Icarus Girl? Count me in. White is for Witching is the story of a family, and a house, distorted by the loss of a mother and a hidden history of trauma, xenophobia, and insanity. Miranda Silver blames herself for her mother’s death, and struggles with pica, a disorder that compels her to eat chalk and plastic. (I thought it might well be a pun on the “consumptive” heroine, in addition to hinting at Miri’s eventual realization of even worse appetites, and reflecting the novel’s motifs of misdirected desire and destruction from the inside out.) Her twin brother Eliot and bottled-up father Luc are too paralyzed by their own obsessions and griefs to do more than watch Miri on her slow course to destruction. In short, every character is an emotional closed circuit, furiously retracing the same neuroses without outlet or resolution. This includes, of course, the possessive and apparently sentient house, which has born witness to several generations of tortured Silver women.

For the first half of the book, I read with mostly detached fascination. Everyone is so icily clever and dysfunctional that I couldn’t really care about them, and as in The Icarus Girl, Oyeyemi’s prose sometimes verges on mannered. Paragraphs drift into prose-poetic fragments, and overlapping phrases signal transitions between narrating characters; I found the latter a particularly heavy-handed stylistic device. Similarly, many of the haunted-house tableaux – Miri’s waking dreams of streets lined with “pale people,” for example – are presented with an arranged, glassy nightmarishness, an alienating hyper-aestheticization. What saved the book for me from feeling (if you’ll forgive the pun) too lifeless was Oyeyemi’s dense layering of Gothic and folkloric tropes.

Continue reading White is for Witching, by Helen Oyeyemi (2009) E

Chalice, by Robin McKinley (2008) E

Date read: 1.2.11
Book from: Public library
Reviewer: Emera

“The story I tell over and over and over and over is Beauty and the Beast.  It all comes from there.  There are variations on the theme–and it’s inside out or upside down sometimes–but the communication gap between one living being and another is pretty much the ground line.  And usually the gap-bridger is love.”

– from Robin McKinley’s blog (this post)

Mirasol, formerly a beekeeper, has become the Chalice of her demesne, charged with binding and unifying both its inhabitants and its restive magical energies. Unfortunately, her demesne is unsettled by the violent deaths of its last Master and Chalice. The arrival of the new Master only promises more strife. Previously banished by his brother, the last Master, to the priesthood of fire, he returns more than a little inhuman, terrifying to his own people and perhaps unable to command the land’s magic as he should.

The feeling that struck me as I was reading Chalice was that I was reading Sunshine again – which makes perfect sense, given McKinley’s above reflection. Chalice plays on that dynamic, and many more of her trademarks: fearful and inexperienced but pragmatic, good-hearted protagonists; magic that’s as often inconvenient and frightening as it is wondrous. (Mirasol, when receiving omens of her impending Chalicehood, spends most of her time cleaning up after the overflowing milk and honey that result.)

More than any of McKinley’s other books that I can recall (except maybe Rose Daughter), Chalice has an elusive, vignette-ish quality to it.  It feels as if we only spend a brief time with the characters and world before the curtain drops on the scene again. Mirasol’s world is rich with tradition and history – there are numerous mentions of a not-so-distant barbaric past, and Mirasol’s fellow Circle members have evocative, little-explained titles like “Talisman” and “Sunbrightener” – but we’re only privy to what detail Mirasol’s own experiences reveal. This guardedness lends the setting a pleasantly mysterious feel.

On the other hand, I was not so much a fan of the intense internality that controls most of the book. The vast majority of it happens inside of Mirasol’s head, with dialogue and action indirectly reported, and flashbacks and occasionally repetitive exposition occupying much of the first half of the novel. So while I was deeply intrigued by the setting and circumstances,  I felt a little stifled and not immediately involved. I was also put off by the flatness of the political conflict that eventually tests both Chalice and Master. I realize that for McKinley it’s always more about how her protagonists overcome difficulties, rather than what in particular they’re overcoming, but it can start to seem a little silly when all the villains are either greedy Overlords or mincing sycophants.

Overall, though, I was happy to sit back and enjoy the ride, just soaking up the odd, earthy details of Mirasol’s life, the rituals that she concocts and carries out, and the few characters with whom she interacts. Also, the love story is very sweet. Throughout, McKinley wields crisp, vivid language that particularly helps to crystallize Mirasol’s experiences of magic. Chalice is not a must-read if you’re not already a big McKinley fan, but it is beautiful and ultimately satisfying, if on the slower side.

Go to:
Robin McKinley: bio and works reviewed
Beauty (1976), review by Emera
Deerskin (1993), review by Emera
Deerskin (1993), review by Kakaner

Picture Book Report comes to an end

I was too scatterbrained to link to this while it was running, but I recently saw the sad news that Picture Book Report, a blog bringing together 15 extremely talented illustrators to create an “extended love-song to books,” is retiring after one year of operation.

Check out the blog for varied illustrations and associated commentary on classic and, more importantly, beloved works from Where the Red Fern Grows, to Sabriel, to Brave New World (the latter done by one of my absolute favorite illustrators, Emily Carroll).

– E

Where the Mountain Meets the Moon, by Grace Lin (2009) E

Date read: 12.16.10
Book from: Personal collection
Reviewer: Emera

Where the Mountain Meets the Moon is as much a joy to hold (literally – it’s the nicest size for a hardback) and look at as it is to read:

The insides are just as beautiful, with colored text and chapter headers, and more of Grace Lin’s ornate, exuberant, full-color illustrations scattered throughout, complementing her detailed, lively prose.

The story follows the adventures of Minli, a young girl who leaves her home in the shadow of the Fruitless Mountain to seek out the Old Man in the Moon, and learn from him how to change her family’s unhappy fortune. On the way, she helps and is helped by a varied cast of characters with cleverly interwoven stories to tell, including a talking goldfish with ambitions, a flightless dragon, and an orphan boy who lives with a water buffalo.

Minli is sort of generically plucky and lovable, and occasionally the story’s sweetness borders on sappiness, but it’s all so clearly coming from a place of genuine caring that I can’t really complain. Lin’s attention to the grief of Minli’s parents after her disappearance is particularly striking and moving. Among children’s books, I can’t remember reading another Hero’s Journey that also gave page time to those left behind. Watching her parents (her mother in particular) come to their own realizations about their relationships with Minli, and then witnessing the family’s eventual reunion – again, just genuinely sweet, loving, and ultimately joyful.

All in all, I felt like I was being given a hug and a bowl of hot soup in book form. (It doesn’t hurt that Lin clearly enjoys describing details of food as much as she does fantastical scenes of red-silk bridges and monkey-infested peach groves.)

As always with really good YA, I wish I knew younger persons I could gift this to. Older readers looking for more books set in mythical China would do very well indeed to look up Barry Hughart’s rumbustious, madcap adventure-fantasy-mystery-everything-awesome series, The Chronicles of Master Li and Number Ten Ox, beginning with Bridge of Birds.

Go to:
Grace Lin: bio and works reviewed

Congratulations to this year’s Nebula nominees!

Click to see the list

And I have read… exactly none of the things on the list, sigh, though there are familiar names and familiar “I want to read this! when I have time! in my next life!” titles a-plenty.

Kakaner and I have both been mostly swamped with work these days, if it’s not evident from our spotty activity. Hope all is well out there.

– E

[inserts self] I will go give my self a well-deserved stab in the eye for not having read any of these either… how dare I call me a SFF fan!

-K

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Booklish #4: Gone With the Wind Tara Cake

gone-with-the-wind-tara-cake-book-margaret-mitchell-partial

View Recipe: Gone With the Wind Tara Cake

I envisioned nothing less than a grand, massive tiered cake for Margaret Mitchell‘s sweeping 1936 romantic epic, Gone With the Wind.  This famous and controversial novel has all the good bits– war, betrayal, unrequited love, mis-timed requited love– and a spoiled southern belle forced to experience the worst of humanity who then seizes her life back though hard work, womanly charms, and sheer force of will. This recipe is meant to capture the full range of history, time and emotion in the novel, as well as convey an atmosphere of grandness throughout.

Continue reading Booklish #4: Gone With the Wind Tara Cake

Rendezvous with Rama, by Arthur C. Clarke (1972) K

Date Read: 08.28.10
Book From: Personal Collection
Reviewer: Kakaner

Summary

A massive 50 km-long metal cylinder (later named Rama) is hurtling towards earth at an awesome speed. The discovery stirs the world into motion, culminating in the launch of a select few for an exploration mission. The chosen members immediately leave Earth to begin their assignment, finding their way into the cylinder with relative ease and explore the object, trying to understand it’s function and characteristics…

Review

…and as far as the summary is concerned, that’s about it! It’s Clarke, and although I’m no expert– having only read Childhood’s End before– I get the sense that he dives into telling a story by making a beeline for a particular concept or vision but really doesn’t take the time to look elsewhere. There was a solid, but rather pat, exposition (granted it was the 22nd century, but is it *really* that easy to pull together a space exploration team with so little international bickering??) followed by the introduction of a few uninteresting members of the team, and then it was onward with the science! This was pretty hard sci-fi, especially for 1972– if you’re looking for intergalactic cross-species love affairs and all the politics of a space epic, this is not the book for you. It read like a very self-indulgent exploration of a fantasy world/sci-fi concept that Clarke was just dying to bring to life.

So yes, the novel’s sole focus was the exploration, description, and documentation of Rama. And Rama was beautiful. I’d first compare my reading experience to that of watching 2001: A Space Odyssey— serene, epic, silent, intensely futuristic, a sense of overwhelming vastness, and very reminiscent of Journey to the Center of the Earth with respect to the concept of an enclosed yet self-sufficient world. What strikes you as you wander through Rama is the almost sinister quiet of the place, and how it instills within you this fear that each new discovery is going to be the unveiling of some awesome Truth, or at least some mighty power that would set you at ease with simply knowing. Every part of the world was full of implication (Why were there houses with no doors, and objects frozen inside? Why were there fearsomely fast and lethal robots that roamed like animals? Why was there a synthetically generated electric thunderstorm? Why was there a world in this cylinder in the first place?) and scientific content that I was so mentally tired every couple of pages… I literally had to stop and take breaks to gather my thoughts and to work on visualizing a new part of Rama. The foreignness of it all was terribly uncomfortable yet incredibly exciting.

I could go into more detail about Rama, such as giving dimensions, painting a map, or describing each location, but Rendezvous with Rama was more of a powerful visionary experience for me (and that’s what Wikipedia is for!) This book was an immediate winner of both the Hugo and Nebula awards upon it’s publication, and rightly so.

Go To:

Arthur C. Clarke: bio and works reviewed