photo & text by nacrowe
the graphic novel EMBROIDERIES (PANTHEON, 2003) by celebrated FRENCH-IRANIAN cartoonist MARJANE SATRAPI sheds insight on the often TABOO and often UNDISCLOSED and UNDISCUSSED SEXUAL ATTITUDES and personal lives of IRANIAN WOMEN. the graphic novel revolves around the remembered gathering of SATRAPI's GRANDMOTHER with her DAUGHTER as well as close friends and relatives, all WOMEN, for an evening samovar tea and PRYING discussion.
and that talk centers around SEX. at times SALACIOUS, these cascading tales of the physical and emotional disappoints and cultural DOUBLE STANDARDS of being a WOMEN are both SOBERING and INSIGHTFUL. they depict a GENDER SOCIAL LANDSCAPE that doesnt seem much different from WESTERN CULTURE, where woman are still prized for their physical attributes and MEN still hold much INSTITUTIONAL POWER. the title even references the lengths WOMEN will go to reestablish their untouched VIRGINAL state through PAINFUL, INVASIVE surgeries aimed at pleasing their MALE PARTNER, as well as the INTERWOVEN tapestry and mutually SUPPORTIVE network of experience witnessed in this all-FEMALE gathering. though these PERSONAL narratives that the WOMEN share with one another often depict past selves in LESS EMPOWERED circumstances, what they all share in common is a SUBVERSION to GENDER EXPECTATIONS surrounding FIDELITY. often this is shown through a leveraging of their DOMESTIC duties or SEXUAL DOMINANCE over an OLDER, SLUGGISH and wholly INEPT MALE PARTNER. even the ending shows the PATRIARCH of the SATRAPI family pushed back to his room with no input or fight of his behalf in the matter. its an INTERESTING metaphor for the lives of WOMEN in IRANIAN culture that although their public lives are STRICT and PREDETERMINED, the inner dynamics on the home front are not up for discussion. and none of this should be any surprise to anyone. GENDER DYNAMICS are a manifestation of a much larger conversation regarding one's ability to self identify and public express one's INDIVIDUALITY. generations of WOMEN in IRAN brought this state of affairs regarding CONSERVATIVE GENDER RELATIONS and SEXUAL MORES to fruition through either SUBMISSION, COLLABORATION or quiet acquiescence to AUTHORITY. i question whether these closed circles of INTERGENERATIONAL FEMALE networks have the potential to change the state of affairs. such is definitely currently in play in IRAN in the wake of the police custody death of 22 year-old student MAHSA AMINI and the PROTESTS that have followed. interestingly, MEN have joined their ranks. its a dynamic still being played out and the discussions elucidated in EMBROIDERIES definitely seem PRESCIENT to that movement.
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photo manipulation & text by nacrowe
i found the documentary WARREN ELLIS: CAPTURED GHOSTS (SEQUART, 2012) about the NOTORIOUS BRITISH graphic novel writer to be quite a bore. my interest for watching this film came from reading his work in TRANSMETROPOLITAN (VERTIGO, 1997-2002), RED (WILDSTORM, 2003-2004), and THE AUTHORITY (WILDSTORM, 1999), all three are INTENSE, THOUGHTFUL comic book series that utilize TRANSGRESSIVE scenarios as a means of prodding the reader's sense of HUMAN DECENCY. in essence, WARREN ELLIS is producing MODERN ALLEGORIES and MORALITY PLAYS, utilizing familiar narrative forms while pushing them to their ethical limits. in contrast with his creative work, which i found to be quite CONTEMPLATIVE and entirely THOUGHT-PROVOKING, this documentary which follows him basking in his own TIRESOME attempts at SELF-MYTHOLOGY just came off TRITE and BANAL. to be perfectly honest, i had a difficult time staying awake throughout.
it is important to state that this film came out years before reports of SEXUAL COERCION allegations were brought on by multiple women in the summer of 2020. since then he has been something of a PARIAH within the industry and has effectively been BLACKLISTED in the wake of said claims. i think this documentary is interesting in how it presents a REVERED cultural figure and the lengths to which peers and acolytes rationalize and contextualize aggressively DEVIANT and unapologetically DEBASED behavior. i found the BRAZENNESS of these justifications by lackeys to be pretty SHOCKING, even in the wake of DONALD TRUMP. its a situation entirely reminiscent of MARILYN MANSON and how his public and private persona fed into one another and led to his DOWNFALL, which likewise included SEXUAL COERCION as well as false-imprisonment and grooming allegations. none of it felt like a surprise in that an army of misguided apologists attempted to justify such as part of his art in some VILE and absolutely WARPED perspective. its truly BIZARRE in that you even have JOSS WHEDON (BUFFY THE VAMPIRE SLAYER, TOY STORY, THE AVENGERS) expressing opinions on said behavior, himself someone in just a few short years after the recording of this film will be publicly alleged to have utilized his authority on set to coerce sexual favors from subordinates. just proves the power of celebrity and the gender power imbalance that is still very much a feature of western society, despite our attempts to point fingers at other parts of the globe. it should be noted that ELLIS has since come out and apologized from what reports i could gather, but the documentary i am interested in would be the 2022 version of his personal narrative, not this 2012 version. especially given the nature of his work and the SAD legacy of his personal choices, he may be an ideal candidate to eloquently shed light and poignant insight into the CORROSIVE mindset of TOXIC MASCULINITY and the societal structures that encourage such to metastasize and flourish. or not. photo & text by nacrowe
YOU ARE THERE (FANTAGRAPHICS, 2009) is a KIM THOMPSON english translation of the deeply SATIRICAL FRENCH serial ICI MEME, which was a legendary 1978 collaboration between notable FRENCH illustrators JACQUES TARDI (IT WAS THE WAR OF THE TRENCHES) and JEAN-CLAUDE FOREST (BARBARELLA). it is often credited with spearheading the modern EUROPEAN graphic novel movement in the 1980s.
the narrative deals with the PECULIAR protagonist ARTHUR THERE, who ODDLY lives on the INTECONNECTED walls that divide the land of his ancestors. generations before they have had it stolen by the antecedents of the current landowners and the unusual arrangement is that THERE opens the gates that give these families access to their properties. in return he charges a small toll for the effort. a consistent theme throughout includes the INTERACTION that borders on PLAY in HUMAN CONNECTION and ISOLATION. THERE by definition provides access and CONNECTION for the inhabitants of the region but he himself is situated ALONE OUTSIDE SOCIETY. he is paradoxically an inert gas as well as an enzyme at the same time, figuratively. THERE is in the middle of a lawsuit over his stolen lands which ABSURDLY finds the region caught up in a national PSYCHODRAMA/POWER STRUGGLE by a leader with low poll numbers before an ELECTION. since technically the land THERE controls is its own self-determined state, this POLITICIAN seeks to reinstate him as a ploy to rally voters to support him. its an ABSURD plot with ABSURD characters, many of whom i am glancing over, but at the heart is a FATALISTIC, almost EXISTENTIAL, view of the FRAILTY and IMPOTENCY of humans to AFFECT CHANGE in the world. ABSTRACT concepts like DEATH, LOVE, JUSTICE, MONEY, COMMUNITY and even HEALTH are seen as distractions that dont provide meaning in a cosmos that has no rhyme or reason to it, even for a CONFUSED, HALF-MAD protagonist. the whims of HISTORY is seen as a wave that carries us all with it and we have no capacity to alter or fundamentally affect change in any meaningful manner beyond the fringes. this DIRE perspective feels incredibly OF-THE-MOMENT given the FRAIL STATE of global democracy (ala JANUARY 6TH INSURRECTION), threatened nuclear war (with RUSSIA) and the collapse of trust in the AMERICAN JUDICIAL SYSTEM given the recent DOBBS V. JACKSON WOMEN'S HEALTH ORGANIZATION decision. i feel like THERE. i escape to my own REALITY. that is probably why i read books at the rate i do. i think its hard not read this graphic novel and think about the gatekeepers to our own INTERACTIONS with each other (SOCIAL MEDIA PLATFORMS, POLITICIANS, INTERNET SERVICE PROVIDERS) and their own AGENDA in that exchange. photo & text by nacrowe
the informative graphic novel HYPER-CAPITALISM (THE NEW PRESS, 2018) by cartoonist LARRY GONICK and PSYCHOLOGY professor TIM KASSER is essentially an exhaustive breakdown of the extent to which INTRINSIC VALUES (such as appeals to SOCIAL JUSTICE, CREATIVITY, connection to NATURE / COMMUNITY) are INCOMPATIBLE with the prevailing ethos of the modern corporate system we all inhabit. this graphic novel very much gets at the heart of what makes MODERN CAPITALISM such a PERNICIOUS threat to GLOBAL SUSTAINABILITY efforts as well as the stability of communities and the general well-being of its inhabitants. corporations in particular are terrible neighbors who, by design, have an insatiable need to seek and ultimately leverage various COMPARATIVE ADVANTAGES (regarding RESOURCES, LABOR, TECHNOLOGY, etc.) in order to appease shareholders and exploit stakeholders in the process. the drawings are targeted and delineate numerous complicated strategies, postures and procedures (with regards to the culpability of the CONSUMER, GOVERNMENT, LEGAL SYSTEM and BUSINESS OWNERS) in a succinct and efficient manner. the effectiveness of these panels is pretty staggering and is really a testament to how talented and knowledgable both GONICK and KASSER are as a team.
but its all so DEPRESSING and just OVERWHELMING. such is why the pair decided to have write a second section of the book that outlined how various practices (at both the consumer and business level) can ward off the DESTRUCTIVE elements of CAPITALISM and reinvigorate communities and social congruity. making purchases (and long-term investments) based on HUMANISTIC VALUES and participating in local communal efforts (FARMER'S MARKETS, TIME BANKS, LIBRARIES, etc.) keeps the immense influence and power of capital at the local level. and that is basically they key to transforming what the author refers to as "HYPER-CAPITALISM", you have to alter it from the inside out. by changing how you interact with the system you are in essence transforming it to something that is more HUMANISTIC and in line with INTRINSIC VALUES that better everyone. or so that is the central thesis. i feel that MATERIALISM will not change and that people will forever be mindlessly subject to the GREEDY, PERNICIOUS whims of coordinated corporate ADVERTISING, LOBBYING and LEGAL efforts. i dont see a communal change in our CONSCIOUSNESS as AMERICANS, which is essentially built on RACIST, MATERIALISTIC and unapologetically NARCISSISTIC framework devoted to the idea of the INDIVIDUAL. the antidote to this DEVASTATING situation is a seemingly QUIXOTIC dream that i share but dont see coming true. we are doomed. our individual and collective desires are doing us in. photo & text by nacrowe
there is something distinctly AMERICAN about EXTREME RELIGIOSITY. maybe it comes from our collective unabated allegiance and piety towards MARKET CAPITALISM and the need for all of us as individuals to assume and attest our own INDIVIDUALITY and SUPERIORITY over the herd. i can remember as a PEACE CORPS volunteer in ALBANIA the lengths to which other volunteers consciously separated themselves from those they sought to "assist." they were often CONFUSED why they were not thanked for their SELFLESS efforts by their new neighbors. it is that need for status and lack of EMPATHY that i'd argue makes us SUSCEPTIBLE to FANATICAL CHARLATANS and POWER / MONEY-HUNGRRY HUCKSTERS, both in terms of RELIGIOUS and POLITICAL CULTS (cough, cough, DONALD TRUMP).
in the comprehensive graphic novel AMERICAN CULTS (SILVER SPROCKET, 2021), edited by ROBYN CHAPMAN, there is an EXHAUSTIVE array of testimonials and narratives from over 20 cartoonists surrounding various DOMESTIC RELIGIOUS CULTS ranging from the benign (SUFISM REORIENTED, ONEIDA, THE SOURCE FAMILY, THE SULLIVANIANS) to the infamous (THE MANSON FAMILY, HEAVEN'S GATE, CHILDREN OF GOD, SYNANON, THE BRANCH DAVIDIANS, ORTHODOX JUDAISM, THE PEOPLE'S TEMPLE AGRICULTURAL PROJECT aka "JONESTOWN", CHRISTIAN MOVEMENT FOR LIVE aka "MOVE", THE FUNDAMENTALIST CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS and NXIVM). seemingly what they all have in common is the need to supplant the individual's need for an independent identity with that of a community ethic modeled on a CHARISMATIC leader, whether that be DAVID KORESH, KEITH RANIERE, JIM JONES, CHARLES MANSON, WARREN JEFFS, DAVID BERG, JOHN NOYES or MARSHALL APPLEWHITE. sometimes this new group ethic espouses COMPATIBLE VALUES with that of AMERICAN society at large, so the group is largely BENIGN. but most of the examples explored in this collection showcase when a new set of RETROGRADE value systems are implemented and the untold DAMAGE such creates, not only on members and their children, but the larger communities they inhabit. one interesting aspect of how these CULTS flourish is through a LAUNDERING of their reputation, especially initially, with regards to local political and business interests. its pretty interesting to know that HARVEY MILK and ROSALYNN CARTER endorsed JIM JONES at some point, likewise the DALAI LAMA with regards to KEITH RANIERE. the CULPABILITY of the broader community in allowing cultural loopholes whereby these insects burrow and later flourish into caustic colonies that threaten the larger body politic seems to be a narrative as old as the founding of our country, which itself was initiated by CALVINISTS and CHRISTIAN FUNDAMENTALISTS with BACKWARDS views on RACE, GENDER and the ENVIRONMENT. especially in a post-TRUMP (or perhaps pre-TRUMP's return) world there is an understanding of the DANGERS that come with HUCKSTERISM that plays on our COLLECTIVE FEARS and BASE INSTINCTS. and yet it continues on unabated. having lived overseas for many years i questioned whether it was something about being AMERICAN that made us so VULNERABLE to such. now im convinced our ISOLATION, ARROGANCE and NAIVETE about world affairs leaves us distinctly susceptible to such outright FRAUD and CHARLATANISM. and we seem to celebrate it. photo & text by nacrowe
there is something about the SUBTLE interplay between TEXT and ILLUSTRATIONS in a WELL-CRAFTED graphic novel. especially when both are done with a sparing MINIMALISM that allows for much PROJECTION and INTERPRETATION on the part of the reader, much like when deciphering cues when watching an early silent film.
such is the case with ITALIAN cartoonist MANUELE FIOR's highly EXPRESSIONISTIC revisiting of WESTERN MYTHOLOGY in RED ULTRAMARINE (FANTAGRAPHICS, 2006) which combines both the ANCIENT GREEK DAEDALUS/ICARUS narrative with that of the GERMAN FAUST myth. at the heart of this intertwining HYBRID NARRATIVE are the DIRE consequences associated with OBSESSION. this search for PERFECTION may be the result of a WELL-INTENTIONED objective in order to save or assist a loved one, but it seems that challenging one's fate (and the gods' wrath) is another thing altogether. FIOR effectively showcases with an adroit IMPRESSIONISTIC touch the deep well of AFFECTATION and EMOTION at heart with multiple character's pursuits. this is done with a sparing use of text, letting the ARTWORK push the NARRATIVE. the space in these PANELS gives voice to the INTERNAL DIALOGUE in all of us as we go about our daily pursuits and pedestrian desires. the UNADORNED IMAGERY is not EMPTY, but rather rich in anticipation for meaning. this is a PSYCHIC, MENTAL and EMOTIONAL space we all live within throughout our existence. at the close of RED ULTRAMARINE there is no victory, solace or knowledge gained. we are just mired in our own INTERNAL DIALOGUE and personal NARRATIVES that have no bearing on REALITY. i believe FIOR illustrates in this graphic novel the extent to which FAUST and the MINOTAUR are aspects of ourselves. our OBSESSIONS and SELF-DELUSIONS are not real but projections of ourselves upon an UNCARING, seemingly NEUTRAL physical world. life is less about dealing with actual REALITY, but that which we create ourselves. RED ULTRAMARINE is a THOUGHTFUL graphic novel well worth investigating. photo & text by nacrowe
the ambitious graphic novel LOGICOMIX: AN EPIC SEARCH FOR TRUTH (BLOOMSBURY, 2009) by APOSTOLOS DOXIADIS and CHRISTOS PAPADIMITRIOU attempts to do nothing less than present the evolution of LOGIC from the perspective of towering 20th century BRITISH philosopher/logician BERTRAND RUSSELL and his many cohorts and forebearers from the likes of ALFRED WHITEHEAD, GEORG CANTOR, DAVID HILBERT, LUDWIG WITTGENSTEIN, KURT GODEL, GEORGE BOOLE and GOTTLOB FREGE among others. in essence, since the time of EUCLID, generations of mathematicians have been search for the essence of LOGIC, otherwise known as FOUNDATIONS OF MATHEMATICS, in which no proof is assumed and everything is proven. from this base all else is proven.
ultimately such a objective turn out to be a bit of a white whale that drove many a logician to madness, divorce, infidelity and ruinous despair. in a sense the whole enterprise was a failure since no final proof was ever determined. even the inexact, impressionistic filter of LANGUAGE was called into question. ultimately this important work laid the bedrock for all that has followed, especially with regard to the advent of computing under ALAN TURING, which was based on said principles. the graphic novel itself takes acknowledged liberties with the life of RUSSELL, which serves as the central narrative, which includes invented meetings, conversations and events that never happened. such is fine by me since the complex concepts are what take center stage here. what i do appreciate are the stakes at play with logic, which is presented at a lecture RUSSELL "gave" at an AMERICAN university with a crowd looking for intellectual justification for their reasons for sitting out the second world war in EUROPE (assumably pre-PEARL HARBOR). RUSSELL recounts his life story but ultimately puts the locus of control over LOGIC to each person since ultimately there is no empirically derived correct opinion. that responsibility is within each of use to deduce as we see fit in accordance with our values, concerns and obligations. in this sense LOGICOMIX is an intellectual call to arms for its readers to consider the MORAL POWER they hold as individuals and not farm such out to leaders and experts. even there are lots of charlatans out there, such comes with the territory of INTELLECTUAL FREEDOM. cant say the same for internet culture. god id love to know what some of these thinkers would have made of TWITTER. LOGICOMIX is an ambitious and compelling graphic novel well worth repeat revisiting. the format seems ideal for transmitting such complex and seemingly obtuse concepts to a general audience. it is quite the achievement. photo & text by nacrowe
MARKET DAY (DRAWN & QUARTERLY, 2010) tells the poignant story of a JEWISH rug weaver from a turn-of-the-20th century, presumably EASTERN EUROPEAN country who travels from his small village to a town market in the hopes of selling his wares in order to provide for his pregnant wife and unborn child.
you really get the sense of the OPPORTUNITY and SOCIAL CONNECTION that the market represents to an artisan, but also the sheer IMPOTENCE and VULNERABILITY from being unable to discern environmental economic shifts. such is what happens to our protagonist MENDLEMAN, who despite having a connections and a good reputation for his superior rugs, finds himself unable to secure a buyer. disgruntled and deeply frustrated for putting so much time, effort and creativity into his work, he sells not only his remaining stock of rugs but ultimately his loom as well at a steep discount. for me this narrative is an evocation of the SUBSISTENT EXISTENCE that much of the world's COMMUNITY deals with day to day whereby steep BARRIERS regarding EDUCATION, CORRUPTION and PREJUDICE keep them down. CAPITALISM is a BRUTAL system and does not universally reward those who put in their TIME, EFFORT and CREATIVITY into their trade or craft. instead it usually rewards those that are able to leverage marketshare at scale and undercut the competition. MARKET DAY showcases how the influx of cheap goods through INDUSTRIALIZATION decimates the individual artisan who simply cant compete. it likewise showcases in striking terms the PSYCHIC DAMAGE dealt to an affected individual's lost sense of IDENTITY. i saw this unfortunate dynamic play out during my time in NIGERIA, VENEZUELA and ALBANIA where local labor was denied a dignified existence and left to serve the corporate interests of foreign companies (with no regards to their country) in order to make a decent living. it is an INTOLERABLE yet far from unique situation and is the untold seedy underbelly of global CAPITALISM. i can image when MARKET DAY was released not long after the 2008 financial crisis that this sort of dynamic of the potential damage wrought by soulless corporate interests who care not for the DIGNITY of the COMMUNITY beyond its shareholders may have been top of mind. it was when i read this graphic novel which is a touching PARABLE of our current predicament. MARKET DAY should be read by everyone. photo & text by nacrowe
EXIT WOUNDS (DRAWN & QUARTERLY, 2007) by ISRAELI cartoonist RUTU MODAN is a narrative concerned with the crippling PSYCHIC CONSEQUENCES that come with being SEPARATED from family. much of the narrative follows a cab driver named KOBY who learns that his estranged father may have been killed in a terrorist attack. given his distance from his father, the story unfolds as a series of echos and readjustments of this strained relationship as he meets more and more people that have varying degrees of remembering him, including a young wealthy girlfriend named NUMI. as the two seek out KOBY's father, the two find themselves likewise testing out their own feels of connection for one another.
its a very interesting dynamic that MODAN is adroitly manipulating throughout the graphic novel; that idea of CONNECTION and DISTANCE in a volatile geopolitical space. more than a decade ago i was able to visit ISRAEL and witnessed firsthand the extent to which public safety and calculated risk play a daily part of one's existence in major cities like TEL AVIV, JERUSALEM and HAIFA where i was visiting friends. there is a very real sense that anything can happen at anytime and that one's personal relationships are of paramount importance because there is the palpable concept of each day being your last. and that isnt hyperbole. within EXIT WOUNDS, you have characters that feel varying gradations of CONNECTION to one another, irrespective of this background noise of DANGER and wonton public VIOLENCE. i think its an interesting choice that (SPOILER ALERT) KOBY never explicitly verifies his father's existence but is calmed and soothed that his new wife is such a pleasant person. it is almost as if the reverberations of his father's past actions and the BITTERNESS and PAIN they extolled are being replaced, effectively in abstentia, by a new set of reassuring echos of GRACE and UNDESTANDING. seeing this wonderful, selfless person who is nourished by her new relationship with his father is enough for him to move on as well and initiate a new sense of aspirational connection with NUMI. its an interesting dynamic and very much reminded me of people ive met in places like VENEZUELA, MYANMAR and ALBANIA who make the most of life in volatile surroundings. life being experienced as ever more PRECIOUS. its something that i dont feel on AMERICAN soil, especially in recent years with the pandemic and political strife effectively bifurcating my country. maybe as some point we will all come to the same realization. definitely not. BOOK REVIEW | "TRINITY: A GRAPHIC HISTORY OF THE FIRST ATOMIC BOMB" BY JONATHAN FETTER-VORM8/29/2022 photo & text by nacrowe
in TRINITY: A GRAPHIC HISTORY OF THE FIRST ATOMIC BOMB (HILL AND WANG, 2012) author JONATHAN FETTER-VORM gets at the MORAL QUANDARY that was the MANHATTAN PROJECT and the creation of the ATOMIC BOMB during WORLD WAR II. initially viewed as a purely SPECULATIVE and PREVENTATIVE MEASURE that would help end the war with GERMANY, its creation instead sparked a new age of global PARANOIA and the threat of global MUTUALLY ASSURED DESTRUCTION.
at the center of the narrative is theoretical physicist and BERKELEY professor J. ROBERT OPPENHEIMER who, along with GENERAL LESLIE GROVES (who previously oversaw the construction of THE PENTAGON) gathers a team and spearheads this national project. part of what FETTER-VORM does exceedingly well in this graphic novel is literally illustrate the SCIENTIFIC THEORY and TECHNICAL WIZARDRY that came with solving COMPLEX PROBLEMS with regard to controlling this incredible NUCLEAR ENERGY. it really cannot be understated how much INNOVATION and INGENUITY was involved in the conception and construction of the ATOMIC BOMB. whats hard to stomach is how little it seemed that these scientists considered the MORAL IMPLICATIONS of their work, so caught up in the PATRIOTIC FERVOR and EXISTENTIAL state of affairs that WORLD WAR II presented. even after its completion on a panel meant to analyze the POLITICAL RAMIFICATIONS of their work, these scientists obfuscated and essentially passed the buck to their enablers in the political sphere. i understand that science, much like the nature of reality, is inherently neutral and that all DISCOVERIES, INNOVATIONS and APPLICATIONS of APPLIED TECHNICAL KNOWLEDGE are susceptible to the whims of people. people who are innately FALLIBLE and prone to OUTSIDE PRESSURES and INTERNAL NEUROTICISM. but when you are messing with NUCLEAR FISSION and the ELEMENTAL DESTRUCTIVE FORCES OF THE UNIVERSE, how could they be so NAIVE? its an interesting dilemma that is expertly outlined by FETTER-VORM. and is beyond timely given the COMPLICATED GLOBAL POLITICS at play currently between THE WEST, RUSSIA and CHINA. that said, TRINITY: A GRAPHIC HISTORY OF THE FIRST ATOMIC BOMB is an incredible MEDITATION on the line between TECHNOLOGY, SECURITY and RESPONSIBILITY and is most definitely worth checking out. photo & text by nacrowe
ever since i first saw the BACK TO THE FUTURE trilogy (AMBLIN, 1985-1990) back in my early childhood there was always that PHILOSOPHICAL THOUGHT EXPERIMENT about what, if anything, you would want to revisit in the past if given the opportunity. would i spend more time talking with grandmother before she passed or maybe rewatch significant childhood moments from my past from a distance with the perspective of an adult? despite the EMOTIONAL CHARGE and immense temptation of the idea, i always come back to "no." the space-time continuum moves in one direction (i assume) and we are not PSYCHOLOGICALLY or EMOTIONALLY equipped to hand that sort of STRESS. moving forward in time is difficult enough.
but cartoonist DANIEL CLOWES' in his vividly colored and insularly CEREBRAL graphic novel PATIENCE (FANTAGRAPHICS, 2016) provides a character so utterly consumed by GRIEF by the death of his pregnant girlfriend that he is willing to risk all to alter that moment she was murdered. part CRIME MYSTERY, part SCIENCE FICTION, at its core PATIENCE is all about the transcendent power of LOVE and how such a powerful connective force transforms our very sense of MEMORY and IDENTITY. for JACK, the protagonist, this LOVE and its attendant emotions from is so strong that he is set off on an all-consuming course of SELF-VIOLENCE and SELF-DESTRUCTION to the point of SELF-ANNIHILATION that it very much makes you question the MORALITY of such a choice, even if the ends are somewhat redeemable. i know i just described the tired motivation of virtually every STEVEN SEGAL or JEAN-CLAUDE DAMME plot ever devised, but in the capable hands of CLOWES this narrative is more of a MORALITY PLAY than a revenge thriller. the focus is on the INTERIORITY of that MOTIVATION, rather than the SCI-FI or "whodunnit" aspects of the plot. my thought is that there is more than a bit of an unhealthy sense of HUBRIS, EGO and even ENTITLEMENT in attempting to change the past. out of all the possible past wrongs that could be rewritten, obviously it is to JACK's benefit for this wrong to be corrected so that he can enjoy the family that was taken from him. i understand that, but for SOCIETY as a whole there are plenty of other actions that could be taken to provide a far greater UTILITY for mankind related to preventable WARFARE, DISEASE, POVERTY and the like. possibilities are virtually endless, but the thing that gets me is that even these choices would have REVERBERATIONS and resulting OUTCOMES whose wake would inevitably result in more unintended CONSEQUENCES and unavoidable avenues and opportunities for HUMAN SUFFERING. i just dont see the cycle ever ending. as much as we find connection with one another, we equally bring pain and SUFFERING to world. it is unavoidable and i dont see any "fixing" of the past solving such a DILEMMA. i really enjoyed PATIENCE for thoughtfully thinking its way through such a proposition. definitely a compelling read worthy of investigation for anyone interested in compelling thought experiments. definitely recommended. photo & text by nacrowe
it is difficult to read BOB FINGERMAN's graphic novel BEG THE QUESTION (FANTAGRAPHICS, 2002), itself a collection of his entire MINIMUM WAGE series, and not feel just the tiniest bit nostalgic for the less complicated, pre-internet existence of the 1990s. if only. FINGERMAN's narrative follows a BROOKLYN couple in their 20s as they navigate their way through ADULTHOOD PROBLEMS like moving in together, CAREER, SEX, DEATH, BODY IMAGE, FERTILITY, MONEY, FAMILY, CHILDHOOD TRAUMAS and ultimately MARRIAGE. to my understand the piece is basically an extended meditation on relationships and the evolving motivations for maintaining such as individuals inevitably shift through different phases. is it lust? is it emotional security?
BEG THE QUESTION employs an extended network of FAMILY and FRIENDS of the couple who offer various examples of the NEEDS, DESIRES and OBLIGATIONS that bind us to one another. for some it is all about ETHNIC and RELIGIOUS TIES, while for others maintaining a CONNECTIONS is done out of a sense of duty. again for others there is common PERSPECTIVE and TEMPERMENT that gravitates some to each while for others sheer SEXUAL ATTRACTION does so (which is pretty creepy given that such AFFECTION is intra-familial during parts of this graphic novel). for all of its questioning FINGERMAN does not give us a clear answer. the ties that bind are ultimately a MYSTERY and a core facet of the collective HUMAN EXPERIENCE. speaking for myself, i find that i often cannot get out of my own head on these sorts of matters. i have always questioned what my MOTIVATIONS are for the people i maintain an emotional connection with. is not even possible to not be SELFISH and be around people that make you feel good about yourself? is that a bad thing? being around people that offer you a different PERSPECTIVE and look on life? do i have an ULTERIOR MOTIVE? and what about the people that are EMOTIONAL VULTURES and provide nothing but take. no NOURISHMENT or PERSPECTIVE, just baggage. are they not worthy? and what if they are family? how does that play into it, do i have an OBLIGATION to them because we are kin? i dont know the answer to that. which is why i thoroughly enjoyed reading BEG THE QUESTION and wish to further seek other publications by FINGERMAN moving forward. i found this graphic novel to be quite THOUGHTFUL, despite its at times RAUNCHY and TRANSGRESSIVE subject matter, and highly recommend it for anyone interested in piercingly HONEST meditations on modern life. and one last thing: in a post-ROE world it is hard to not think about how much AGENCY has been shifted away from women to make the types of decisions regarding FAMILY PLANNING and BODILY AUTONOMY examined in BEG THE QUESTION. its hard to stomach the fact that we have regressed that much as a society in terms of HUMAN RIGHTS and basic EMPATHY and COMPASSION. makes this graphic novel feel like a political and cultural ANACHRONISM id like to get back to. photo & text by nacrowe
its difficult reading about IRAQI, AFGHANI, SYRIAN and KURDISH refugees stranded in a HAPHAZARD, MAKESHIFT sites near CALAIS in 2016 as documented by KATE EVANS in her deeply affecting THREADS: FROM THE REFUGEE CRISIS (VERSO, 2017) graphic novel. its not just the INHUMANITY of EUROPEAN nations bickering amongst themselves regarding RESPONSIBILITY for this wave of immigrants (especially when they themselves are directly CULPABLE for the immense TURMOIL of these foreign conflicts) or the POLITICAL POSTURING and REGRESSIVE POPULAR RHETORIC that spew HATE and RACISM; what is most damaging is the manner in which people dont see the humanity in each other. reading this in 2022, its almost impossible to not see the current UKRAINIAN WAR and the ease with which EUROPEAN nations have taken such in refugees (albeit the UNITED KINGDOM being the exception again) as HYPOCRITICAL and baldly BIGOTED.
what i appreciate about THREADS is that it takes the perspective of EVANS and her experience volunteering at refugee camps in CALAIS, where she met with people, helped sort and distribute supplies, and drew portraits for inhabitants. this act of using art is such a powerful vehicle for giving evidence to the refugee's individual humanity. that they do exist and are accounted for and appreciated. EVANS also uses images of her phone to showcase anonymous messages (from what are presumed to be CONSERVATIVE BRITISH detractors back home) from those that see these refugees as an invading force with subhuman values bent on leeching from the welfare state. its appalling to read such but its that ingrained sense of PRIVILEGE and NARCISSISM that showcase the real values of the BRITISH commonwealth. the book ends with a note that the BRITISH are building bigger walls near the CHUNNEL outside CALAIS (i.e. the entrance to the UNITED KINGDOM). i was in VENEZUELA for two years starting in 2013 when the economy collapsed in the aftermath of HUGO CHAVEZ' passing and the unrelated fall of oil prices not long thereafter. the whole country was collapsing in on itself and people were desperate to leave. some friends that i knew made it out to PANAMA, COLOMBIA and ARGENTINA, but most were attempting to go to FLORIDA to meet up with family. all left with the intention and hope of one day returning to their homeland. and that is the huge fallacy that people who dont appreciate the situation of refugees are caught up in; these people didnt want to leave their homeland. EUROPEANS and AMERICANS act like being in their countries is a reward, whereas for these people what they are looking for is SALVATION from dangerous and unlivable conditions for them and their families. fleeing was an act of EMPATHY and DESPERATION on behalf of their children. to shit on them is such a SULLYING, DESPICABLE act. and the FRENCH and BRITISH authorities do so out of assumed MORAL SUPERIORITY and petty domestic politics. unless their UKRAINIAN and look like them. its all so DEPRESSING. just happy people like EVANS exist to bear witness and take these PATHETIC leaders to account through ART. photo & text by nacrowe
thing that struck me about HOUSE OF WOMEN (FANTAGRAPHICS, 2017) by SOPHIE GOLDSTEIN was how beautifully illustrated it was. if i had to pinpoint a style, it would be informed by the likes of AUBREY BEARDSLEY, traditional JAPANESE UKIYO-E woodblock prints, GERMAN EXPRESSIONISM and a hint of HINDU ICONOGRAPHY and MUGHAL ARCHITECTURE thrown in the mix. i found myself looking repeatedly at the panels and just basking in the potency of the visuals which were just stunning throughout.
the narrative itself follows four women that on a fact-finding mission from an intergalactic empire that seeks to learn about the far limits of its reach and the inhabitants therein. the more involved these four women become with the local inhabitants and the CULTURE therein, the more they become drawn into a PSYCHODRAMA that they have little control over. plot-wise it reminds me of a short story (whose author i forget) i read in college about a man that starts dating a woman out of pity, only to get sucked into the relationship and ultimately become discarded in the process. the short story and this graphic novel both play with notions of POWER, CONTROL and ROMANTIC DOMINANCE. its always interesting when those who feel they are in control of a situation learn that it is them that are being manipulated. i feel like the pure artistry of the panels themselves leaves the reader in a similar position whereby we are being sucked into a narrative that we have little control over as well, but very much enjoy the seduction nonetheless. i highly recommend HOUSE OF WOMEN to anyone interested in theory surrounding ORIENTALISM, POST-COLONIALISM or FEMINIST theory. it is a graphic novel most definitely worth seeking out and exploring and coming to your own conclusions about. photo & text by nacrowe
oh my god, I WANT YOU (DRAWN & QUARTERLY, 2020) by LISA HANAWALT is absolutely insane.
this graphic novel is very much in touch with a level of DADA-esque absurdity that i was not prepared for. it ranges from lovingly-detailed drawings (that would make ALBRECHT DURER proud) of HIPSTER ANTHROPOMORPHIC animals hanging out at clubs, parties and the like, to crudely drawn sexual and FECAL-OBSESSED observations. and then there are random drawings of animals with ever more outlandish hats. what i take from it all is that I WANT YOU is essentially a 20-something taking in her lived experiences and manifesting them through an absolutely feverish sense of unbounded creativity to the point of ABSTRACTION and SURREALISM. utilizing ANIMAL HEADS with HUMAN BODIES (complete with fashionable HIPSTER attire) seems as apt a vehicle as any for describing the SURREAL experience of experiencing real AUTONOMY for the first time as a young adult. those SOCIAL NEGOTIATIONS of learning what your boundaries are and how odd and difficult it is when you make mistakes regarding such. it is at that stage when you learn what your limits are and what your actual preferences are with regards to friends and romantic partners. so why not have a HUMANOID CAT date a HUMANOID DEER and witness the chaos ensue. doesnt feel that much difference than my experience in my early 20s. if you are a fan of TRANSGRESSIVE art and a DADA-esque comedic sensibility than definitely check out I WANT YOU and the work of HANAWALT in general. but then you probably already knew that given her day job as the production designer and producer of BOJACK HORESMAN on NETFLIX. this graphic novel is definitely something i will revisit in the future and attempt to grasp in better detail, because i am so lost i dont know where to begin. or maybe that was the point all along. photo & text by nacrowe
it feels like during the pandemic a fair amount of us garnered a new hard-earned appreciation for the daily rituals of public life. those mundane daily events like going to a grocery store or talking with your neighbors or even going to a movie or concert. the loss of that sense of INTERACTION with society since the pandemic began has been on my mind throughout, leading me to realize how ISOLATED i felt.
reading SEEK YOU: A JOURNEY THROUGH LONELINESS (PANTHEON, 2021) BY KRISTEN RADTKE was quite an affecting experience. the graphic novel is an extended meditation on the PHYSIOLOGICAL, SOCIOLOGICAL, TECHNOLOGICAL and CULTURAL phenomena that make AMERICAN life such a uniquely isolating experience. it really is a deep dive into how LONELINESS works and the myriad ways it affects our MENTAL HEALTH and PHYSICAL WELL-BEING. i could go down the list of all the studies cited and heart-wrenching anecdotes shared throughout the book, but instead i will just make a general statement: everything comes down to EMPATHY. the idea of sharing and having reciprocated our values, aspirations, disappointments, obstacles and successes in the eyes of others is essentially to our sense of identity with a communal context. corrosive POLITICAL DEBATES, SOCIAL MEDIA ALGORITHMS, MORTGAGE PAYMENTS, FAMILIAL RESPONSIBILITIES, NORMATIVE GENDER PRESCRIPTIONS, etc. all rope is into an intense INTERIORITY that is difficult to break free from. in essence our personal SUFFERING gets in the way of our ability to see through the bullshit and EMPATHIZE with one another. i have had the pleasure of working abroad in the developing world and i have long been struck by the strong communal ties therein. specifically in NIGERIA and MYANMAR there was a sense of being a valued member of a community (usually tribal) that went beyond one's INTELLECT, WEALTH or POLITICAL POWER. i often wonder being back stateside how much one's ECONOMIC STANDING plays into our sense of identity and ability to EMPATHIZE with one another. my instinct is that such is paramount. reading SEEK YOU: A JOURNEY THROUGH LONELINESS i was interested in hearing about that aspect but it never came up. i feel this graphic novel is a transformative achievement and something i will be revisiting and referencing from here on out. this review most definitely did not do justice to the length and breadth of the ideas presented therein, but it showcases where my head is at relative to it at this moment in time. i cannot advocate for this book strongly enough. it is PROVOCATIVE and deeply AFFECTING as it touches a subject nobody wants to acknowledge in AMERICAN society: the fact that we celebrate our ALIENATION and ISOLATION from each other and pay the price on the other end with devastating consequences. in my opinion SEEK YOU: A JOURNEY THROUGH LONELINESS is required reading. definitely wort checking out. photo & text by nacrowe
the graphic novel HERE (PANTHEON, 2014) by RICHARD MCGUIRE presents the narrative of a living room. it sis a unique narrative in that it is told visually from a fixed viewpoint over TIME. overlapping panels from varying points in TIME, from the prehistoric and precambrian through the future rising tides brought on by CLIMATE CHANGE to a future technologically advanced society.
what is created is an experiential PALIMPSEST. a PALIMPSEST is a painting in which an artist creates on top of an existing object or previous incarnation of the painting itself. what results are layers of meaning and interesting juxtapositions that require the viewer to make sense of these new connections. in HERE, MCGUIRE is essentially playing with concepts of IDENTITY and MEMORY as told through TIME. dinosaurs, sharks, native americans, modern families and the like have all LIVED, FOUGHT, LOVED, DIED and experienced full lives in this PHYSICAL SPACE. what shines through in this graphic novel is the concept of IMPERMANENCE and how our MORTALITY repeatedly inculcates in us a sense of stewardship over our surroundings. or at least it should. in BUDDHISM there is a mindset that everything and anything is in a constant state of TRANSFORMATION, of BECOMING. as humans we are only temporarily utilizing the molecules and atoms that make up our physical being and long after we pass on, much like the stars that created this matter, there will be further physical objects and manifestations utilizing said atoms ad infinitum. its a humbling concept and put the blip that is your lifespan and lived experience in proper PERSPECTIVE, against what your mind and body tell you otherwise. it also makes you consider the true implications of your individual CHOICES and how such will impact future generations. HERE is a deeply affecting graphic novel that has a MINIMALIST AESTHETIC with a deep impact. it effectively translates how our collective experiences over TIME unite us all and bind us. i found this book to be a deep meditation on the physical world and our place within it. HERE is definitely worth seeking out. photo & text by nacrowe
SEXUAL POLITICS is probably the most brutal aspect of being human. the ability or inability to attract a mate or companion and navigate the EMOTIONS, EXPECTATIONS and CULTURAL BAGGAGE that comes with the territory. as awkward as the subject matter can be, cartoonist JOE MATT practically revels in it with unflinching gusto in his autobiographical graphic novel THE POOR BASTARD (DRAWN & QUARTERLY, 1997), a repackaging of parts of his highly idiosyncratic PEEPSHOW series.
in essence this graphic novel proves the point that sometimes there really is such a thing as too much information. MATT presents himself as a shallow, sex-crazed egotist who is constantly seeking his embodiment of "perfect" woman that is obviously a figment of imagination. for all of his SELF-OBSESSION, STUNTED ADOLESCENCE and rampant IMMATURITY, there is a real pathos to all the insecurity he projects on womankind. this expectation of his of their physical perfection doesnt mirror in his own appearance or SELF-IMAGE, even in a comic that he controls. it is as if he wants us to know how pathetic his life is. reading his comics is highly uncomfortable yet instructive in that it makes the reader question his/her own motivations in the relationships her/he pursues. is MATT really that bad or are well all like him, seeking in others what is not in ourselves. is ROMANTIC LOVE inherently selfish? maybe. i cant say id recommend THE POOR BASTARD but if anything it is highly interesting. makes me want to red the comic from the perspective of his attempted conquests. itd be interesting to see these women see him. itd be interesting to see what EMOTIONS, EXPECTATIONS and CULTURAL BAGGAGE they project onto other potential love interests and what that says about them. maybe we are all similar? or maybe MATT is a true degenerate. photo & text by nacrowe
i remember years ago watching an early season of THE WIRE with my father, who was born and raised in BROOKLYN, when in frustration he emphatically stated "why am i even watching this? i KNOW these people!" with the exception of the first part of that sentiment, such was also my experience reading MEGAHEX (FANTAGRAPHICS, 2014) by TASMANIAN cartoonist SIMON HANSELMANN.
dealing with characters MEGG and MOGG, a stoner witch and her feline companion, and their many anthropomorphized animal companions; this series has more to do with SUBURBAN MALAISE and the entertainment gained from individual degradation than anything else. its nearest analogue i could think of were REALITY TV shows like KENNY VS SPENNY, JACKASS or maybe even the scripted TV comedy IT'S ALWAYS SUNNY IN PHILADELPHIA. i couldnt help but come to the conclusion that these characters were the type of parasitic people i avoided in high school and beyond. they are all vampires that seek to suck out your life force and cannibalize each other emotionally. thats not to say MEGAHEX isnt astoundingly inventive and entertaining. and shocking, with all the PSYCHOLOGICAL DAMAGE that comes with the constant PHYSICAL, EMOTIONAL and SUBSTANCE ABUSE found in these panels. HANSELMANN has a colorful, almost cartoon-like style that when coupled with sparse dialogue really makes the MALICE and sheer DEPRAVITY of his character's ugly actions shine through that much more profoundly. its an interesting juxtaposition that doesn't led up throughout this collection of the series first three seasons. if you are a fan of all things transgressive, then this is the comic for you. it is not for the faint of heart and im very much looking forward to reading further collections by HANSELMANN. photo & text by nacrowe
who wouldnt want to relive their high school years? maybe take chances you wish you had or perhaps avoid those you did?
that is the basic premise of TOO COOL TO BE FORGOTTEN (TOP SHELF, 2008) by ALEX ROBINSON which follows a middle-aged protagonist, ANDY WICKS, who is transported back to his awkward high school days while under hypnosis for a longstanding, seemingly unbreakable SMOKING HABIT. what makes this narrative interesting is not the premise, which is well-trodden at this point, but rather the idea that what our MEMORY isolates and presents to us as crucial, identity-forming events in our past is not always the case. yes, we are the end product of our past decisions (which makes the idea of being transported back as a youth with the experiences of an adult confusing and a bit cumbersome), but as individuals we are constantly evolving and our changing PERCEPTION of our own past is a reflection of such identity-shifting. not sure about you, but i can look to my past actions and pick out a whole slew of events that either point to me being CHARITABLE, HONEST and EMPATHETIC or CRUEL, LETHARGIC and ENVIOUS. its more a reflection of my emotional state that anything objective, because in essence i am all those things and even others i havent considered. it is a part of being HUMAN. following WICKS' journey through his past is interesting because it shows that even with EXPERIENCE, PERSPECTIVE and EMOTIONAL MATURITY, the limited agency of being an adolescent relegates one to a strict set of options. the adult community basically serves to disempower you of your ability to express yourself, as you are considered a work-in-progress of sorts. as a former teacher, that whole sub-narrative surrounding AGENCY is always fascinating to consider and explore. ROBINSON's graphic novel is provocatively themed with beautiful, quirky illustrations that showcase the discomforting, often brutal SELF-CONSCIOUSNESS of youth. some of which we never grow out of. great read. highly recommended. |
NICHOLAS ARCHIVES
May 2024
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