Law and Conversation

May 4, 2012

New graphic novels

At a recent bar association function I was delighted to meet another lawyer who also loves comics and graphic novels. He was familiar with all of the writer/artists I mentioned, of course, and shares my esteem for Lynda Barry, who, in my view, is absolutely brilliant, and Alan Moore, whose “Watchmen” was my Best Book Read In 2011 (and was recommended to me by yet another lawyer).

Coincidentally, shortly afterwards I learned of two new graphic memoirs that have just come out, each from an artist I think is amazing: “My Friend Dahmer,” by John Backderf, and “Are You My Mother?” by Alison Bechdel. Each author draws or used to draw a weekly comic strip. Backderf’s is “The City,” a hilariously incisive strip that appears in a number of alternative publications; I’ve also seen his art in The Wall Street Journal and other publications. For 25 years, Bechdel drew “Dykes To Watch Out For,” which, I can attest, you didn’t have to be a lesbian to enjoy.

I can’t wait to read both memoirs. The “Dahmer” of Backderf’s title refers to THE Jeffrey Dahmer, the serial murderer/cannibal who himself was killed after he’d been in prison for a few years. Backderf knew him long before then, in high school in Akron, Ohio. They didn’t stay in touch, as he explained in a recent interview with Q’s Jian Ghomeshi, and he was as shocked as anyone when Dahmer’s atrocities hit the news in the 1990s. In Bechdel’s first graphic memoir, “Fun Home,” which was nominated for a National Book Critics Circle Award and won several others, she tries to make sense of her father’s concealment of his homosexuality. In her new one, she turns to her relationship with her mother.

In other comic/graphic novel news, from Canadian law professor Kate Sutherland’s Twitter stream comes this account of European legal proceedings with respect to one of Herge’s classic volumes of The Adventures of Tintin: Tintin au Congo. One of the many great comics of the mid-20th century, Tintin reflects the prejudices of his time as well. That particular installment includes matter that is outdated and appalling to our 21st century minds. As I’ve previously noted, so, of course, did many other notable publications of that era, including not only comic books but also, to name just a few examples, Edgar Rice Burroughs’s Tarzan and Venus series, Margaret Sidney’s “Five Little Peppers Midway,” and Edward Stratemeyer’s “Tom Swift” series.

As I’ve written, I never lost my childhood love of comic books. A few years ago, I discovered their history and how they’ve grown up into graphic novels. If possible, I love them now even more than when I was seven years old. Some contemporary graphic novels that I’ve found outstanding include Marguerite Abouet and Clement Oubrerie’s Aya series (Yay! Volume 4 is coming out in English in just a couple of months!!), set in the Ivory Coast, David Small’s “Stitches,” Guy DeLisle’s documentary-style books on Pyongyang, Shenzhen, and other places, and Craig Thompson’s “Blankets.”

Comic and graphic novel fans, what are your favorites, and what recently published graphic novels are you recommending? I’m always interested in adding to my TBR list.

July 25, 2011

Read This: Watchmen

I recently mentioned that I’d started three books at once, all of which had a common theme of law and law enforcement, and all of which lawyers recommended to me: John Mortimer’s “Rumpole Omnibus #1,” a collection of short stories; Steve Bogira’s nonfiction “Courtroom 302,” and Alan Moore and Dave Gibbons’s “Watchmen,” a graphic novel. (I should note that John Higgins gets well-deserved high billing as colorist along with Moore, the writer, and Gibbons, the illustrator/letterer, on the hardcover edition’s title page.) I still have the first two going, but I’ve now finished the third.

What I’d most like to tell you about “Watchmen” is this: Change whatever your reading plans are and move it to the top of your list.

It’s an amazing, complex, multilayered work. If you’d like to know a bit about it before you begin, read the Wikipedia entry, which is scholarly and thorough. It also contains spoilers, so you might prefer to stop after the “Background and Development” section. Once you’ve finished it, you may, as I did, want to reread portions to pick up what you missed the first time around or put some pieces together. The Watchmen Wiki, as well as the rest of the Wikipedia entry, can help you to make sense of anything you missed.

Published in 1986 and 1987 as a 12-volume serial comic book, “Watchmen” is mostly a graphic novel, but interspersed are meta-fictional straight narratives as well as a comic book story within this comic book story–meta-metafiction. Its structure puts it ahead of its time, not only in 1988 but still today. It fully deserves the high praise it’s garnered from, among others, Time magazine, which named it one of the hundred best English-language novels published since 1923.

Have you read “Watchmen?” What did you think of it?

May 27, 2011

Book illustrations, art, and story

Earlier this week I highlighted some beautiful sites and works of artists Lynda Barry, Kerry Dennehy, and Alyssa Sherwood and again mentioned Sue Symons‘s intricate and gorgeous Bath Abbey Diptychs. Over on the right hand side of this page, you’ll see some links to some art sites I really like. One of those sites is Old Book Illustrations, dedicated to illustrations scanned from old books.

Illustrations not only can capture and maintain a reader’s interest but also can help tell a story. I suppose that’s why they’re used so much in children’s books; kids who haven’t yet learned to read as well as they might can still get something out of the story by looking at the pictures, and those who read OK but who might not see reading as a really fun way to pass some time might stick with it longer if the book has some good pictures that they enjoy. Trial lawyers and other presenters understand this principle and employ it to good effect by using exhibits and PowerPoint presentations during trials and presentations.

But even apart from business or reading to our children, we grown-ups can still love pictures and illustrated books. I’d love to see publishers work with artists to provide more illustrated books for the adult market.  The Folio Society in London does; though its books are far more expensive than even the hardback editions of other publishers, they’re still an affordable choice (operative word being “choice”) if one of your priorities is to have beautiful copies of books you want to read and reread on your shelves. (Full disclosure: Alas, the Folio Society pays me nothing and gives me no discounts for my telling people how much I love their editions :-( .)

Some writers have used pictures as the bases for stories. One of the best known recent examples is Tracy Chevalier’s “Girl With A Pearl Earring,” inspired by a Vermeer painting. (Chevalier describes the moment of her inspiration on her website.) And Oscar Wilde‘s “The Picture of Dorian Gray” has at the heart of its story a fictional portrait that changes with the soul of the title character, who remains outwardly forever young and beautiful–in contrast to his deplorable behavior and inner life. (Though the picture of that story is fictional, a 20th century artist, Ivan Albright, painted a real one that hangs in The Art Institute of Chicago.) And, of course, the growing graphic novel genre, in which the art is at least as important as the text to the story, has really come into its own over the past 30 years or so.

Have you read any books that featured memorable illustrations?

April 26, 2011

Two Questions from Lynda Barry

Filed under: Books and writing,graphic novels,memoirs,storytelling — Helen Gunnarsson @ 8:37 am
Tags: , ,

WordPress today called my attention to a 2008 post from Mikkelina’s Thoughts on Two Questions from the artist Lynda J. Barry.  Having been a fan of Barry for 30 years, I’ve sung her praises here a number of times. I keep finding more and more to love about her work, including the panels Mikkelina has reproduced on her blog. Perhaps more writers should use the term she coined for One! Hundred! Demons!, “Autobiofictionalography,” I wonder? Time to go look for her latest book, Picture This: The Near-Sighted Monkey Book, I say.

November 26, 2010

More on story from Lynda Barry and Harvey Pekar

I thought I’d exhausted my postings on artist Lynda J. Barry, but another subscriber has alerted the Yahoo! discussion group for Lynda to a Thanksgiving Day announcement from her publisher, Drawn And Quarterly of Montreal, that it will publish *ALL* of her comics, starting next fall.  Above the publisher’s announcement is the very first comic of Barry’s that I remember reading as a college student, which instantly intrigued me and remains among my all-time favorites.  The D&Q announcement is wonderful news for all of us who love Barry’s cartoons.

Today, Barry conducts workshops and has published books such as “Picture This!“ aimed at encouraging people to rediscover their creativity and tell their stories through writing and drawing.  Harvey Pekar, about whom I posted last week, wrote of his growing fascination with comics and story during the 1960s, after he met comic book artist R. Crumb.  In his graphic memoir, “Quitter,” Pekar said he observed that underground comics frequently took the bohemian life style as their subject and started wondering why no one had written about subjects more ambitious than hippies and superheroes.  Comics, he wrote, which were simply words and pictures, ”were as good an art form as any that existed….Why couldn’t comics be about the lives of working stiffs?  We’re as interesting and funny as anyone else.” 

Pekar held onto his idea and ultimately made it a reality in his “American Splendor” comic books, which acquired a cult following.  By telling his story, Pekar, a career file clerk who had acquired a habit of quitting things in his youth, achieved greatness.

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