Four things of beauty for the day:
Well that was a pleasant surprise. I thought NBM was only shipping a new printing of Rick Geary’s The Borden Tragedy, but a copy of the paperback version of The Case of Madeleine Smith showed up in my reserves yesterday. New installments of A Treasury of Victorian Murder are always gratefully accepted.
Speaking of the accused Glaswegian, she’s made her way onto the list of nominees for the American Library Association’s Great Graphic Novels for Teens. (Yes, I’m still obsessively tracking those. Thanks for asking.) Nominations are now closed with a projected drop date for the final list in mid-winter of 2007.
It’s a little hard to tell what joined the list when, but accounting for my shaky memory, recent additions include:
- Action Philosophers: Giant-Sized Thing #1 (Evil Twin)
- American Born Chinese (First Second)
- Brownsville (NBBComics Lit)
- Chocalat (Ice Kunion)
- Crossroad (Go! Comi)
- Fables: 1,001 Nights of Snowfall (Vertigo)
- Infinite Crisis (DC)
- Inverloch (Seven Seas)
- The Kurosagi Corpse Delivery Service (Dark Horse)
- Livewires: Clockwork Thugs, Yo! (Marvel)
- Pride of Baghdad (Vertigo)
- Same Cell Organism (DMP)
- To Dance: A Ballerina’s Graphic Novel (Simon and Schuster)
- Young Avengers Vol. 2: Family Matters (Marvel)
I hope the nomination list is still available after the final roster is chosen, because there are some great books on it. But barring some bizarre failure of decision-making, it’s hard to see how the final list could be anything but excellent.
(Edited to note: If I missed anything new to the nominations, let me know, and I’ll add it to the list.)
“The Kyoto municipal government and the university have played important roles in establishing the nation’s first comprehensive manga facility. The museum collects cartoons of historical value and other materials, cultivates people wishing to work in the animation industry and offers lifelong learning courses for local residents.”
In other news of cultural exchange, ICv2 picks up on part of the Times Clamp interview:
“As Clamp spokesperson Agetha Ohkawa put it, ‘It used to be difficult to find American comics in Japan, but they’ve become more accessible. As creators in Japan, we’re very curious about American work and are pretty sure we’re influencing each other.’”
Now I’m picturing Japanese children cluttering the floors of the local equivalent of Barnes & Noble, reading Identity Crisis, and putting it back on the shelf.
ComiPress offers a translation of an interview with Naoki Urasawa of Monster fame, focusing largely on the role of the editor in manga creation. It’s an interesting reminder of the strong role editors play and some of the associated problems:
“Although the relationship is like collaboration, ‘Manga artists don’t realize the importance of editors.’ Urasawa insisted. ‘If I build a good relationship with an editor who is in charge of me, the editor will be transferred away in the future. I have felt it odd that a companies’ convenience should affect the art of manga.’”
It’s an interesting companion piece to the recent interview with Clamp in the New York Times, since the group seems largely free of editorial influence aside from the group’s producer-director, Ageha Ohkawa.
And even legends like Moto Hagio have both bristled at and benefited from the influence of an editor, as demonstrated in this interview that ran in The Comics Journal. On Kodansha:
“During that time they gave me a new editor , but both editors followed company policy, which was not to let artists do whatever they want, but to have artists do something that fits the theme of whatever project they are currently doing.”
Hagio had a happier relationship with Junya Yamaoto, who attained his own legendary status for his work with Hagio and the other members of the Year 24 Group of innovative shôjo manga-ka.
Evil Twin provides a second printing of Action Philosophers: Giant-Sized Thing #1. NBM rolls out a revised version of the soft-cover of A Treasury of Victorian Murder: The Borden Tragedy, promising “a whole new section of newspaper clippings of the day!” And while I’m not familiar with the book, having been deep in spandex country during its initial printing, people are sufficiently excited about the new collection of Ragmop from Big Bang to make it their pick of the week.
But there’s plenty of brand-new material too.
A new issue of Linda Medley’s Castle Waiting (#3, in this case, from Fantagraphics) is always welcome.
I’ll throw in my lot with MangaCast’s Jarred on the manga front, singling out volume three of Fuyumi Soryo’s ES: Eternal Sabbath (Del Rey) as the pick of the week. It’s intriguing, character-driven science fiction.
Antique Bakery (DMP) has left me incapable of ignoring anything by Fumi Yoshinaga, even if I wasn’t crazy about some of the story elements of the first volume of Gerard & Jacques. But it’s Yoshinaga, so volume two is on the shopping list.
As a general rule, manga licensing rumors and announcements tend to wash over me, mostly because of their volume and frequency. But please, please, please let it be true that Tokyopop is about to announce another title from Iwahara Yuji. Since reading Chikyu Misaki, he’s been roughly tied for first with Iou (Sexy Voice and Robo) Kuroda on my list of manga-ka whose works I really, really want to see in translation.
Before I get around to going through the latest edition of Previews, I wanted to make a special note that Rebecca Kraatz’s House of Sugar (Tulip Tree Press) is among the solicitations. This is a good thing, as it’s indicative of Diamond’s willingness to reconsider a title that it had previously rejected. It’s also a good thing because House of Sugar is unusual, delightful reading.
It’s unusual for me because of what I find to be Kraatz’s plain-spoken approach to storytelling. It’s not that she skimps on detail, or that her work doesn’t have a point of view. It’s just that there’s simplicity, even bluntness to her delivery. She doesn’t coat every observation with irony, and the strips have a gentle, subtle wit as a result.
Take the concept of “treal.” It’s an acid-induced teen contraction of “true” and “real,” and Kraatz experienced a brief obsession with it in the 1980s. It’s the kind of admission that might lend itself to ironic detachment (“I’m not that dumb anymore.”) or sentiment (“But wasn’t I sweet?”), but Kraatz offers neither. It’s a snapshot of how she felt at a given moment, but there’s no slide-show narration giving it more weight than it can sustain. It’s a clear-eyed presentation without any ostentatious framing.
Kraatz has a wonderfully unique authorial voice, and it’s portably applied to the wide range of subjects that wander into her path. The four-panel strips run from autobiographical moments to observation to flights of fancy, held together by Kraatz’s distinct point of view.
Her rhythms are unconventional. There are no obvious punch lines, though House of Sugar is often very funny. The moments Kraatz captures don’t always need a familiar shape or even conventional closure to succeed as observational pieces; I think they work better without them.
Kraatz’s illustrations are of a piece with her writing voice. She composes the strips with imagination and wit. (A priest stops by the house and seems to be trailing a corona; the effect of a bad kiss is framed in crime-comic extremity.) I don’t know how her work would hold up in a longer narrative, but it’s ideal for the captured-moment quality of these strips.
This is a lovely inaugural book for Hope Larson’s Tulip Tree Press, comforting and thoughtful but spiked with weirdness and imagination. It’s observational humor without any self-indulgence or strain.
(This review is based on a complimentary copy provided by the publisher.)