Lucille by Ludovic Debeurme

wilsonknut.comThe art in Lucille consists of sparse, mostly black and white line drawings, and the subject matter deals with anorexia, alcoholism, dysfunctional father-son relationships, and OCD.  Heavy topics for a graphic novel, but that’s the beauty of the medium.  It can handle anything.  The book clocks in at over 500 pages and is just part one in a series.  It’s unique, to say the least, but well worth the read.

The book focuses on Lucille and Arthur, who are both coming-of-age.  After being sheltered by her mother and ignored by her peers, Lucille becomes hermetic and anorexic.  Arthur, who has OCD, grows up with an alcoholic father who he often has to escort home from the bar.  As with all awkward adolescent suffering, there doesn’t appear to be much hope for the two, until they meet each other.

Ludovic Debeurme excels at capturing the intimate thoughts of these characters in their flashbacks, dreams, and internal dialogues.  Lucille wants to become light and fly away, “Slender as a thread,” she says.  The bare line drawings support Lucille’s aching desire to shed all excess weight and get to the core of being.  Debeurme does not use the typical comic panel format. The scenes flow seamlessly on the page, which works especially well in the dream like sequences.

I didn’t feel that Lucille’s character was the most interesting in the book, because the reasoning behind her anorexia has sadly become so commonplace.  Arthur’s dysfunctional family and his relationship with his father are developed much more in depth.  Arthur goes from being the stereotypical dark and awkward misfit, to having to take on his father’s role within the family, including taking on his father’s name.  Arthur continuously struggles to escape his father’s shadow, and Lucille becomes the only beautiful thing in his life.

The book (part one) ends with a suggestion that Lucille will develop much more in the next part.  The book won several international comic prizes in its original French, and Debeurme is well respected in Europe.  Lucille should bring him to the attention of U.S. readers, especially those who enjoyed Blankets by Craig Thompson and Fun Home by Alison Bechdel.  Topshelf will publish the English translation in July, 2011.

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X’ed Out by Charles Burns

wilsonknut.comPOSSIBLE SPOILERS

It should be common knowledge by now that X’ed Out, the first volume of a new trilogy by Charles Burns, is chock full of weirdness, mystery, and beautiful artwork.  The book is part revision of Hergé’s TinTin, part tribute to William Burroughs, part Alice in Wonderland, and something new yet to be revealed.  Within all of that, there are some interesting themes that I’m sure Burns will expand on in the next two volumes.

Doug, the protagonist, has suffered some mystery trauma and spends most of his time in bed in the basement of his parents’ house looking at old Polaroids of his girlfriend.  The narrative slips back and forth between this reality, a Burroughs inspired dream world induced by Doug’s painkillers, flashback sequences where Doug meets and falls in love with Sarah (the girl in the Polaroids), and past conversations with Doug’s father.

The idea of motherhood, or more specifically failed motherhood, runs throughout this first volume.  Doug’s mother is mentioned, but never seen.  Doug and his father both want to avoid her.  In one flashback sequence Doug remembers his father saying, “Your Mom and I…We started out with such high hopes…But I guess things don’t always work out the way they’re supposed to.”  Like Doug, his father retreats downstairs, which Burns has admitted is a symbol for the womb.  Doug comes upstairs for Poptarts and reminds himself that his mom will not be home from work until 5:30 He says, “…at least I don’t have to deal with her.”

Sarah has a thing for fetal pigs in jars, one of which gets broken by her “psycho” ex-boyfriend at the party where Doug meets Sarah.  She poses topless with one fetal pig as a Madonna and child (she poses topless a lot).  There is a panel of an actual Madonna and child.  Lizard-like fetuses and eggs are everywhere in Doug’s dream world.  To top it off, a cartoonish version of Sarah appears in the dream world.  Doug’s nameless, baby-like alien guide tells him she is the new Queen of the hive, a breeder.

Identity is another interesting issue in the book.  Doug’s alter-ego is Nitnit.  He puts on a mask that resembles TinTin when he reads his cut-up poetry in reality, perhaps subconsciously wanting to hide from his audience.  In his dream world, Doug is Nitnit.  Doug also identifies with his father.  Like his father, Doug spends his time in the basement looking at photographs and dwelling on the past.  Doug’s guide in the dream world smokes like his father and, I would argue, vaguely resembles his father.  Adding to that, Nitnit has several visions of his father while he is with the guide.

What does this all mean?  It’s too early to tell.  The book is short and leaves more questions than answers, but it is only volume one of what should be a great trilogy.  Burns has stated in interviews that all of these “threads” will come together in the next two volumes.  And let’s not forget the beautiful artwork.  I’ve compared Bill Sienkiewicz’s artwork to fever dreams before, but I have to say that Burns has really captured that particular strangeness in his vivid colors and style.  The next volume, The Hive, is slated to come out sometime in 2011.

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The Black Dossier by Alan Moore

If James Joyce’s Ulysses is the demonstration and summation of modernist literature, Alan Moore’s The League of Extraordinary Gentlemen: The Black Dossier is the paradigm for post-postmodernism in graphic novels.  Jennifer Egan’s A Visit from the Goon Squad has received critical acclaim for its structure and interconnecting stories.  She has a section consisting of PowerPoint slides, and another that includes text messages, but those techniques pale in comparison to what Moore accomplishes in The Black Dossier.

Volumes 1 and 2 of The League of Extraordinary Gentlemen series are critically acclaimed mash-ups of Victorian literature, pulp fiction, steampunk, and Moore’s own twists.  The Black Dossier was to serve as a standalone sourcebook between volume two of the series and a proper volume 3, but it grew into much more.  Moore has stated in various interviews that he and Kevin O’Neill realized early that the series was growing into an attempt to map the entire fictional world and how it relates to fact.  It is a study and commentary on the popular imagination.  But in the structure and complexity of The Black Dossier, I also see the growth and culmination of literary movements throughout history into something new.

Similar to Joyce’s Ulysses, The Black Dossier is very experimental in its structure and construction.  Critics of the book have noted that the narrative plot is very weak.  Mina Harker and Allan Quartermain have recovered The Black Dossier, which contains the secret history of The League.  Emma Night (Peel), Bulldog Drummond, and a young James Bond chase them all over London and Scotland trying to stop them.  In true Moore style, you would have to do a tremendous amount of research to figure out all of the references and allusions, and Moore throws in his twists on characters and events for good measure.  For example, James Bond (Jimmy in the book) is a sadistic womanizer and the events take place in 1958 after the Big Brother government from George Orwell’s Ninteen Eighty Four has fallen.

The narrative is merely a shell for The Black Dossier itself, which Mina and Allan stop to read at various points in the narrative.  The Dossier takes over the story metafictionally (if that’s a word) using faux historical texts, comic strips in various styles, a “lost” Shakespeare folio, prose in the style of H.P Lovecraft and Jack Kerouac, post cards, Big Brother posters in the style of English WWII posters, maps, and more.  Throughout these artifacts are mysterious handwritten notes that point back to the narrative at hand and the previous volumes in the series.  The complexity of it all is overwhelming.

To add to the complexity, the graphic novel contains a 3D section set in “the Blazing World” with glasses.  The cover to the Kerouac section mimics the paperback style of the early Kerouac books when they were published, down to the creases they would have had from being read.  Like Ulysses, you need an annotated version to understand it all.  Some folks have been kind enough to put one together- Black Dossier annotated.

So what separates Moore’s book from A Visit from the Goon Squad, or Ulysses for that matter?  As a medium, the graphic novel has the potential to capture the contemporary human experience far better than the traditional novel.  We are inundated with visuals and images by television, advertising, and internet.  So much could be done with the medium.

wilsonknut.comwilsonknut.comwilsonknut.comI think it goes back to the perceived weakness of The Black Dossier– narrative.  Egan’s book, though experimental in structure and technique, is about characters and narrative.  They are “real” characters with “real” stories.  The themes capture truths about the human experience that run deep.  If Moore could capture that along with the genius he has for pop culture, structure, and technique; we would see a phenomenal new literature.

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