Flocks

I have been meaning to read this book for a long while now, because I had bought a mini-comic that was a draft of one of the chapters years ago but never followed up because of life and who-knows-what-else going on. Happily, I found it in a library. Libraries rule!

Flocks is an incredible book, a candid look at a person who was assigned female at birth and raised in a conservative, Christian family in Louisiana. What I think makes this book exceptional is its combination of imagery, plotting, and exploration of religious belief. It is drawn in a mostly realistic style, though the main character is almost always depicted as a button-eyed rag doll. It is almost viscerally painful to read about how isolated that L. felt during childhood, being constantly faced with contradictory feelings to what was being preached at church. Being so completely othered and trying to reconcile thoughts with religion is one tremendous struggle, and I found it very powerful that they did not shy away from sharing just how profound their religious faith was to them.

I do not think it is too much in giving away the plot that L. eventually transitioned to being a man, but what makes this book special is just how much detail and nuance is given to that journey from childhood, through finding solace and kindred spirits through academics, and to adulthood and building a family. He also does not necessarily vilify his family, as they are depicted as supportive in some ways even if they do not always understand or approve of what they see happening. Ultimately, this book is about communities and relationships and how they can damage and/or validate you. Flocks is an insightful and moving account of one person's figuring out who he is and all of the fallout and victories that accompany the process.

L. Nichols wrote and drew this book, and they are artist and illustrator who publishes work with the Grindstone Comics imprint. They have also published a follow-up book I Am Only A Foreigner Because You Do Not Understand that continues looking at their continuing transition to a more nonbinary identity. They speak about their work on Flocks as a mini-comic as well as their other comics work in this interview from 2013 (pre-transition) and also this one from 2018 (post-transition).

I was not able to locate many reviews of this book, which is a shame. Publishers Weekly named it one of their Big Indie Books of 2018. Meepelous wrote, "L.’s irresistibly charming drawings demonstrate what makes Flocks so special: L.’s boundless empathy.”  Blackraven called it "an odd little gem."

Flocks was published by Secret Acres, and they offer more info about it here. Trigger warning: this book features a lot of emotional trauma, some sexual situations, and depictions of self-harm.

Trumpets of Death

I have not read a graphic novel quite like Trumpets of Death, and it's a very memorable and haunting book. Its protagonist is Antoine, a young boy whose parents are struggling and seemingly heading for divorce. So his father brings him to the country to live with his parents, Antoine's grandmother and grandfather. The grandmother dotes on him, making him his favorite foods and catering to his wants. His grandfather is the total opposite, alternating between ignoring him and treating him with disdain. 

Yikes!

One day while out foraging for mushrooms, unbeknownst to anyone, Antoine is transformed into a majestic, white stag. He escapes and frolics in the woods, staying out there for weeks, avoiding humans altogether, as deer do. Things get tense and intense when his grandfather sets up a deer stand for hunting.

I am not quite sure what young people would make of this story, but it is a wild one, ripe for interpretation and analysis. I found the book gripping because of the narrative, intense character work, and also because of the dreamlike artwork, which uses color to some very interesting effects. There is so much to take in and make sense of here: it's part fable, part examination of family dynamics, part coming-of-age tale. This book has stuck with me.

Trumpets of Death is the debut graphic novel by Simon Bournel-Bosson, a graphic designer from France, where this book was originally published. He speaks about his work on it in this interview. The translation was done by Edward Gauvin.

All of the reviews I have read about this book have been positive. Kirkus Reviews called it "an unsettling, thought-provoking coming of age." Gene Ambaum wrote, "I’m not sure what most young people will make of the book, but it’s a quick, enjoyable read that’s more literary than most graphic novels marketed to them." Amber Love called it " pure magic."

Trumpets of Death was published in the USA by Graphic Universe, and they offer more info and preview images here. 

I borrowed this book from my local library. Libraries rule! 

The Hidden Dominion of Geordie James

The Hidden Dominion of Geordie James is a fantastic graphic novel that delves into many contemporary issues that kids and parents are dealing with. Geordie is obsessed with Dominion, a Minecraft-ish MMORPG where he spends hours building up an elaborate amusement park with even more elaborate defenses to drive away marauders who would steal his (digital) stuff. His dad does not really see what he gets from the game, but he does not like it, especially when Geordie starts to fail science class. He grounds Geordie, making him spend time outside. Geordie finds a secret hideout, which somehow has working wifi he can use when he sneaks his tablet. He also becomes somewhat obsessed with a pig that has somehow escaped into the wild in their neighborhood.

Geordie is not the only one failing science though, and he and some classmates get put into an after-school group to work on a project to boost their grades. It turns out that Geordie is not great at working in groups, and some of his classmates are tough to get along with. They sometimes bicker and struggle to come up with a common topic, and seeing how they interact reminded me of how many kids today relate to one another, when they have to manage both face-to-face and digital interactions.

I am not going to get more into the plot and how the various relationships work out, but I will say that I found a lot of nuance and suspense throughout this book, and I found it really difficult to put down. It's not only riveting, it's also very moving and relatable. The interplay between reality and virtual worlds was palpable, and I cannot wait to share this book with my kids.

The Hidden Dominion of Geordie James was made by Mike Dawson, who is one of my favorite comics artists. I belong to his Patreon, where he publishes "almost monthly" zines. He has also written and drawna number of graphic novels over the years, including the Fifth Quarter books, Freddie & Me, Angie Bongiolatti, and Troop 142. He also has done a lot of  graphic nonfiction and essay work, including the collection Rules for Dating My Daughter and plenty of comics for The Nib and other venues.

All three of the reviews I have read of this book have starred ones. The entry from Kirkus Reviews concluded, "A beautifully resonant work for the plugged-in set."  Barbara Ward wrote in Booklist, "With threads exploring philosophical and moral questions and a nuanced look at the impact of time online for kids, this bright, expressive graphic novel has lots of emotional grounding while still being an engaging story of an often-overlooked kid finding acceptance and understanding." The School Library Journal  wrote that it "could readily serve as a mentor text and is an excellent book club choice for middle school students.”

The Hidden Dominion of Geordie James was published by Union Square Kids, and they offer a preview and more information here.

Squire

Squire is a book I have had on my to-read shelf for too long, and I am so glad I finally got to it. It is about Aiza, a young woman who belongs to the Ornu people, who have been recently conquered and absorbed by the Bayt-Sajji Empire. Her people are looked at not even as citizens, and she resents their treatment as thieves and scoundrels. After persisting against her parents, she enlists in the squire training program in the Bayt-Sajji army. If she successfully completes the training to become a squire she will become a citizen and be on the pathway to become a knight, a storied and prominent position.

Looks glamorous, yeah?

As a recruit, she has to contend with harsh living conditions, highly competitive peers, and the difficult tasks set for them by military leadership. Aiza hides her identity as a Ornu from everyone, and over time she begins to learn more about the history of the conflict, the intentions of the military, and what being a citizen and a knight actually entails. These are some harsh realities, but she finds hope and encouragement from some unlikely allies, as well as a lot of prejudice and fear from her compatriots when they learn where she's from. 

This book is set in a fantasy version of Jordan and Turkey, and it touches upon many themes and issues that persist in the Middle East both past and present in terms of conflicts between different social groups and the mythologies perpetuated to enforce unity. The artwork is gorgeous and colorful, and the characters are vivid both in terms of their relationships, the plotting, and how they are drawn. I got very swept up by this book, and I found it nearly impossible to put down after I was about a quarter way through reading it. I feel it is exceptional and works on so many levels, as a fantasy tale, a modern parable, and a suspenseful action story. 

I should also add I really appreciated the final section of the book, which is full of story ideas, initial designs, and lots of information about the amount of research and design that went into this book. Making comics, let alone a graphic novel, is a lot of work. It's good to see more about the process so that younger readers can appreciate what it takes to be comics artists themselves. 

The two who put so much time and effort into making this book are writer Nadia Shammas and artist Sara Alfageeh. Shammas has written a number of graphic novels including the Ignyte Award-winning Where Black Stars Rise and Ms. Marvel: Stretched Thin. Alfageeh also has illustrated the picture book Not Yet: The Story of an Unstoppable Skater. Both collaborators speak extensively on their work on this book in this interview. 

Squire won the 2022 Harvey Award for Best Young Adult Book, and it has received many positive reviews. In their starred review, Publishers Weekly noted, "Alfageeh’s arresting visuals conjure a richly detailed, sun-drenched world in which impressive architecture fills open landscapes populated by visually diverse and complex characters." Kirkus Reviews called it "an engaging graphic novel that examines the nature of prejudice and the cost of imperial expansion." Helena Ramasroop wrote, " It was charming and unexpectedly humorous while also tackling important topics like prejudice, colonialism, justice, and the purpose of history."

Squire was published by Quill Tree Books, and they offer a preview and more here.

Hockey Girl Loves Drama Boy

Hockey/romance books seem to be all the rage right now, and I just borrowed this one, published a couple of years ago, from my local library. Have I mentioned before that libraries rule!? I have not read a book by Faith Erin Hicks in a while, and with Hockey Girl Loves Drama Boy she is hitting on all cylinders. This books has strong, fully realized characters, interesting personal dynamics and relationships, and a plot that left me wanting more. 

It is about Alix, a star hockey player on a team where her teammate and captain Lindsay constantly berates her in the locker room and on the ice. 

One day she snaps and attacks Lindsay, which shocks everyone and herself. In order to help herself and also convince her coach to approve her invitation to the Canada National Women’s U18 Team’s summer camp, she decides to ask Ezra for help managing her anger. Ezra is a drama kid who presents as gay and deals with a lot of antagonism from a couple of bullies because of that. Alix admires how Ezra can diffuse the hostility directed against him and redirect it through cleverness and humor. The two strike up a friendship and get to know each other. It turns out that Ezra is more gender fluid than gay, and they end up in a relationship.

The artwork and how it conveys emotional scenes and facial expressions is one big reason this book works so well. The characters come to life in their reactions and in actions, but the hockey and drama scenes work just as well as the interpersonal ones. Hicks is magical with her line-work, an alchemist who makes the flat images breathe and emote. 

I also loved how this book contained so many nuanced, complex, and realistic relations. Alix and Ezra's relationship is a focal point of the book, but there are also a few forays into their family lives, including how they deal with their parents and their own relationship issues. None of the love stories here are idealistic or perfect, but they all feel real. In addition, Alix and Ezra have to navigate how some of their friends take these new developments, and they find out about some other unresolved feelings related to bullying from the past. Ironically, it does not look so much in depth at the hockey team dynamics, other than to point out that no on in that locker room ever had Alix's back. The way the book ends is very open-ended, and I hope that it gets a sequel because I would love to spend more time with these characters. They were very easy to fall in love with.

As I mentioned above, this book was written and drawn by Eisner Award winning artist Faith Erin Hicks. She has created some of my favorite books over the past decades, including The Nameless City trilogy, The Adventures of Superhero Girl, Pumpkinheads, and Friends with Boys. She talks about her work on this book as well as her own hockey skills in this interview.

All of the reviews I have read of this book have been positive. Kirkus Reviews wrote that "the ending feels a bit abrupt, but readers will forgive that thanks to the overall incredible storytelling and character building." Ian Keogh concluded, "The general path is predictable, but handled with such delicacy and sympathy that Alix and Ezra carry readers through with the smoothness of skates on ice." Amanda Melilli called it "a feel good romance that doesn’t shy away from the painful side of life."

Hockey Girl Loves Drama Boy was published by First Second, and they offer a preview and more here.

The Cola Pop Creemees: Opening Act

This book I got as part of Birdcage Bottom Books' 2023(!) Kickstarter campaign. The Cola Pop Creemees: Opening Act is on its surface a funny book, but its loopy, cartoon images masque several unique human dramas that all combine as one musical act. The Cola Pop Creemees consist of guitarist/front man Ralph Jonathan, drummer Wallace T.J., Mona Gertrude on tambourine, bassist Gil Christopher, and keyboardist Henrietta Susan. Part of this book details the politics of being in a band, with people jockeying for praise, songwriting credit, and attention. Part of it is a deep dive into the different band members' pasts, with a look at their childhoods, parents, and various life-shaping events.

The five members all feature very different personalities, and many of them have been shaped and influenced by traumatic events. Sometimes the tenor of the stories can be slapstick or has a tinge of dark humor, but mostly they are relatable and moving. Some of the band members are depressed, some obsessed, some stressed, and it might be accurate, and sad, to say that Wallace T.J., who abuses a good many substances, might just be the most well adjusted of the bunch. Whatever the case, each story is incredibly compelling, and I found this book difficult to put down.

The Cola Pop Creemees: Opening Act paints remarkably vivid character portraits and is one that rewards reading and re-reading. It will make you laugh, cry, and seek a solo career where you never have to be in a band.

This is the debut graphic novel by Desmond Reed. Since this, he has published two further works about the Cola Pop Creemees: Lefty and The Horrors of Being Human. Reed speaks about his work on Opening Act in this interview.

The reviews I have read of this book have been glowing. I concur with Andy Oliver who wrote that "in less than 250 pages, The Cola Pop Creemees manages to make the reader so invested in this oddball cast that a second outing feels essential." Publishers Weekly called it "an unexpected, oddly emotional gem"

The Cola Pop Creemees: Opening Act was originally published by Birdcage Bottom Books, and they offer a preview and more information about it here. You can now buy it from Microcosm Publishing. This book features family trauma, adult relationships and situations, and drug use, so it is recommended mature enough to deal with those matters.

Holler

Continuing with my haul of comics from HeroesCon, today I am sharing Holler by Jeremy Massie. One of the best parts of going to Charlotte is seeing friends and getting to talk, even if it is while they are manning their booths and selling their wares. I always make a point to check in with pals Henry Eudy and Eraklis Petmezas, who are typically tabled next to each other, and this year they were joined by Massie. I was very eager to get Holler, as I had gotten the first few issues that were published by It's Alive but had not had the chance to finish the series. Lucky for me, Jeremy had this book for sale, and I loved reading it.

It's a pretty specific book, but I am the target audience in a few ways, because of my age and musical tastes. And I should note that it's not quite autobiography, but it is based on some real events and people. It's set in the 1990s in a small, rural town in Appalachian Virginia. Its narrator and main character is Mark, a high school student who does not really excel at academics, but he is a talented enough artist and musician. He plays guitar and joins his friends in a band called Magnesium Mama that plays grunge rock covers and some original songs. This scene puts him at odds with his family in some ways, as well as with the religious figures that factor heavily in his life. 

It also puts him in a clique that is at odds with the local "rednecks" (as he calls them), which leads to conflicts, both verbal and physical. Over the course of the book, Mark deals with a lot of different situations. He gets his first girlfriend, then experiences his first break-up. He experiments with drugs. He plays a lot of gigs and gets involved in a few different battles of the bands. He switches churches, sort of dates the preacher's daughter, and has to navigate the complicated ways his parents and he practice religion. 

The stories here are all told in episodes, and I found them highly compelling and poignant. The artwork is well paced, and is particularly excellent at capturing people's expressions and emotional reactions, which works very well as this book is very character driven. This book touches on a lot of issues that young people contend with as they get older and start trying to carve out spaces in the world, and it does so in a way that is sometimes humorous, occasionally cringe-inducing, and always relatable and human. Holler is one of the best coming-of-age graphic novels I have read, and I highly recommend it.

This book's creator Jeremy Massie has made all sorts of comics in various genres, including the superhero tales Amazing Age, horror stories Blood-Drenched Creature Double Feature, and the more realistic, solo-authored book All My Ghosts. He speaks about his work on Holler in this interview.

I was not able to locate many reviews of this book, which is a shame, because I feel it should be more widely known and read, because it is so good. Publishers Weekly concluded their review, "This bittersweet blast from the past will strike a chord with recovering high school outcasts."

Holler was published by Dark Horse, and they offer more information about it here. Because it features some drug use, sexual situations, profanity, and adolescent shenanigans, I recommend it for readers mature enough to deal with those matters. 

7 Generations: A Plains Cree Saga

In the last few years, I have been interacting with Native American cultures through a variety of different media. I have watched shows like Reservation Dogs and Dark Winds, read books like We Had A Little Real Estate Problem, and read comics from companies like ATCG. Today, I am talking about a  graphic novel, 7 Generations, which spans centuries in its look at a Canadian indigenous family and how generational trauma affects them. The framing sequence is set in 2010, and it's about a 16-year-old boy named Edwin. He is struggling with school and life, and he feels cut adrift. One reason for his feelings is because he is estranged from his father, James, and feels abandoned by him. He decides to take matters and his life in his own hands, namely to end both. Luckily, he was not successful.

It turns out that these feelings are predicated on what has gone on in the past, and this book chronicles four episodes about this family. The first chapter focuses on a couple of Plains Cree brothers in the late 19th century and what transpires after one of them dies in a Blackfoot raid and the other, named Stone, seeks revenge. The second chapter focuses on White Cloud and his experiences during the smallpox pandemic of 1870-1871. The third chapter leaps more toward the present, portraying James's experiences being taken from his family and re-housed in Christian residential schools with his brother. The fourth comes full circle and deals with how James and Edwin might reconcile and lead better lives.

There is a lot going on in this book, and each chapter contains scenes of horror and violence of different sorts. The drawings portray much of the proceedings in visceral, emotional, and dramatic fashion, and in many ways this is a tough book to read, appropriately so, in my opinion. It does not flinch from showing past terrors and crimes, and it also resolves not completely but hopefully. I found this a very moving and informative book, and I recommend it to anyone who is interested in learning more about indigenous cultures or comics.

This book was created by author David A. Robertson and artist Scott B. Henderson. Robertson has written many books from adults and young people, and has won many accolades, including the Governor General's Literary Award and the TD Canadian Children’s Literature Award. 7 Generations was Henderson's first graphic novel, and since then he has drawn 20 more, mainly collaborating with indigenous authors. Robertson speaks about his collaboration with Henderson on this book in this interview.

All of the reviews I have read of this book sing its praises. Suzanne Manizza Roszak concluded, "An equally fitting choice for adolescent and adult readers, 7 Generations deserves to be much more widely read." Joanne Peters wrote that the chapters are "emotionally powerful works, and Scott Henderson's ...visuals add to the impact of Robertson's narratives, particularly in the depiction of the residential school experience."

7 Generations was published by HighWater Press, and they offer more information about the upcoming 15th anniversary edition here. Because of the subject matter, including self-harm and emotional violence, I suggest this book for high school and above.

 Thank you and shout-out to Dani, who chose this book for our graphic novel class!!!

I Was Their American Dream

I am the child of two immigrants, a German and a Greek, which makes me a Gerk ("jerk") is my hilarious joke. I have my own sense of figuring out my identity in relation to my relatives and also my native land, the USA, and I was very glad to read a very different tale of a person melding nationalities,  I Was Their American Dream. This book is a memoir by Malaka Gharib, whose parents are Filipino and Egyptian, making for a unique blend of cultures and religions. 

Much of this book centers on Malaka relating her formative experiences, remembering, celebrating, and regretting her cultural roots while also detailing how she made sense and peace with two religious traditions, Islam and Christianity. Also, it is about how she incorporated different aspects of those cultures into her life while also trying her best to be an American. It is a bumpy journey, and I really loved how she shares her various insights along the way. 

The artwork is mostly comics, though there are some passages that are more like an illustrated book. The drawings are cartoonish and convey broad emotions and actions very well. Still, there are some more quiet moments that still pack a sentimental punch. This book made me giggle, grow wistful, cringe, and relate. It is the best sort of memoir, one that is a window into a different world that affects how the reader sees life. I really loved this book.

This book was created by Malaka Gharib, who is a journalist and artist who works for NPR. She has also published another graphic memoir, It Won't Always Be Like This, about her summers abroad in Egypt. She speaks about the background and making of this book in this interview.

I Was Their American Dream won the 2020 Arab American Book Award, and has been well praised. In their starred entry, Kirkus Reviews summed it up as "a heartwarming tribute to immigrant families and their descendants trying to live the American dream." In another starred entry, from School Library Journal, Elise Martinez wrote, "This engaging memoir is an uplifting ode to Gharib’s bicultural background, her immigrant parents, and her road to self-acceptance."

I Was Their American Dream was published by Clarkson Potter, and they offer a preview and more information about it here.

Light It, Shoot It

 

I love a good noir story, especially one that features excellent artwork like Light It, Shoot It. It follows the travails of Billy Bonney, a young man who has just gotten out of prison for arson. He has troubles getting along with his peers as well as just fitting in to society. Luckily, his older brother is in the film business (on a low rung, but still), and he helps him get a gig being a actor's assistant. Mainly that involves him making sure the older alcoholic leading man is in working shape and on time to the set, not very glamorous work.  

As you can see from the excerpt above, the artwork is very expressive and lovingly portrays the gritty realities of 1970s Hollywood. The excerpt also features a lot of characters and moving parts, which are a hallmark of this book. There is a lot going on and lots of people with their own motives. Billy is trying to fit in; his brother is trying to get laid; one of the producers has a plan to recoup shooting costs through insurance fraud; some people are trying to make a movie; some people are trying to get famous, and still others just want to bask in the glow of showbiz. I am not going to say that the plot is the most original I've ever read, but I think that this book hits its story beats hard: a quintessential exploitation tale in graphic novel form. It's clearly a labor of love, and I got very much caught up in the enthusiastic way this story was told both through its narrative and art.

Light It, Shoot It was written and drawn by Graham Chaffee, who mainly works as a tattoo artist. He has published a couple of other graphic novels, including To Have & To Hold and Good Dog. He speaks about his work on this book in this interview.

All of the reviews of this book I have read highlight its strengths. Publishers Weekly wrote, "Chaffee’s pastel washes, clear affection for the period, and well-stocked gallery of colorful hoodlums and reluctant heroes make up for the lack of suspense." Jason Green called it "an excellent example of noir storytelling at its finest, soaked in a uniquely 1970s mood." Paul Dunne opined, "Drawn in bold brushstrokes, and hand-painted in subtle washes, Chaffee brings vintage LA to the page in a propulsive adventure."

Light It, Shoot It was published by Fantagraphics, and they provide a preview and more info about it here. This book is suggested from mature readers.

Frizzy

Sometimes seemingly simple things are super complicated. Take hair, for instance. I don't think much about hair. I have long, straight hair now, and all I know about it was that long ago when I tried to get it feathered and wavy, it never responded. So, I just went with a short, pretty standard haircut for most of my life. That is certainly a position of privilege and convenience I have learned. Claribel, the star of Frizzy, does not enjoy such privilege. This young, Dominican girl has long, curly hair. It has flair and presence, and she learns from her mom that what she needs to do with it is tame that hair through regular visits to the salon. It constantly needs to be straightened and treated so that it is more manageable and she can fit in.

Bound up in all this thinking are all sorts of cultural assumptions of what people should look like, especially if they want to gain cultural capital and respect. Also, racial and ethnic identities come into play here, as some peoples' hair are seen as acceptable while others need work. Claribel and her mother clash over hair, and how it contributes to her being a "good girl," "presentable," and a maturing person. Claribel's Tia Ruby adds a different voice to this conversation, and over the course of the book all of the characters get the chance to interact, learn, emote, and engage in a debate over what people should look like and how it contributes to how they feel and what they can do in life. 

What I love about this book is how it engages in all sorts of complex issues without being didactic or prescriptive. The characters all feel real and relatable to me, and none of them present "straw man" arguments. They have their stances and feel justified in them, and they each have their strong points. Also, none of them is perfect, so the debate about what it takes to grow up as a realized person is palpable. Unless you are made of stone, this book will provoke your thoughts and move you.

This book is a collaboration between writer Claribel A. Ortega and artist Rose Bousamra, and Frizzy was the debut graphic novel from both. Ortega is a best-selling YA novelist whose books Ghost Squad and Witchlings have been very popular. Bousamra is currently working on her follow-up graphic novel, the self-authored Gutless. You can see both creators discuss this book in length in this video interview.

This book has won the 2023 Pura Belpré Award for Children's Text as well as the 2023 Eisner Award for Best Publication for Kids, and it has received many extremely positive reviews. In their starred entry, Kirkus Reviews summed it up, "An exquisite excavation of hair politics, family dynamics, and self-love." In another starred review, Publishers Weekly wrote, "Ortega expertly examines themes of colorism, generational trauma, and toxic beauty standards via authentic, heartstring-tugging dialogue and Marlene’s pitch-perfect narration." Esther Keller concluded, "This is a wonderful addition to the middle-grade repertoire of coming-of-age graphic novels. It will give young girls a great sense of self and help them be happy with the features they were born with."

Frizzy was published by First Second, and they offer a preview and more here.

The Cardboard Kingdom: Roar of the Beast

I was super-impressed and loved The Cardboard Kingdom, which I feel is a watershed book in the world of graphic novels for younger readers. This sequel, Roar of the Beast maybe lacks the varied emotional impact of that book, but it offers a more unified and complex narrative. Both books are superlative, and arguing which is better is sort of like arguing whether The Godfather or The Godfather II is better, which is to say that you cannot go wrong with either.

The main plot in this book is that there is great unrest in the neighborhood. Some of the kids are doubting/rethinking their characters, some bullied by older teens, and there seems to be a great beast roaming around at night wreaking havoc and spreading fear.

Overall, I think it is a great exploration of emotional issues that young people may experience, and how messy friendships and navigating the many changes of growing up and dealing with relationships can be. It does not downplay the complexity of what people do or feel, and not everyone makes the best choices for themselves, which I think reflects reality. It was a very moving book, and one I think that will resonate with a great many readers, both young and old. This is a graphic novel that I feel belongs in every upper elementary/middle school library.

This book was drawn by Chad Sell, and co-written with nine other authors, Vid Alliger, Manuel Betancourt, Michael Cole, David DeMeo, Jay Fuller-Ng, Cloud Jacobs, Barbara Perez Marquez, Molly Muldoon, and Katie Schenkel.

All of the reviews I have read of this book comment on its excellence. Charles Hatfield called it "that rare sequel that outshines its original." Kirkus Reviews wrote, "Continuing his collaboration with a group of different writers, Sell weaves together an engaging, endearing ensemble cast with a diverse range of gender identities and gender presentations, races, ethnicities, and body shapes." Juanita Giles wrote about how well this books captures the sensations and uncertainties of growing up and opined that it "not only reminds us of what it was like to go through that transition, but just how real even imagined problems can be at that age."

The Cardboard Kingdom: Roar of the Beast was published by Random House Graphic, and they offer a preview and more info about it here.

Fictional Father

I have been a big fan of Joe Ollmann's graphic novels. Both of them have appeared on my end-of-year favorites lists, characterized by strong characters and extensive research. Fictional Father is no exception to this pattern. It is a compelling look at Caleb Wyatt, a 40-something-year-old artist and recovering alcoholic who lives in the huge shadow of his dad Jimmi. Since 1966, Jimmi Wyatt draws the wildly successful comic strip called Sonny Side Up, about a single dad trying to run a restaurant while raising his son. It's a sort of combination of the everyday life of Peanuts and and the more cloying sentiment of Family Circus, and it makes Jimmi into a rich celebrity known as "Everybody's Dad." There are TV adaptations of his cartoons and tons of merchandising featuring the strip's characters and catch phrase "Wanna Share My Cookie?" Jimmi is the sort of guy who golfs with Tony Bennett, counts Barack Obama among his fans, and has countless affairs. He's not a good husband or dad, but he is good at living a life of excess.

Caleb does benefit from this fortune, being largely pampered and financially supported, though there were a tough couple of years when he was in art school and published a small-press, limited run of underground comix lampooning his father's famous strip. Still, his long-suffering, acerbic mother, who remained married to Jimmi through it all, does bail him out. Now, in middle age, he finds himself  aimless, painting abstract art for view in galleries propped up by his dad, working part-time as a sponsor for a local recovery clinic, and being a bad partner to his long-term boyfriend James. He is still dealing with the fallout of his childhood, but he is also old enough to know better. He still attends weekly dinner with his parents and depends on their largess while wanting more but doing nothing about it. He makes lots of capricious and poor choices, and part of what makes this book so compelling is watching how he keeps making a pig's ear out of a silk purse.

What also makes this book compelling is the extent Ollmann went to in constructing this narrative. The main plot is accompanied with "original art" from Sonny Side Up, which accentuates the drama and tone of the book. It fabricates a believable set of connections between the characters and the real world, and personally I loved all the references to comics creators from the classic newspaper strip days as well as from the alt-comix heydays of the 1990s. I know that many readers might not get these industry in-jokes, but I really appreciated them. So much has gone into constructing this fiction, and I admire its craft and attention to details.

The artwork mirrors the horrible aspects of the characters, and it is beautifully ugly. Everyone seems old and haggard, reflecting all the turmoil and troubles they have both endured and inflicted on others. There is not a lot of happiness in this book, at least in terms of the story and characters, but I saw a sort of delight in the realization of this tale. It's a marvelously crafted book and story: Once I started reading Fictional Father, I could not put it down. 

As I wrote above, I am a big fan of Ollman's graphic novels, Mid-Life and The Abominable Mr. Seabrook. He speaks more about his work on Fictional Father in this interview.

All of the reviews I have read about this book have leaned positive. In a starred review Publishers Weekly called it "a complex look at an artist’s evolving relationship to the past." Brad MacKay wrote that "thanks to Ollmann’s confident, assured storytelling it’s a journey well-worth taking." Colin Moon opined, "Fictional Father is perhaps an imperfect work, but nonetheless a compelling one, so long as you can get over the preposterously whining tone it sometimes steeps itself in."

Fictional Father was published by Drawn & Quarterly, and they offer a preview and more information here.

Oh, Caleb...

Snapdragon

Snapdragon is one of the best books I've read in a while. It is about a brash, young woman named Snapdragon (named after her mom's favorite flower). When the book opens, she is looking for her lost dog Good Boy, and she braves going into the house of a woman purported to be a witch, because it is rumored that she eats pets. She does find Good Boy there, but he had been hurt and the "witch," whose name is Jacks, took him in and patched him up. 

That may have been the end of matters, but soon afterward, Snap ends up with a bunch of orphaned baby possums so she turns to Jacks to help her raise them. Jacks agrees, but only on the condition that Snap helps her with "her work," which involves roadkill and taxidermy. The two form an unlikely friendship, and as Snap gets to know Jacks she learns that the old woman has connections to her family and also that she may well be a real witch. 

There is plenty of mystery, action, and intrigue in this book, but what makes it exceptional is its complex world full of realistic, well-realized characters. Snap and Jacks both feature strong personalities, but so do all the supporting ones, from Snap's put-upon Mom to her friend Louis, who shares her fandom for horror movies and likes to wear dresses and paint his nails. What is more, this book does an excellent job exploring the various relationships between them. Snap gets Jacks to open up about her past, and she stands by Louis in dealing with bullies and his rough-and-tumble older brothers. And not only is there a lot of strong emotional work, but as you can see in the excerpt above, this book is also frequently funny in its dialogue and pacing. There are parts, such as the sequence where Snap's mom goes to buy her an animal anatomy textbook, that made me want to cheer. This book is moving in many ways and also a joy to read.

This book was created by Kat Leyh, who is an artist and writer who is known for her work on the Eisner and GLAAD Award-winning Lumberjanes series and the graphic novel Thirsty Mermaids. She speaks about her inspirations for Snapdragon in this audio clip and her career in this interview.

All of the reviews I have read of this book have been glowing. Kirkus Reviews summed up their starred entry, "Sweet and fierce, this is a must-have." Ashley Dunne wrote, "It could be a good book for opening up conversations about respecting the earth’s creatures, normalizing the concept of trans kids and queer seniors, or just plain finding a fun story with witchy elements." Hillary Brown opined, "The star of the book is the way Leyh draws her flippin’ heart out to make a story that really doesn’t need words at all." Anna Schaeffer wrote that it "glitters with imagination, sweetness, and grit."

Snapdragon was published by First Second, and they offer a preview and more info here.

Fights: One Boy's Triumph Over Violence

I have read most of the books published by Joel Christian Gill, such as his Strange Fruit anthologies and Tales of the Talented Tenth series. Those have been nonfiction histories, but in Fights he turns to a more personal topic, a memoir about his own childhood. With his mother being incarcerated when he was very young and her not always being able to provide a stable environment for him after the death of his father, Gill got bounced around to live with various family friends and relatives, with varying amounts of supervision and support.

Also, sometimes those places brought other sorts of violence or abuse that he had to contend with. As a consequence he learned early on that he had to rely on himself for many things and also that meant he had to learn to fight. There are many commonplace adversaries along the way: bullies on the school bus, racist jerks who try to shake him down for money, and rivals who want to maintain their reputations and protect their turf. Gill has to deal with a lot of adversity to try to fit in and also carve some space for himself. It seems that he always has to be on the offensive and can never really relax his guard.

It is easy to read this book and feel for his plight, but it is also difficult to suffer the depravities he experienced. The artwork portrays this sense of ambivalence about childhood, drawn in the same accessible, clear, and picture-book manner as his other works. It is jarring to see "cute" figures as they navigate serious issues such as blatant discrimination, sexual abuse, and physical violence, but it is also emblematic of the sorts of circumstances many young people experience. It impresses the point that many of these situations force children to have to grow up well before they should, but at the same time they are still children. It makes the proceedings that much more distressing. I applaud the braveness here in candidly portraying such personal trauma and how he learned to cope.

One of the most powerful aspects of this book is Gill's instilling a sense of empathy for pretty much every character, reinforced with frequent reminders that children are sponges that absorb what is around them. He might portray bullies and abusers as monstrous, but he also constantly reminds that they are human beings who are the products of their contexts. This view is what eventually drives Joel's own realizations as he grows older and informs an important choice he made when he was just out of high school. It also makes this tale that much more poignant and difficult to ignore. Certainly there are many ills portrayed here, some systemic and others more personal. Gill smartly depicts the terms of the debate of how to best address these factors but does not come down with a didactic solution to what is a complex set of circumstances. He only writes about what has worked for him and his family. This book is excellent, at once moving, provocative, and thought-provoking.

All of the reviews I have read of this book have been positive. Publishers Weekly wrote, "Gill’s empathy for his younger self and the children he grew up alongside elevates his singular story into a passionate plea for neglected children everywhere." In a starred review from School Library Journal, Carla Riemer concluded, "Despite the heartbreak, Gill leaves readers with a message of hope—that anyone living with trauma can find a way out." John Seven opined, "Fights doesn’t feel like a story being told by a grown-up looking back, but a kid living it. That’s the power within it, it hasn’t lost track of the kid that the story is about."

Fights was published by Oni Press, and they offer more info about it here. This book portrays sexual abuse, violence, and profanity and is suggested for readers mature enough to handle those things.

The Cardboard Kingdom

This is the final book I am writing about this month that I reviewed for the Excellence in Graphic Literature Awards presented at the Denver Pop Culture Con earlier in June. It really took me by surprise just how moving and heartfelt this book was. It is about a neighborhood that is full of imaginative children who like to engage in pretend-play. They build lots of structures and costumes from cardboard, with each chapter being focused on an individual child. At first, I thought this was just going to be a light look at a bunch of kids playing together, and I have to admit that, art aside, I thought it was going to be pretty forgettable. But after a couple of tales, I was struck by a few things.

First, all of the characters are memorable and nuanced. They come from different family configurations and backgrounds. They are racially diverse. Some may seem like types initially, but getting to see them and their lives quickly disabused me of the notion that they were simple caricatures. They have different interests and distinct personalities. Some want to play out fantasies, while others want to be business people. Some want to be superheroes to help others; some want to be monsters or villains to exercise their power. By the end of the book, I felt like I had known some of these children during my own life.

Second, the issues that they have to deal with are realistic and contemporary. Some come from multi-parent homes, others from same-sex families, or single-parent households. Some deal with abusive or harsh relationships. Some are trying on different gender identities. I feel that the cast of characters is aptly diverse and reflective of modern life in the US. Although it comes from the viewpoints of children, this book grapples with issues of identity, family, and finding one's place in the world.

Third, this book is deceptively complex and engrossing. Later in the story when there are some older kids who come in as bullies and wreck a lot of their work, I was genuinely concerned for the young kids and horrified by what I was reading. This book is gripping, and it sheds an intimate light into the inner lives that children have to life, warts and all. Not all of the stories here resolve well, but they all show what can happen when you have genuinely good friends. I found myself in love with these characters, and it's a book I will read again and again.

The book cover says that the author is Chad Sell, who illustrated the whole thing, but there are different writers (including Jay Fuller, David Derek, Katie Schenkel, Kris Moore, Manuel Betancourt, Molly Muldoon, Vid Alliger, Cloud Jacobs, Michael Cole, Barbara Perez Marquez, Vid Alliger, David Demeo, and Chad Sell) penning individual chapters. In a helpful move, all contributors have a short bio in the end papers. Sell has a very strong, colorful art style that I found very attractive and inviting. I very much liked his technique where he switched back and forth visually from the reality of what the kids made and the fantasy play they were engaged in.

Sell speaks about his life and work in comics in this interview. Or if you prefer to listen to a podcast interview, here is a good one at Comics Syllabus (Hi, Paul!). This interview with many of the book's creators offers multiple insights about the stories. This interview touches on the logistics of tackling this project with so many contributors.

This book has been met with much praise and award nominations. It has received multiple starred reviews, such as the one from Publishers Weekly that concluded, "Imagination, these kids prove, can erase what seem like unbridgeable differences." In their starred review, Kirkus Reviews called it "a breath of fresh air," and added that " this tender and dynamic collection is a must-have for any graphic-novel collection." Esther Keller called it "a lovely book with bold artwork." Elizabeth Bird raved, "Chad Sell and his cadre of clever writers are here and they might just be the wave of the future we’ve been waiting for."

The Cardboard Kingdom was published by Random House Graphic, and they offer a preview and more here.

The publisher provided a review copy.

Hey, Kiddo: How I Lost My Mother, Found My Father, and Dealt with Family Addiction

I am not going to lie, Hey, Kiddo made me cry. This book is a memoir about a young man who grows up to learn that his mother is a heroin addict and goes to live with his maternal grandparents, Joe and Shirl. They are brusque and caring, though they have their own issues with alcohol. Still, they take care of Jarrett in their way and instill in him a great many positive characteristics, chief among them a strong work ethic. They also support him in terms of him following his interests, and they are instrumental in making sure he had venues to create art, which was cathartic to him in many ways. Also, it led to opportunities down the road that resulted in a career in making comics (luckily for us all!).

His father is a mystery to him, and for much of his childhood he refuses to even acknowledge the man exists, not that he was present for Jarrett in any way. When he reaches later adolescence, Jarrett finally does make a gesture to meet him, and he learns about his half-siblings, with whom he builds relationships. There is so much about this book that speaks to what families are and how people try to find love and acceptance in this world, but none of it is sugar-coated. This book is powerful both in terms of its story and artwork. Both are subtle and nuanced. Hey, Kiddo is a slow burn with lots of emotional punch, and even though I was raised in very different circumstances, I found much to relate to and empathize with.

The book also benefits from a variety of media, such as letters, coasters, artwork, and various other artifacts used as chapter breaks. These really brought home the reality of these events and situations, making them have just that more of an emotional impact. I loved reading this book. It was sad, sweet, and incredibly moving. I am very glad that it exists in the world to be something that various aged readers, not just the YA set it is marketed toward, can engage with and learn from.

Krosoczka is best known for his series of Lunch Lady graphic novels for younger readers, and he has also contributed multiple volumes to the Star Wars Jedi Academy series. I met him a few years ago at Knoxville's Children's Festival of Reading, and he was a swell guy. Go check out his website for multiple versions of his biography as well as some random facts about him. It's worth the visit!

This book has garnered Krosoczka a lot of positive attention and praise. He has been profiled by both NPR and The New York Times. Most impressively, Hey, Kiddo was named a finalist for a National Book Award. The NYT's Patricia McCormick called it "brave" and "inspiring." In a starred review, Publishers Weekly summed up, "This nuanced graphic memoir portrays a whole family and tells a story of finding identity among a life’s complications."

Hey, Kiddo was published by Scholastic, and they offer more information about it here. This book features some profanity, but nothing beyond what a typical YA book might contain.