Adapted by P. Craig Russell with Galen Showman (NBM)
ISBN: 978-1-56163-214-5 (Signed HC) 978-1-56163-775-1 (PB)
Win’s Christmas Gift Recommendation: A Comicbook Gift of the Graphic Magi… 9/10
Craig Russell began his illustrious career in comics during the early 1970s and came to fame young with a groundbreaking run on science fiction adventure series Killraven, Warrior of the Worlds.
Although his increasingly fanciful, meticulous classicist style was derived from the great illustrators of Victorian and Edwardian heroic fantasy and his visual flourishes of Art Nouveau were greatly at odds with the sausage-factory deadlines and sensibilities of the mainstream comicbook industry, the sheer power and beauty of his illustrative work made him a huge draw.
By the 1980s he had largely retired from the merciless daily grind, preferring to work on his own projects (generally adapting operas and plays into sequential narratives) whilst undertaking the occasional high-profile Special for the majors – such as Dr. Strange Annual 1976 (totally reworked and re-released as Dr. Strange: What Is It that Disturbs You, Stephen? in 1996) or Batman: Robin 3000.
As our industry grew up and coincided with the global fantasy boom, Russell returned to the comics industry with Marvel Graphic Novel: Elric (1982), further adapting prose tales of Michael Moorcock’s iconic sword-&-sorcery star in the magazine Epic Illustrated and elsewhere.
Russell’s stage-arts adaptations had begun appearing in 1978: first in the independent Star*Reach specials Night Music and Parsifal and then from 1984 at Eclipse Comics where the revived Night Music became an anthological series showcasing his earlier experimental adaptations; not just operatic dramas but also tales from Kipling’s Jungle Books and other favourite literary landmarks.
In 1992, he began adapting the two volumes of Fairy Tales of Oscar Wilde – a mission he continues to date, deftly balancing tales of pious allegorical wonderment with a wry touch and clear, heartfelt joy in the originating material of a mercurial misunderstood, much-maligned master of devastating, so-quotable epigrams who was briefly the most popular man in London Society…
First published in May 1888, The Happy Prince and Other Tales was Oscar Fingall O’Flahertie Wills Wilde’s first book for children with the lead story merely one of a quintet of literary gems. The others within were The Nightingale and the Rose, The Devoted Friend, The Remarkable Rocket and The Selfish Giant.
It was followed in 1891 by A House of Pomegranates; Wilde’s second book of stories for children which held The Young King, The Fisherman and his Soul, The Star-Child and our subject today The Birthday of the Infanta, with adaptor Russell utilising all his skills to staggering effect to deliver a masterpiece of sardonic whimsy and casual cruelty.
In the glittering court of the King of Spain, the monarch is celebrating his beautiful daughter’s twelfth birthday. For such an occasion the normally closeted, haughty child is allowed to play with other, lesser youngsters whilst conniving courtiers look on and seek any moment of advantage which might further their own prospects.
There’s little chance of that, however. The King is not the man he was and has languished in growing misery since his beloved wife died soon after delivering the sole heir. So bereft is he at the loss of his flighty French bride’s boundless spirit and joyous joie de vivre that he cannot bear to have her interred. Instead her mummified corpse still occupies the chapel in the grand palace…
Thus the Infanta grew up isolated by her elevated position and swamped with magnificence, drowning in privilege and inundated in all things beautiful, but deprived of companionship. Today she takes full advantage of the youthful playthings around her, revelling in every boisterous dance and all attentions paid by the sons and daughters of the Court. The entertainments are even more thrilling: acrobats, jugglers, jongleurs, dancers, magicians and wild beasts all amaze, but nothing delights the lovely child more than the hideous, malformed dwarf-boy who dances for her, lost in his own simple, insensate world.
The deformed, inadvertent fool is a present from two particularly noxious nobles who had seen him capering innocently in the forests and promptly made off with him. The blithe simpleton knows nothing of this, only that his actions in this immaculate garden of boughs and flowers make the most beautiful creature in the world happy… and that her laughter is music to him…
His idiot caperings concluded, the dwarf is given a perfect white rose by the Infanta before the nobles’ children are escorted away. This casual, indifferent act drives him to even greater paroxysms and in his head a dangerous idea forms…
Later he sneaks into the Palace, finding room after room of breathtaking opulence and dazzling magnificence until he reaches at last the Infanta’s apartments. Curiously peeking in, he spies a coarse, misshapen monster mimicking his every move. Never has he seen such a thing of such utter ugliness…
What follows is one of the saddest, most relentless withering denouements in literature; a thinly-veiled yet ferocious condemnation of the brutal force of vanity and deadly power of surface glamour devastatingly depicted with debilitating detail by Russell and his assistant/letterer Galen Showman.
Bring tissues, and probably a stiff drink. You’ll need them.
A deeply moving, studiously horrific and truly tragic fairytale that shows not all endings are happy or even just, The Birthday of the Infanta displays Wilde’s razor-edged social commentary and scathingly beautiful cynicism to full effect; denying us the requisite happy ending and harbouring a cruel barb to prick and train the conscience…
This unsettling yet unmissable adaptation signalled another high point in Russell’s astounding career: another milestone in the long, slow transition of an American mass market medium into a genuine art form.
Most importantly, this and the other volumes in the series are incredibly lovely and irresistibly readable examples of superb writing (so please read Wilde’s original prose tomes too) and sublime examples of comics at their most potent.
© 1998 P. Craig Russell. All rights reserved.