Category: Historical

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The Chagos Betrayal – How Britain Robbed an Island and Made Its People Disappear


By Florian Grosset (Myriad Editions)
ISBN: 978-1-912408-67-2 (TPB) eISBN 978-1-912408-93-1

Win’s Christmas Gift Recommendation: Because Knowledge is Power and Shame is a Weapon… 9/10

Words wedded to images have long been a cheap and reliable tool of the functionally powerless in addressing injustice. When used to craft potent and damning testaments of authoritarian oppression and atrocity, they stand a pretty good chance of shifting balances of power, changing the course of events and auditing history. Let’s hope it’s still the case here…

Comics and Graphic Novels carry a powerful ability to whip up empathy, deliver damaging detail, summarise complex issues and events without lessening emotional impact, and visually embed nuance that dry reports and impassioned novels cannot, at a fraction of the cost of a live action documentary. That’s exactly what graphic designer and first person witness Florian Grosset has achieved here as she details how successive British governments have displaced, lied to and fatally ignored some of their poorest, weakest and most trusting subjects, simply to curry favour with foreign allies and obtain discount weapons systems…

The uprooting and forced relocation of thousands of mostly brown-skinned, generally poor and universally uneducated British citizens by the British government in London to lease America a strategically advantageous naval base in the Indian Ocean has been a shameful ongoing affair since 1965. The plight of the displaced people of the Chagos archipelago as they perpetually petition British and International Courts and struggle to return to their ancestral homes on the island of Diego Garcia is still a slowly unfolding current affair, not a done and dusted historical footnote.

Utilising beautiful imagery, blunt facts and beguiling personal testimonies Grosset has assembled a grimly unforgettable argument, detailing how the Chagos litigants were belittled, lied to, discounted, ignored and ultimately stalled in hope that they would die out or go away.

A tragically effective tactic still in use – especially by civilised First World governments – is to rewrite the terms rules and definitions. Great Britain is a past master of this: even today glibly changing the status of any troublesome citizen from “British” to “Somebody Else’s Problem, Now”.

In the case of the former Chagos Archipelago islanders, redefining their centuries-old home as the British Indian Ocean Territory (BIOT) and its British-citizen inhabitants as “migrant workers” before summarily shipping them off against their will to imminently independent Mauritius probably seemed a “cunning wheeze”, but what it was – and remains – is damning proof of how elites regard the rest of us…

This staggeringly moving account – broken down into understated but powerfully enthralling chapters ‘You must leave and never return’, ‘Life in the slums’, ‘A troubled history’, ‘We must be very tough about this…there will be no indigenous population except seagulls..’, ‘There may be times when we are powerless to prevent injustice, but there must never be a time when we fail to protest.’ And ‘…any person who enters BIOT without permission may be liable to imprisonment for three years and/or a fine of £10,000…’ – summarises the current state of play and offers a chance for us all to make ourselves heard about the things done in our name but without our knowledge or consent.

Fully backed up by a ‘Sources’ section and grateful ‘Acknowledgements’ this is a superbly designed weapon of enlightenment no concerned citizen of our dying Earth should miss.
© 2021 Florian Grosset. All rights reserved.

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U.S.S. Stevens – The Collected Stories


By Sam Glanzman (Dover Comics & Graphic Novels)
ISBN: 978-0-486-80158-2 (HB)

To the shame and detriment of the entire comics industry, for most of his career Sam Glanzman was one of the least-regarded creators in American comicbooks. Despite having one of the longest careers, most unique illustration styles and the respect of his creative peers, he just never got the public acclaim his work deserved. Thankfully that all changed in recent years and he lived long enough to enjoy the belated spotlight and bask in some well-deserved adulation.

Glanzman drew and wrote comics since the Golden Age, most commonly in classic genres ranging from war to mystery to fantasy, where his work was – as always – raw, powerful, subtly engaging and irresistibly compelling.

On titles such as Kona, Monarch of Monster Island, Voyage to the Deep, Combat, Jungle Tales of Tarzan, Hercules,The Haunted Tank, The Green Berets, The Private War of Willie Schultz, and especially his 1980s graphic novels A Sailor’s Story and Wind, Dreams and Dragons – which you should buy in a single volume from Dover – Glanzman produced magnificent action-adventure tales which fired the imagination and stirred the blood. His stuff always sold and at least won him a legion of fans amongst fellow artists, if not from the small, insular and over-vocal fan-press.

In later years, Glanzman worked with Tim Truman’s 4Winds outfit on high-profile projects like The Lone Ranger, Jonah Hex and barbarian fantasy Attu. Moreover, as the sublime work gathered here attests, he was also one of the earliest pioneers of graphic autobiography; translating personal WWII experiences as a sailor in the Pacific into one of the very best things to come out of DC’s 1970s war comics line…

U.S.S. Stevens, DD479 was a peripatetic filler-feature which bobbed about between Our Army at War, Our Fighting Forces, G.I. Combat, Star Spangled War Stories and other anthological battle books; quietly backing-up the cover-hogging, star-attraction glory-boys. It provided wry, witty, shocking, informative and immensely human vignettes of shipboard life, starring the fictionalised crew of the destroyer Glanzman had served on. It was, in most ways, a love story and tribute to the vessel which had been their only home and refuge under fire.

In 4- or 5-page episodes, the auteur recaptured and shared a kind of comradeship we peace-timers can only imagine and, despite the pulse-pounding drama of the lead features, us fans all knew these little snippets were what really happened when the Boys went “over there”…

A maritime epic to rank with Melville or Forester – and with stunning pictures too – every episode of this astounding unsung masterpiece is housed in one stunning hardback compilation (also available digitally for limp-wristed old coots like me) and if you love the medium of comics, or history, or just a damn fine tale well-told, you must have it…

That’s really all you need to know, but if you’re one of the regular crowd needful of more of my bombastic blather, a much fuller description follows…

As I’ve already stated, Glanzman belatedly enjoyed some earned attention, and this tome opens by sharing Presidential Letters from Barack Obama and George Herbert Walker Bush for his service and achievements. Then follows a Foreword from Ivan Brandon and a copious and informative Introduction by Jon B. Cooke detailing ‘A Sailor’s History: The Life and Art of Sam J. Glanzman’.

Next comes a brace of prototypical treats; the initial comic book appearance of U.S.S. Stevens from Dell Comics’ Combat #16 (April-June 1965) and the valiant vessel’s first cover spot from Combat #24, April 1967.

The first official U.S.S. Stevens, DD479 appeared after Glanzman approached Joe Kubert, who had recently become Group Editor for DC’s war titles. He commissioned ‘Frightened Boys… or Fighting Men’ (appearing in Our Army at War #218, April 1970), depicting a moment in 1942 as boredom and tension are replaced by frantic action when a suicide plane targets the ship…

A semi-regular cast was introduced slowly throughout 1970; fictionalised incarnations of old shipmates including skipper Commander T. A. Rakov, who ominously pondered his Task Force’s dispersal, moments before a pot-luck attack known as ‘The Browning Shot’ (Our Fighting Forces #125, May/June) proved his fears justified…

Glanzman’s pocket-sized tales always delivered a mountain of information, mood and impact and ‘The Idiot!’ (OAaW#220, June) is one of his most effective, detailing in 4 mesmerising pages not only the variety of suicidal flying bombs the Allies faced, but also how appalled American sailors reacted to them.

Sudden death was everywhere. ‘1-2-3’ (OFF #126, July/August) details how quick action and intuitive thinking saves the ship from a hidden gun emplacement whilst ‘Black Smoke’ (Our Army at War #222, from the same month) shows how a know-it-all engineer causes the sinking of the Stevens’ sister-ship by not believing an old salt’s frequent, frantic warnings…

All aboard ship were regularly shaken by the variety of Japanese aircraft and skill of the pilots. ‘Dragonfly’ (OFF #127, September/October) shows exactly why, whilst an insightful glimpse of the enemy’s psychological other-ness is graphically, tragically depicted in the tale of ‘The Kunkō Warrior’ (OAaW #223, September).

A weird encounter with a wooden WWI vessel forces a ‘Double Rescue!’ (Star Spangled War Stories #153, October/November) before OFF #128’s (November/December) ‘How Many Fathoms?’ again counts the human cost of bravery with devastating, understated impact. ‘Buckethead’ (OAaW #225, November) then relates one swabbie’s unique reaction to constant bombardment.

‘Missing: 320 Men!’ (G.I. Combat #145, December 1970-January 1971) debuted Glanzman-avatar Jerry Boyle who whiled away helpless moments during a shattering battle by sketching cartoons of his astonished shipmates. ‘Death of a Ship!’ (OAaW #227, January 1971) then deals with classic war fodder as submarine and ship hunt each other in a deadly duel…

A military maritime mystery was solved by Commander Rakov in ‘Cause and Cure!’ (Our Army at War #230, March) whilst the next issue posed a different conundrum as the ship loses all power and sticks ‘In the Frying Pan!’ (April 1971).

The vignettes were always less about warfare than its effect – immediate or cumulative – on ordinary guys. ‘Buck Taylor, You Can’t Fool Me!’ (OAaW #232) catalogues his increasingly aberrant behaviour but posits some less likely reasons, after which old school hero Bos’n Egloff saves the day during the worst typhoon of the war in ‘Cabbages and Kings’(OFF #131, July/August) whilst ‘Kamikaze’ (OAa #235 August) boldly and provocatively tells a poignant life-story from the point of view of the pilot inside a flying bomb…

An informative peek at the crew of a torpedo launch station in ‘Hip Shot’ (G.I. Combat #150 October/November) segues seamlessly into the dangers of shore leave ‘In Tsingtao’ (OFF #134, November/December) whilst ‘XDD479’ (Our Army at War #238 November) reveals a lost landmark of military history.

The real DD479 was one of three destroyers test-trialling ship-mounted spotter planes. This little gem explains why that experiment was dropped…

Buck pops back in ‘Red Ribbon’ (G.I.C #151 December 1971-January 1972), sharing a personal coping mechanism for making shipboard chores less “exhilarating”, whilst ‘Vela Lavella’ (OAaW #240, January 1972) captures the claustrophobic horror of night time naval engagement before ‘Dreams’ (G.I.C #152 February/March) peeps inside various heads to see what the ship’s company would rather be doing. ‘Batmen’ (OAaW #241, February) uses a lecture on radar to recount one of the most astounding exploits of the war…

Every U.S.S. Stevens episode was packed with fascinating fact and detail, culled from the artist’s letters home and service-time sketchbooks, but those invaluable memento belligeri also served double duty as the basis for a secondary feature.

The debut ‘Sam Glanzman’s War Diary’ appeared in Our Army at War #242 (March 1972): a compendium of pictorial snapshots sharing quieter moments, such as the first passage through the Panama Canal, sleeping arrangements or K.P. duties peeling spuds, and precedes an hilarious record of the freshmen sailors’ endurance of an ancient naval hazing tradition inflicted upon every “pollywog” crossing the equator for the first time in ‘Imperivm Neptivm Regis’ (OFF #136 (March/April 1972).

A second ‘Sam Glanzman’s War Diary’ (OAaW #244, April) reveals the mixed joys of “Liberty in the Philippines” after which a suitably foreboding ‘Prelude’ (Weird War Tales #4 (March/April 1972) captures the passive-panicked tension of daily routine whilst a potentially morale-shattering close shave is shared during an all-too-infrequent ‘Mail Call!’ (G.I. Combat #155, April/May)…

A thoughtful man of keen empathy and insight, Glanzman often offered readers a look at the real victims. ‘What Do They Know About War?’ (OAaW #244, April) sees peasant islanders trying to eke out a living, only to discover far too many similarities between Occupiers and Liberators, whilst the next issue focussed on the sailors’ jangling nerves and stomachs. ‘A Funny Thing Happened on the Way to the War!’ (#245, May) reveals what happened when DD479 was mistakenly declared destroyed and, thanks to an administrative iron curtain, found it impossible to refuel or take on food stores…

Cartoonist Jerry Boyle resurfaced in a ‘Comic Strip’ in OFF #138 (July/August) after which Glanzman produced one of the most powerful social statements in an era of tumultuous change.

Our Army at War #247 (July 1972) featured a tale based on decorated Pearl Harbor hero Doner Miller who saved lives, killed the enemy and won medals, but was not allowed to progress beyond the rank of shipboard domestic because of his skin. ‘Color Me Brave!’ was an excoriating attack on the U.S. Navy’s segregation policies and is as breathtaking and rousing now as it was then…

‘Ride the Baka’ (OAaW #248 August) revisits those constant near-miss moments sparked by suicide pilots after which Glanzman shares broken sleep in ‘A Nightmare from the Beginning’ (OFF #139, September/October) whilst ‘Another Kunkō Warrior’ (OFF #140, November/December) sees marines taking an island and encountering warfare beyond their comprehension.

1973 began with a death-dipped nursery rhyme detailing ‘This is the Ship that War Built!’ (G.I.C #157 December 1972-January 1973) before ‘Buck Taylor’ (OFF #141 January/February) delivers an impromptu lecture on maritime military history. Glanzman struck an impassioned note for war-brides and lonely ships passing in the night with ‘The Islands Were Meant for Love!’ (Star Spangled War Stories #167 February)…

Terror turns to wonder when sailors encounter the ‘Portuguese Man of War’ (OAaW #256 August), a shore leave mugging is thwarted thanks to ‘Tailor-Mades’ (OFF #143 June/July) and letters home are necessarily self-censored in ‘The Sea is Calm… The Sky is Bright…’ (OAaW #257 June), but shipboard relationships remain complex and bewildering, as proved in ‘Who to Believe!’ (SSWS #171, July).

The strife of constant struggle comes to the fore in ‘The Kiyi’ (OAaW #258 July) and is seen from both sides when souvenir hunters try to take ‘The Thousand-Stitch-Belt’ (SSWS #172 August), but, as always, it’s non-combatants who truly pay the price, just like the native fishermen in ‘Accident…’ (OAaW #259, August).

Even the quietest, happiest moments can turn instantly fatal as the good-natured pilferers swiping fruit at a refuelling station discover in ‘King of the Hill’ (SSWS #174, October).

An unlikely tale of a kamikaze who survives his final flight but not his final fate, ‘Today is Tomorrow’ (OAaW #261, October) precedes a strident, wordless plea for understanding in ‘Where…?’ (OAaW #262 November 1973) before the sombre mood is briefly lifted with a tale of selfishness and sacrifice in ‘Rocco’s Roost’ from OAaW #265, February 1974.

The following issue provide both a gentle ‘Sam Glanzman’s War Diary’ covering down-time in “The Islands” and a brutal tale of mentorship and torches passed in ‘The Sorcerer’s Apprentice’, after which a truly disturbing tale of what we now call gender identity and post-traumatic stress disorder is recounted in the tragedy of ‘Toro’ from the April/May Our Fighting Forces #148…

‘Moonglow’ from OAaW #267 (April 1974) reveals how quickly placid contemplation can turn to blazing conflagration, whilst – after a chilling, evocative ‘Sam Glanzman’s War Diary’ (OAaW #269 June) – ‘Lucky… Save Me!’ (OAaW #275, December 1974) shows how memories of unconditional love can offset the cruellest of injuries…

‘Heads I Win, Tails You Lose!’ (OAaW #281, June 1975) explores how both friend and foe alike can be addicted to risk, after which the next issue’s ‘I Am Old Glory…’ sardonically transposes a thoughtful veneration with the actualities of combat before ‘A Glance into Glanzman’ by Allan Asherman (Our Army at War #284, September 1975) takes a look at the author’s creative process.

Then it’s back to those sketchbooks and another peep ‘Between the Pages’ (OAaW #293, June 1976) before ‘Not Granted!’ (OAaW #298, November 1976) discloses every seaman’s most fervent wish…

Stories were coming at greater intervals at this time and it was clear that – editorially at least – the company was moving on to fresher fields. Glanzman, however, had saved his best till last as a stomach-churning visual essay displayed the force of tension sustained over months in ‘…And Fear Crippled Andy Payne’ (Sgt. Rock #304, May 1977) before an elegy to bravery and stupidity asked ‘Why?’ in Sgt. Rock #308 from September 1977.

And that was it for nearly a decade. Glanzman – a consummate professional – moved on to other ventures. He was, however, constantly asked about U.S.S. Stevens and eventually, nearly a decade later, returned to his spiritual stomping grounds in expanded tales of DD479: both in his graphic novel memoirs and comic strips.

The latter appeared in anthological black-&-white Marvel magazine Savage Tales (#6-8, spanning August to December 1986) under the umbrella title ‘Of War and Peace – Tales by Mas’.

First up was ‘The Trinity’ blending present with past to detail a shocking incident of a good man’s breaking point, whilst a lighter tone informed ‘In a Gentlemanly Way’, as Glanzman recalled the different means by which officers and swabbies showed their pride for their ships. ‘Rescued by Luck’ than concentrated on a saga of island survival for sailors whose ship had sunk…

Next comes the hauntingly powerful black-&-white tale of then and now entitled ‘Even Dead Birds Have Wings’ (created for the Dover Edition of A Sailor’s Story from 2015) after which a chronologically adrift yarn (from Sgt. Rock Special #1, October 1992) evokes potently elegiac feelings, describing an uncanny act of gallantry under fire and the ultimate fate of old heroes in ‘Home of the Brave’…

A few years ago, by popular – and editorial – demand, Glanzman returned to the U.S.S. Stevens for an old friend’s swan song series; providing new tales for each issue of DC’s anthological 6-issue miniseries Joe Kubert Presents (December 2012- May 2013).

More scattershot reminiscences than structured stories, ‘I REMEMBER: Dreams’ and ‘I REMEMBER: Squish Squash’recapitulate unforgettable moments seen through eyes at the sunset end of life; recalling giant storms and lost friends, imagining how distant families endured war and absence and, as always, balancing funny memories with the tragic, like that time when the stiff-necked new commander…

‘Snapshots’ continues the reverie, blending a veteran’s war stories with cherished times as a kid on the farm whilst ‘The Figurehead’ delves deeper into the character of Buck Taylor and his esoteric quest for seaborne nirvana…

Closing that last hurrah were ‘Back and Forth 1941-1944’ and ‘Back and Forth 1941-1945’: an encapsulating catalogue of war service as experienced by the creator, mixing facts, figures, memories and reactions to form a quiet tribute to all who served and all who never returned…

With the stories mostly told, the ‘Afterword’ by Allan Asherman details those heady days when he worked at DC Editorial, and Glanzman would unfailingly light up the offices by delivering his latest strips, after which this monolithic milestone offers a vast and stunningly detailed appendix of ‘Story Annotations’ by Jon B. Cooke.

This is a magnificent collection of comic stories based on real life and what is more fitting than to end it with ‘U.S.S. Stevens DD479’ (coloured by Frank M. Cuonzo & lettered by Thomas Mauer): one final, lyrical farewell from Glanzman to his comrades and the ship which still holds his heart after all these years…?

This is an extraordinary work. In unobtrusive little snippets, Glanzman challenged myths, prejudices and stereotypes – of morality, manhood, race, sexuality and gender – decades before anybody else in comics even thought to try.

He also brought an aura of authenticity to war stories which has never been equalled: eschewing melodrama, faux heroism, trumped-up angst and eye-catching glory-hounding to instead depict how “brothers in arms” really felt and acted and suffered and died.

Shockingly funny, painfully realistic and visually captivating, U.S.S. Stevens is phenomenal and magnificent: a masterpiece by one of the very best of “The Greatest Generation”. I waited 40 years for this and I couldn’t be happier: a sublimely insightful, affecting and rewarding graphic memoir every home, school and library should have and one every reader will return to over and over.
Artwork and text © 2015 Sam Glanzman. All other material © 2015 its respective creators.

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Chicago – A Comix Memoir


By Glenn Head (Fantagraphics Books)
ISBN: 978-1-60699-878-6 (HB)

One of the things comics can do better than almost any other medium is autobiography. Words are immensely potent, but when wed to the images a confessor wants you to see and has devised especially for that purpose, the response is always immediate, visceral and permanent.

Cartoonist, illustrator and editor Glenn Head (Hot Wire, Snake Eyes, Weirdo) studied under Art Spiegelman at the School for Visual Art in the early 1980’s but bided his time in commercial illustration for publications like Advertising Age, Screw, Sports Illustrated and The Wall Street Journal, and with comix such as Guttersnipe and Head Shots before releasing his first graphic novel in 2015.

It was worth the wait…

In monochrome hardback Chicago – available in sturdy hardback and trustworthy digital formats – Head turned a harsh, stark spotlight on his own life, literally baring all and detailing how a troubled teenaged virgin from New Jersey turned his back on the American Dream and his own personal hopes and aspirations before touching bottom and courting madness to reach his current (still tenuous) state.

Following an incisive Introduction from Phoebe Gloeckner, the history lesson begins in a graveyard in the Garden State. “Glen” is nineteen and troubled, but not necessarily unhappy: he’s just painfully aware that he doesn’t fit in.

It’s the summer of 1977 and he’s obsessed with the cartoons and paraphernalia of the hippie Counterculture then experiencing its death-throes. Dad works on Wall Street and desperately wants to understand why his son seems at such a loss. The boy doesn’t even seem happy to be going to Art School in Cleveland, even though he claims that’s what he wants…

What Glenn actually wants most is Sarah: his best friend and a girl appallingly emotionally scarred by the treatment she has received from her Holocaust-Survivor parents. She’s already well down the road to dissolution though: pregnant, a runaway and being used to turn tricks by her latest scumbag boyfriend…

The season turns and Glen reluctantly reports to the Cleveland Institute of Art, his intolerant, abrasive attitude winning him few friends amongst staff or students. There’s something indefinably wrong inside his head and before long he drops out and starts panhandling to survive.

A casual conversation with another student attains the status of a sign from God and Glen – who we’re starting to think might suffer from bipolar disorder – abruptly hitchhikes to Chicago, determined to sell cartoons to Playboy magazine…

And thus begins an intense period of privation, hallucination, harassment by hustlers, constant danger and creeping horror, all punctuated by unexpected kindnesses from strangers, rejections, connections and moments of incomprehensible good fortune as chance meetings with Muhammad Ali and Robert Crumb begin turning the street-meat’s life around…

‘Decompression’ sees Glen in January 1978, back in comfortably suburban Madison, N.J. thanks to his amazingly understanding yet still-uncomprehending father. Although the threat of imminent starvation and murder have faded, the boy is still at risk – from his own actions after a telephone conversation with idealised inamorata Sarah’s manic mother and his own father’s poorly hidden handgun…

The final section of this diary occurs in 2010 as Brooklyn-dwelling single-dad Glen gets an email one morning. Sarah, the one that got away, the great missed opportunity, has tracked him down and wants to meet up. Is this his chance to stop being that painful, pathetic, unresolved 19-year-old virgin at last?

Breathtakingly candid, intoxicatingly forthright and irresistibly visually exhilarating, Chicago is a startling examination of the power of obsessions and memories: a potential roadmap to finding your own identity… as long as you have the nerve and stomach to try…
Chicago © 2015, Glenn Head. This edition © 2015 Fantagraphics Books, Inc.

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Nathan Hale’s Hazardous Tales: One Dead Spy


By Nathan Hale (Abrams/Amulet Books)
ISBN: 978-0-4197-0396-6 (HB)

Author/cartoonist Nathan Hale has a famous namesake and has been riffing on him, with great effect, for nearly a decade now. I don’t know if he – and his familial collaborators – have any genealogical connection to the American undercover operative and war hero of the same name, but the lightly comedic cartoon history books – such as Alamo All-Stars, Big Bad Ironclad and more bearing their shared name – are a sheer, educative treat. They make some pretty tough and harrowing material palatable and memorable by mixing fact and happenstance with a witty veneer of whimsy. You might also want a peek at more of his general fiction fun stuff like Rapunzel’s Revenge, One Trick Pony and Apocalypse Taco…

Debuting the series in 2012, One Dead Spy sets the scenario on a surreal yet jolly note as September 22nd 1776 sees a dim but jolly executioner and British Army Provost bring an earnest young man to the Hanging Tree on Manhattan Island. The eager crowd of spectators soon leave after learning the day’s entertainment is not the arsonist plaguing the district but only a spy. Moreover, even he can’t be dealt with promptly because no one’s brought the official orders…

With time to kill, Hangman and Nathan Hale strike up a conversation: discussing last words, possible regrets, sandwiches and – eventually – just how a meek school teacher became America’s “first” spy. As is duly noted, Nathan Hale really wasn’t a very good one…

The delay is then further extended by a bizarre event involving a magic tome (“The Big Huge Book of American History”) that shows him all his nascent nation’s years to come – a key factor in future volumes – and Hale becomes a revolutionary era Scheherazade, spinning yarns to extend his last moments on Earth…

Rendered in welcoming, comfortable but fact-intense muted color and monochrome cartoon strips with beguiling overtones of the Horrible History books, “unlucky” Hale’s own unremarkable life unfolds, tracing the build-up to and key moments of the War of Independence through his acquaintance with figures such as George Washington, Ben Tallmadge, Henry Knox,

Major battles like Bunker Hill, Winter Hill and the siege of Boston are demythologised and legendary figures such as Ethan Allen (and his Green Mountain Boys), traitorous Major Robert Rogers and Colonel Thomas Knowlton are reassessed. It was Knowlton who convinced the obsessively honest and utterly out of his depth Hale to take up the shameful role of clandestine information-gatherer in his one and only espionage mission…

And as this book closes with the promise of more gallows’ yarns to come, there-even an illustrated section offering ‘A Little More Biographical Info About…’ Hale Knox, Knowlton, Allen, Benedict Arnold, Rogers, Stephen Hempstead, Benjamin Tallmadge and the actual execution of our spy star as well as map of North America showing which nations owned what in 1775; a full bibliography; a Q&A feature and ‘First to Defy, First to Die!‘ – an 8-page mini-comic tale of African American Revolutionary and former slave Crispus Attucks who died during the 1770 Boston Massacre.

Charming, wittily informative, extremely funny and delightfully compelling, Hale’s cartoon tales detail incredible exploits that will enthral you and your kids and – like the other volumes of this wonderful series – ought to be a treasured part of every school library… if we ever have those again…
Text and illustrations © 2012 Nathan Hale. All rights reserved

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Putin’s Russia – The Rise of a Dictator


By Darryl Cunningham (Myriad Editions)
ISBN: 978-1-912408-91-7 (TPB)

Artist and journalist Darryl Cunningham was born in 1960, lived a pretty British life (didn’t we all back then?) and graduated from Leeds College of Art. A regular on the Small Press scene of the 1990s, his early strips appeared in legendary paper-based venues such as Fast Fiction, Dead Trees, Inkling, Turn amongst many others. In 1998, he & Simon Gane crafted Meet John Dark for the much-missed Slab-O-Concrete outfit. It is still one of my favourite books of the era. You should track it down or agitate for a new edition.

Briefly putting comics on the backburner as the century ended, Cunningham worked on an acute care psychiatric ward: a period which informed 2011 graphic novel Psychiatric Tales, a revelatory inquiry into mental illness delivered as cartoon reportage.

When not crafting web comics for Forbidden Planet or working on his creations Uncle Bob Adventures, Super-Sam and John-of-the-Night or The Streets of San Diablo, he’s been steadily consolidating his position at the top of the field of graphic investigative reporting; specifically science history, economics and socio-political journalism through books such as Science Tales, Supercrash: How to Hijack the Global Economy, Graphic Science: Seven Journeys of Discovery, The Age of Selfishness: Ayn Rand, Morality and the Financial Crisis and Billionaires: The Lives of the Rich and Powerful.

His latest offering is his boldest yet, particularly as the subject of these investigations and revelations has a scary track record of suddenly outliving every critic, commentator, judge and denouncer. Of course, part of that murderous mystique also includes ludicrous gaffes, fumbles and cock-ups, so perhaps it’s a fair risk for a potential big reward…

Simply put, what’s on show here is another sublimely forensic and easily digestible dissection of one more major cause of global concern, in the form of a mediocre Soviet spy who became the biggest crook on Earth.

Cunningham methodically traces the path of Vladimir Vladimirovich Putin from childhood in a St Petersburg (then Leningrad) communal apartment to the world’s most tasteless billionaire mancave (“Putin’s Palace” at Gelendzhik), translating dry facts and shocking atrocities into irrefutable, easily assimilated data snippets, tracing the Dictator-in-Chief’s cunning rise in the shadow of and on the coattails of far more flamboyant and unwise would-be leaders until suddenly he’s the last man standing…

A much-curated personal life is unmade and remeasured against a historical yardstick as the Soviet Union stumbles into oblivion: broken up and its riches redistributed by pirates and brigands in suits amongst a cabal of soon-to-be Oligarchs only marginally less unsavoury than their notional leader.

Gorbachev, Yeltsin, Sobchak and a flurry of Western appeasers and greedy bankers are all indicted for their failings as Putin climbed a greasy pole soaked in the blood of opponents, competitors and particularly journalists and critics. Especial attention is rightly paid to manufactured and proxy wars, terrorist acts and inept interventions; modern imperialism and global calamities, weaponized bigotry, harnessed ancient grudges and sheer unrelenting opportunism at every possible juncture. That’s a big bill to lay on one person, but the arguments are all there in black and white and magenta and green and…

You will also be sagely reminded of assassinations as acts of petty spite; western money laundering of a nation’s pilfered assets, the suborning of national leaders (and we’re not just talking about orange hairpiece #45, here!) and the sadly pathetic ongoing quest for validation of a self-described hard man…

A heady mix of cold fact, astute deduction and beguiling visualisation, this deft examination of a bandit who stole a nation and how at last his comeuppance is at hand is a delicious blend of revelation and confirmation, and Cunningham even has the courage to offer bold – and serious – suggestions on how to rectify the current state of affairs, all backed up with a vast and daunting list of References from print, media and other sources for everything cited in the book.

Comics have long been the most effective method of imparting information and eliciting reaction (that’s why assorted governments and militaries have used them for hard and soft propaganda over the last century and a half), and with Putin’s Russia you can see that force deployed against one of today’s greatest threats…
© Darryl Cunningham 2021. All rights reserved.

Putin’s Russia will be released on September 16th 2021 and is available for pre-order now.

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Deitch’s Pictorama


By Kim, Simon & Seth Kallen Deitch (Fantagraphics Books)
ISBN: 978-1-560979-52-4 (TPB)

There may be something to this DNA stuff. Eugene Merril “Gene” Deitch (August 8th 1924-April 16th 2020) was a revered, Oscar-winning animator, filmmaker and cartoonist who worked on or created timeless classics like Popeye, Tom & Jerry, Munro, Tom Terrific and Nudnik, whilst his first son Kim has been at the forefront of comics’ avant-garde since the days of the Counter Culture and “underground commix” scene. Kim’s brothers Simon and Seth Kallen have both made their mark in the popular creative arts. Then again, maybe it’s simply growing up exposed to open-minded creativity that makes exemplary artists and artisans…

In this classic collaborative venture the Deitch boys crafted a graphic narrative oddity that is both compelling and utterly captivating. Cunningly combining heavily illustrated prose, comics, calligraphy, illustrative lettering, cartooning and plain old strips, the five tales herein contained blend into a tribute to the versatility of illustrated storytelling in all its variations.

It begins more-or-less traditionally with ‘the Sunshine Girl’: a potent and beguiling paean to bottle caps and the all-consuming collecting bug, promptly followed by intriguing prose-ish fantasy, ‘The Golem’. This salutary account in turn leads into the disturbing ‘Unlikely Hours’, and whimsical shaggy (talking) dog story ‘Children of Aruf’.

Wisely leaving the very best until last, the Picto-fictorial fun concludes with the superbly engaging and informative semi-autobiographical ‘The Cop on the Beat, the Man in the Moon and Me’: a particular treat for anyone interested in the history of comics and popular music.

Naturally I’ve been as vague as I can be, because this is a book that revels and rejoices in storytelling, with half the artistry and all the joy coming from reading it for yourself, so – as long you’re an older reader – you should do just that.
© 2008 Gene, Kim, Seth Kallen and Simon Deitch. All Rights Reserved.

 

 

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Hal Foster’s Prince Valiant volume 13: 1961-1962


By Hal Foster (Fantagraphics Books)
ISBN: 978-1-60699-925-7 (HB)

Prince Valiant in the Days of King Arthur premiered on Sunday February 13th 1937: a fabulous rainbow-colour weekly peek into a world where history met myth to produce something greater than both. Pioneering comics creator Hal Foster developed the feature after a groundbreaking and astoundingly popular run on the Tarzan of the Apes strip.

Prince Valiant offered action, adventure, exoticism, romance and a surprisingly high quota of laughs in its engrossing depiction of noble knights and wicked barbarians played out against a glamorised, dramatized Dark Ages backdrop. The never-ending story follows a refugee lad of royal blood, driven from ancestral Scandinavian homeland Thule who grows up to roam the world, attaining a paramount position amongst the fabled heroes of Camelot.

Foster wove his complex epic romance over decades, tracing the progress of a feral wild boy who became a paragon of chivalric virtue: knight, warrior, saviour, avenger and ultimately family patriarch through a constant storm of wild, robust and joyously witty wonderment. The restless champion visited many far-flung lands, siring a dynasty of equally puissant heroes, enchanting generations of readers and thousands of creative types in all the arts.

The glorious epic spawned films, an animated series and all manner of toys, games, books and collections. Prince Valiant was – and remains – one of the few adventure strips to have run continuously from the thunderous 1930s to the present day (more than 4000 episodes and still going strong) – and, even here at the end-times of newspaper strips as an art form, it continues in more than 300 American papers and via the internet.

Foster soloed on the feature until 1971 when John Cullen Murphy (Big Ben Bolt) succeeded him as illustrator whilst the originator remained as writer and designer. That ended in 1980, when he finally retired and Cullen Murphy’s daughter Mairead took over colouring and lettering whilst her brother John assumed the writer’s role.

In 2004 the senior Cullen Murphy also retired, since when the strip has soldiered on under the auspices of other extremely talented artists such as Gary Gianni, Scott Roberts and latterly Thomas Yeates & Mark Schultz.

This luxuriously oversized (362 x 264 mm) full-colour hardback (tragically, the series is still unavailable digitally) re-presents pages spanning January 1st 1961 to 30th December 1962 (individual pages #1247-1351) and comes with all the regular bonus trimmings. This time, renowned illustrator and storymaker Charles Vess (The Book of Ballads and Sagas; The Sandman; Spider-Man: Spirits of the Earth; Stardust; The Books of Earthsea: The Complete Illustrated Edition) discusses and critically appraises his creative roots and the influential role of the strip – including his own contributions – in the Foreword ‘We Are All the Sum of the Stories We Have Been Told’, after which the illuminated wonders resume.

At the other end of this titanic tome Brian M. Kane continues plumbing the master draughtsman’s commercial endeavours with a lavish exhibition of stunning colour and monochrome illustrations highlighting the acme of domestic luxury available to well-heeled customers in ‘Hal Foster’s Advertising Art: Home and Hearth’. Captivating as they are though, the real wonderment is, as ever, the unfolding epic that precedes them…

What Has Gone Before: After a ceaseless session of troubleshooting for King Arthur, and with his long-suffering wife Aleta increasingly aggrieved at Valiant’s wanderlust and neglect, tensions boil over in the apartments of the Prince of Thule, Valiant again leads a Royal Quest: perhaps the most crucial in Camelot’s troubled history…

The Knights of the Round Table have become obsessed with the search for the Holy Grail. Arthur, agonised as his best and bravest are lost or maimed in search of it, charges Val with proving once and for all whether the story of the sacred cup is fact or myth…

The search takes Val the length and breadth of the nation, eventually brings him to the Mendip hills in search of the isle of Avalon. At the Great Tor and Glastonbury, he finds a Papal mission from Rome building a cathedral, and meets again an old acquaintance from Ireland. St. Patrick happy shares all he knows about the Holy Grail and the questor at last realises what he must tell Arthur…

Returning to Camelot, he embraces every opportunity to fight and delay attempts to reconcile with Aleta. A brief and brutal war almost costs the prince his life, but finally bring him and Aleta together again, and the family decide to return to Thule for his recuperation. With son Arn in tow, the entire clan head for Aleta’s ancestral kingdom in the Misty Isles, escorted by Viking reiver Boltar to shield them from Mediterranean pirates and brigands…

At their destination, rival ruler Thrasos has resolved to add Aleta’s islands to his growing empire, but has never encountered as savvy a strategist as Aleta or canny tacticians like Valiant and Boltar. His dreams of a Mediterranean empire explosively founder against the devious ploys and armed might of the northern warriors, and he perishes in a cataclysmic last battle…

Now, having barely survived the elemental duel, the exhausted prince learns that Aleta too has barely escaped death, and that he is now the father of four! As the parents recover slowly together, focus shifts to Arn and his commoner pals Paul and Diane, whose idyllic beach frolics are shattered when prisoners of war from Thrasos’ crushed army escape abduct them. Fleeing out to sea, the rogues plan on ransoming the royal heir, and selling the other children…

Quickly discovering the crime, Valiant pursues in the speedy vessel of viking Gundar Harl, but is almost too late as his capable son has already escaped and plots to save his comrades from a slavers’ auction block. When a greedy local governor seeks to exploit the little princeling, he falters as soon as the elder Valiant arrives with blood in his eye and the Singing Sword in his mailed fist…

With peace and quiet abundant, the Misty Isles welcome many ambassadors and prepare to ceremonially christen the new addition, granting Val time to spend with Arn, but that ends when a shipwreck washes up pilgrims heading for the Holy Land. Duty-bound to offer aid, and eager to promote the produce and wares of his island home, Valiant ships out beside them, taking his firstborn too. Arn’s days of childhood indolence are over and the time has come time to learn his place in the world…

Arriving in Jaffa, father and son proceed to the Dead Sea, acquiring a manservant/body-slave named Ohmed, and extending their commercial embassage and religious tour into Damascus where they hire wily, canny – and ultimately, dishonest – Greek Nicilos to manage the trade side of their mission. Their odd caravan is finally bolstered in Baghdad by the addition of a Mongol outcast: a warrior woman skilled in handling horses. Despite the constant strife and many close calls that has marked all the players in their recent journeys alone and together, Taloon will inadvertently spark envy, chaos and the bloody end of the alliance…

Eventually, the pilgrimage ends in Aleppo where Boltar waits to ferry father and son back to a recovered and much wealthier Aleta. A brief period of glorious relaxation ends when a knight near death arrives, carrying a desperate plea from King Arthur. Gaul is besieged by Goth hordes, and safe passage across Europe has ended. England’s ruler needs his greatest hero to be his representative to the Pope and end the crisis…

Aleta heads for Albion to secure a sea route, while Valiant and Arn perilously trek overland from Ostia to Rome, finding the city and province a corrupt and degraded viper’s nest of self-serving officials keeping him from the Pontiff. Eventually, Val accepts his mission cannot succeed, but at least young Arn adds fleeting escape and joy to the life of a dying blind girl…

Undaunted, Valiant turns his energies and ingenuity to creating an alternative trade route between the Holy Father and still-imperilled Christian Britain: visiting the future Spain and France and encountering a lost land where monks seem to be guarded by monsters.

The bedevilled region is a hidden bulwark against the superstitious Goths, and introduces the English warriors to a doughty but distressed noble from neighbouring Aqueloen, where Stephan has been disinherited by sadistic usurper Duke Sadonick. The greedy villain’s machinations and bloody intentions for the princely travellers quickly falls foul of Val battle-savvy and political acumen and soon the province welcomes back Stephan as its rightful ruler…

Meanwhile, Aleta’s ships are anchored in the Bay of Biscay. While awaiting her men’s arrival the Queen strikes up a friendship with an otter, accidentally donating a crown jewel to the beast’s campaign to secure his own mate, but at last Valiant and Arn ride up, and a grand trade armada forms a convoy to embattled Britain…

With material needs assuaged, a fresh crisis mounts after a stopover at a monastery unleashes a charismatic iconoclast whose revolutionary spin on Christian doctrine furiously foments civic unrest, starvation and potential regime-change. When Arthur despatches newly-debarked Valiant to investigate, the troubleshooter must first decide if Wojan “the Voice” is a true instrument of God, a well-meaning anarchist or a simple dupe of his scurrilous scholar attendants/business managers Sleath and Dustad…

As the near-insurrection ends, bored Aleta decides to join her husband and takes Arn with her. They reunite at the site of a new church under construction, not far from the fens where the boy Valiant grew up. The lure of his sire’s old adventures beguiles Arn, who takes off to explore the boggy waterways and is soon hopelessly lost. In the week that follows, he experiences many of the same privations and perils his father had, before Valiant finds him.

However, as they all thankfully take ship to comfortably return to Camelot, the Royal Family are unaware that greedy, ambitious eyes are watching…

To Be Continued…

A mind-blowing panorama of visual passion and precision, Prince Valiant is a tremendous procession of boisterous action, exotic adventure and grand romance; blending epic fantasy with dry wit and broad humour, soap opera melodrama with shatteringly dark violence.

Lush, lavish and captivating lovely, it is an indisputable landmark of comics fiction and something no fan should miss.
© 2016 King Features Syndicate. All other content and properties © 2016 their respective creators or holders. This edition © 2016 Fantagraphics Books. All rights reserved.

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Knock Out! – The True Story of Emile Griffith


By Reinhard Kleist, translated by Michael Waaler (SelfMadeHero)
ISBN: 978-1-91059-386-8 (TPB)

Fairness and Justice are human constructs that afford many opportunities to prove that the universe works on other principles. Ritualized combat – like boxing – seeks to even out the most egregious imbalances between contestants to provide a balanced and equitable battle, but no amount of rule-making and legislation can shield participants from society, the environment they live in or the genetic heritage that shaped them.

Multi-award-winning German illustrator, designer, author, cartoonist and comics maker Reinhard Kleist (Berlinoir; Steeplechase; Das Grauen im Gemäuer) has been working in the industry since 1994: setting up a cooperative studio/atelier and beginning his professional career with graphic biography Lovecraft, and supernal dramas Minna, Das Festmahl, and Abenteuer eines Weichenstellers while still a student in Münster.

He has constantly explored and gratified his fascination with notable individuals who have overcome stacked odds and inner darkness in stellar works such as Johnny Cash: I See a Darkness; Elvis – An Illustrated Biography; Castro; An Olympic Dream: The Story of Samia Yusaf Omar and Nick Cave: Mercy on Me.

Here his powerfully moody yet joyous exuberant monochrome stylings recount the amazing life of a born fighter who triumphs in the best storybook traditions, whilst never deviating from the inescapable chains of history or escaping the sordid realms of real life…

Even if they’ve heard of him, most boxing fans don’t talk about Emile Alphonse Griffith. Born in the US Virgin Islands in 1938, Emile was black, poorly educated and endured abuse at home before moving to America. In 1956, while working in a New York hat factory, his foreman – a former boxing coach – noticed his astounding physique and encouraged the affable easy-going kid to try boxing as a way to improve his financial woes.

Although Emile preferred ping-pong, singing and making hats (later, at the height of his fame, Emile designed hats for women and made upbeat pop records), he went along with his white mentor. Turning Pro in 1958, Emile was soon a Golden Gloves winner and World Champion in the Welterweight, Junior Middleweight and Middleweight categories.

At that time in America, the sporting barriers to black boxers were mostly gone, but Emile laboured under another “handicap” – he slept with men and didn’t particularly care who knew about it.

Just like showbiz and popular entertainer Liberace, Emile’s status was an “open secret” in the 1960s Boxing community, which maintained a “don’t ask, don’t tell” mentality, but that only went so far in the days before the game-changing Stonewall Riots (look it up if you have to – its important). The happy-go-lucky pugilist’s privileged status evaporated after the third of three fights with Cuban Benny Paret, whom Emile defeated to become World Champion, before losing the rematch.

In 1962, they met one final time. After Paret taunted Griffith with homosexual and racial slurs, the match was a savage and unrelenting bout that resulted in the death of Paret…

However, that’s simply the first act of this tale, which follows Griffith – who was allowed to continue boxing until 1977 – as he confounded critics and bigots, breaking down barriers and living a full and extremely varied life… as much as his troubled conscience would allow.

This is a supremely uplifting story of triumph and tragedy which shows just how meaningless such concepts are outside of fiction. It’s a happy-sad example of how life goes on in a personal and macroscopic manner until it just ends: and it successfully argues that all you can do is the best you can…

Available in paperback and digital editions and supported by a Preface from Kleist acknowledging his influences and debt to Griffith biographer Ron Ross; Jonathan W. Gray’s context-enlightening Foreword ‘The Sweet Science and Open Secrets’ and a socio-cultural appraisal of Emile and other gay black boxers by Tatjana Eggeling (European Ethnologist and expert on Homophobia in Sports) plus a superb gallery of sketches and working drawings by Kleist, this is an unqualified hit that resonates far beyond the square ring and the closeted environs of LGBTQIA+ literature. It’s a surefire winner for everyone.
© Text and illustrations 2019 CARLSEN Verlag GmbH, Hamburg, Germany. English translation © 2021 SelfMadeHero. All rights reserved.

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War Stories Volume Two


By Garth Ennis, with David Lloyd, Cam Kennedy, Carlos Ezquerra, Gary Erskine & various (Avatar Press)
ISBN 978-1-59291-241-4 (TPB)

Garth Ennis understands the point of war stories. He knows they’ve never been about gratification, glorification or even justification. Tales of combat have always been a warning from the sharp end of history to the callow, impressionable and gullible.

Humans have never needed much reason to fight, but when nations do it, it’s usually because our leaders have failed us and need a means to make citizens eager to die and cover up failings of leadership. Stories of conflict recounted by those who have actually dodged bullets and seen comrades die generally have a different flavour to histories or the memoirs of great men, and precious few academics or national leaders have ever been diagnosed with PTSD…

Although never having endured the trials of soldiering, Ennis is an empathetic, imaginative and creative soul whose heart firmly beats in tune with the common man, and a devout aficionado of the (practically anti-war, politically-charged) British combat comics, strip and stories he read as a lad. It’s what distinguishes him as a major writer of mature-audience fiction with a distinct voice and two discrete senses of humour.

In 2004, he began exploiting his lifelong passion for the past and unique viewpoint in an occasional series of WWII one-shots for DC’s Vertigo imprint. The tales were graced by an impressive cast of illustrators assembled to produce some of their finest work.

The first 8 of these were collected in two volumes of War Stories from Vertigo/DC and again in 2015 via Avatar Press in both trade paperback and digital editions. They remain a true highpoint in the history of combat comics.

This second compilation – complete with a heartfelt Ennis Afterword (and commentary, detailing the historical events that formed the basis of these astounding fictionalised encounters), plus a bibliography of sources used to craft them – rounds out the original Vertigo run, prior to later volumes which collect tales crafted since then…

It all opens with the haunting and distressing ‘J for Jenny’, exploring the stresses of a British Bomber crew as they carry out their nightly missions. The plot is carried along via a bitter row between pilot and co-pilot who constantly debate the necessity of their task; one constantly bemoaning the horrendous cost to German civilians whilst the other gloats and glories in the death of each and every woman and child.

As always, nothing is ever what it seems and the finale is a tribute to the creators’ skills and the unpredictable insanity of war itself. David Lloyd’s atmospheric meta-realistic art and colours powerfully underpin a tale few could do justice to.

With Cam Kennedy illustrating and Moose Baumann adding hues, the next yarn focuses on a ramshackle squad of hit-&-run specialists, dashing in under cover of darkness to blow up German airstrips and bases in the deserts of Africa. Apparently, this sort of tactic directly led to today’s Special Ops units and this unruly wild bunch certainly echo modern fiction’s image of beer-swilling, gung-ho nutters ready to fight and die, and always up for a bit of a giggle.

The breakneck action is laced with blackly ironic, slap-stick humour, but never permits the reader to long forget the deadly and permanent nature of the business at hand. Increasingly, conflict mars the relationship between battle-wearied team leader and his second in command: a death-or-glory obsessed Scot who likens the unit to the infallible, mythical bandit warlords his ancestors dubbed ‘The Reivers’…

Baumann also colors ‘Condors’: set during the Spanish Civil war and the war-comic equivalent of a shaggy dog story. During a particularly hectic bout of fighting four combatants crawl into the same smoking crater to wait out the shelling. There’s an Englishman, an Irishman, a Spaniard and a German – two from each side of the conflict…

To pass the time they trade life stories and philosophies. This antisocial gathering feels the most authentic to what one might deem an authorial opinion, as motivation for fighting and killing are scrutinised through eyes and ears that have seen and heard all the explanations and reasons – and still judged them wanting.

Spaniard Carlos Ezquerra perfectly captures the camaraderie and insanity in his powerfully expressive renderings. This is an absolute gem of a story.

Final tale ‘Archangel’ closes the book on a lighter note, although the premise – based on actual missions of the convoy service – is one that hardly lends itself to easy reading.

Until the cracking of the Enigma code, every Trans-Atlantic shipment of materiel – especially to our Soviet allies – was practically defenceless against Axis submarine and bomber assault. One counter-scheme was to station a fighter plane on an accompanying vessel which would be launched to fend off airborne attacks. All well and good on paper…until you realise only obsolete planes could be spared for such service, and that once launched – by rocket catapult, no less – they could not land again, but had to ditch or aim for whatever dry land could be reached on whatever fuel remained.

It should also be noted that not all land was in friendly hands, either. This tale of an RAF misfit and his arctic odyssey is full of the ‘hapless prawn triumphant’ that typified vintage post-war British films and the meticulous artwork of Gary Erskine and colourist Paul Mounts lends credibility to a tale that sheer logic just can’t manage.

Ennis’s war works are always a labour of love, and his co-creators always excel themselves when illustrating them. Combine this with a genre that commands respect most comics just don’t get and you have a masterpiece of graphic fiction to even the most discerning library or bookshelf.
© 2015 Avatar Press. Afterword © 2015 Garth Ennis. WAR STORY: J FOR JENNY © 2015 Garth Ennis & David Lloyd. WAR STORY: THE REIVERS © 2015 Garth Ennis & Cam Kennedy. WAR STORY: CONDORS © 2015 Garth Ennis & Carlos Ezquerra. WAR STORY: ARCHANGEL © 2015 Garth Ennis & Gary Erskine.

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Love Me Please – The Story of Janis Joplin (1943-1970)


By Nicolas Finet, Christopher & Degreff: translated by Montana Kane (NBM)
ISBN: 978-1-681122-76-2 (HB) eISBN: 978-1-681122-77-9

The list of people who lived hard, died young and changed the world is small but still, somehow, painfully overcrowded. Possibly the most tragic, influential, yet largely unknown is a born rule-breaking rebel who defied all conventions and became almost inevitably THE icon of doomed youth-with-big-dreams everywhere…

Author, filmmaker, journalist, publisher, educator and music documentarian Nicolas Finet has worked in comics for more than three decades and also generated a bucketload of reference works – such as Mississippi Ramblin’ and Forever Woodstock. His collaborator on that last one was veteran author, journalist and illustrator Christopher (The Long and Winding Road; many other music-centred tomes and adaptor of Bob Dylan).

Their compelling treatise on misunderstood and self-destructive Janis – just like her music, poetry and art – is something to experience, not read about, but I’ll do my best to convince you anyway…

After a quick dip into early life and influences, the story proper opens in Texas in 1947 as ‘Forget Port Arthur’ zeroes in on key childhood traumas and revelations around the homelife and schooling of little Janis Lyn Joplin at the start of the most culturally chaotic and transformative period in American history…

Brilliant, multi-talented, sexually ambiguous, starved for love whilst desperately directionless, her metamorphosis through Blues music mirrors that of many contemporaries (a fair few of whom comprise the infamous “27 Club” of stars who died young). However, as this book shows, although something indefinable was always just out of Joplin’s reach, her response was never to passively accept or ever surrender…

After wildly rebellious teen years, an uncomfortable educational life, a brief brush with conventional conformity and a near-lethal counter-culture encounter in San Francisco – as detailed in ‘The Temptation of Disaster’ – her meteoric rise in the era of flower power, liberal love and drug experimentation and record company exploitation lead to her return to California and triumphant breakthrough in 1966, all carried along by ‘Spells and Charms’…

Stardom with hot band Big Brother and the Holding Company, a host of legendary encounters and even greater personal dissipation makes wild child into living myth at Monterey and other landmarks of the Summer of Love, before success and acceptance prove to be her darkest nightmare in ‘Lost and Distraught’…

Global stardom and media glorification are balanced by heartbreak, betrayal and too-many brushes with death. As Woodstock confirms her status and talent to the world, the landscape inside her head turns against Janis. Endless exhausting tours and brief amorous encounters further destabilise the girl within and the end – when it comes – is no surprise to anyone…

With a moving Preface from comics legend and childhood friend Gilbert Shelton, a huge and star-studded Character Gallery and suggested Further Reading and Viewing, this forthright, no-nonsense yet extremely imaginative interpretation of the too-short flowering of “the Rose” offers insight but no judgement into a quintessentially complex, contradictory and uncompromised life…

NBM’s library of graphic biographies are swiftly becoming the crucial guide to the key figures of modern history and popular culture. If you haven’t found the answers you’re seeking yet, then you’re clearly not looking in the right place…
© Hatchette Livre (Marabout) 2020. © 2021 NBM for the English translation. All rights reserved.

Love Me Please – The Story of Janis Joplin 1943-1970 is scheduled for release on July 15th 2021 and is available for pre-order in both print and digital editions.

Most NBM books are also available in digital formats. For more information and other great reads see http://www.nbmpub.com/