Joseph Conrad’s Heart of Darkness. Adapted by Peter Kuper. Foreword by Maya Jasanoff. New York. W.W. Norton, 2019, $21.95.
It is difficult to bring to mind a classic novel more overinterpreted than Heart of Darkness, and the reason has far less mystery than the novel itself. Joseph Conrad projected himself, his Victorian Britain, upon the African (more specifically, Congo) landscape, and intellectuals but also readers ever since have projected themselves upon his distinct literary creation.
Teachers have been assigning Heart of Darkness for well over a century, reinterpreting Conrad again and again, at least as frequently as literary theories shifted. Anti-colonialism and Negritude offered the sharpest criticism, amounting sometimes to rejection of the idea of writing the novel at all. Neo-colonialism, the reigning reality of our time, has renewed the ambiguity. The jungle and all its flora and fauna are under extreme assault. That the US/CIA chose to have a foremost African champion, Patrice Lumumba, assassinated just three generations ago pointed up the living contradictions that Conrad glimpsed or perhaps did not glimpse.
Peter Kuper is an artist for contradictions and for graphic novel adaptations. An adopted son of Manhattan, he has depicted the city with as much dread as any painter, filmmaker or musician could manage. His adaptation of Upton Sinclair’s The Jungle outdoes his adaptations of Kafka, in my view, because the horrors of that urban giant, Chicago, are themselves monumental. Did Kuper suspect he would go from jungle to jungle? We wonder.
At any rate, Kuper makes every effort to be as faithful to the sprit of Conrad as he can. He wants to make an immanent critique of colonialism as seen by the soldiers and statesmen of colonialism. They are coldly calculating in their pursuit of riches and fame, including the extermination of all the dark-skinned humans in sight, by outright murder or working them to death. And yet they are also mentally twisted adventurers, for who else would participate in such an ugly and dangerous mission?
Marlowe, as demonstrated in the novel, can understand horror when he sees it, and as a commercial agent is very much part of the machinery of it. The vanishing of the mysterious Mr. Kurtz, the need for the trek into the jungle, is the test of Marlow and arguably, the test of artist Kuper, who has traveled widely, lived for extended periods in Mexico, not to mention being part of a peacenik, anti-imperialist political magazine collective for forty years and still going.
Kuper offers us several remarkable pages of explanation, in his introduction, of how he approached what he calls “the fraught history of cartoon stereotypes.” (p.xx). He explains technique as well as purpose of subverting Conrad’s text while still being faithful to the literary quality—no mean trick.
Whether this is successful, we can best judge as the pages pass and we find ourselves deeper in the jungle, deeper in the horrors of managing the ghastly enterprise. Actually, of course, Marlow is mostly halfway on the outside, a fellow white man, looking in. And becoming more savage than any black man or woman of the jungle.
Kuper manages to explain, with the brevity of a single panel, the deepest desire of the one intellectual, Kurtz, through his protege: that booty would remain but every black skinned human would be exterminated, an insane and impossible task.
Kuper saves his darkest dark for the final pages, Marlow’s return home to London, where he meets but cannot truly confront the belief in Kurtz’s eminence. These last pages drip with blacks and grays, driving home the point.
The Twilight Zone reboot hits the ground running by finding a way back into what made the original series work and trying to avoid adding and tweaking more to it and messing up a good thing. Just one more thing tacked on can be like playing a game of Jenga where you tear down an otherwise neatly put together structure. Without spoiling anything, if there is one criticism to the show, it is that it needs to keep to this golden rule. For the most part, it does that and that bodes well for what it shaping up to being a lively and compelling return to a classic. This series comes to you from CBS All Access and is hosted by Jordan Peele.
What would Rod Serling think of viewing Twilight Zone on a phone?
I will fast forward to the second episode as it is an example of how this series is finding its feet. We immediately start with a fresh look at something not directly referencing an iconic episode as is done in the first episode. We’re at a comedy club, which is an ideal Twilight Zone setting if ever there was one: in the darkness, the audience as well as the performer are looking for some catharsis. Our main character, comedian Samir (Kumail Nanjiani), is stuck on speaking truth to power but he’s not connecting with his audience. Then he has a talk with a veteran comedian J.C. (Tracy Morgan). The main bit of advice: Don’t try to make points; Go for the laughs by keeping it personal–but beware that once you take from your life, it’s out there and you can’t get it back. Samir goes against his better judgement and makes a detour that gets him the laughs.
Jordan Peele channeling Rod Serling
“The Comedian” is not a direct reference to any particular TZ episode, not like Richard Matheson’s monumental airplane nightmare. But it is a sly tip of the hat to Rod Serling nonetheless, just a sweet little Easter Egg (there are others, as in names used for some characters) as it refers back to one of Serling’s landmark teleplays prior to TZ. It is that sort of deep dive that will send a nice chill of recognition for diehard fans. The scirpt’s writer, Alex Rubins, would certainly be aware of that. So, we’ve got a character in crisis: Samir has made some devil’s bargain. All is set up for the chilling fun and it is delivered. In this case, a little editing somewhere in the middle to tighten things up would have been ideal. As for the end, it is spot on.
Twilight Zone on CBS All Access
I think the challenge for this reboot is satisfying an audience that is happy to take things further, like a kid in a candy store who risks a stomach ache. The first episode, “Nightmare at 30,000 Feet,” makes that mistake by pushing a bit beyond what would have been a perfect ending. And the second episode makes that mistake by packing it bit more background that drags an otherwise excellent story. There’s a very good reason that Serling and the rest of his writers concluded that the sweet spot for the show was the original half hour format. With streaming, the restrictions are lifted and so the creative team (a producing team that includes Glen Morgan, Greg Yaitanes, Simon Kinberg, and Jordan Peele) needs to be mindful of being disciplined storytellers. That said, my guess is that you can expect this reboot to indulge in providing viewers with a deluxe director’s cut excess. That could be very good news for some fans. Then again, who knows, maybe adjustments will be made and we’ll get this reboot refined to perfection.
As someone who is putting together a graphic novel that is directly related to The Twilight Zone, I am particularly intrigued by this reboot. I see the minor blemishes too. But, overall, this is a series that has its ducks in a row and I feel confident that Rod Serling, given a chance to process where we are today, would grin and give the show his blessing.
It Occurs to Me That I Am America: New Stories and Art
What does it mean to be American in these strange times we live in? We have someone in power who behaves like a self-serving gremlin, determined to dismantle and foment unrest, boasting a horribly inarticulate screed. Here is a collection from some of the most respected names in the arts that acts as an answer to what it is to be American. It is entitled, It Occurs to Me That I Am America: New Stories and Art, published by Touchstone, an imprint of Simon & Schuster. This title came out in 2018 and it deserves to be on everyone’s radar in 2019 and for years to come.
Vote Hillary by Deborah Kass
Sometimes, perhaps too often, we get such a gem of a book that deserves a whole new shout out. Let me run through for you what makes this one special. Gathered within 375 pages are works by talented artists and writers all tackling a common theme in refreshingly unexpected ways. The book is edited by celebrated artist and novelist Jonathan Santlofer, with an introduction by Pulitzer Prize winning novelist Viet Thanh Nguyen. The roster of creators runs the gamut from exciting new talent to established legends. Each piece is a highly original voice. You’ll find, for instance, Hate for Sale, by Neil Gaiman, a poem tailor-made for today and yet unnervingly timeless. Or how about Joyce Carol Oates, “Good News!”a cautionary tale that nicely channels Ray Bradbury.
Little House on the Prairie Holding Company LLC by David Storey
Among visual art, one that immediately strikes just the right defiant tone is Vote Hillary, by Deborah Kass, a screen print channeling Andy Warhol with Trump replacing Nixon as the subject. Another compelling piece is The Ugliest American Alphabet, by Eric Orner, where he recounts all that is dismaying about Trump using every letter of the alphabet. Some other thoughtful work in comics comes from Roz Chast with Politics; and from Mimi Pond with Your Sacred American Rights Bingo. And one of the most beguiling works in comics in this book is a tryptic by Art Spiegelman. To be sure, all the work here is not espousing one particular point of view. You’ll find a bit of everything when it comes to articulating all things American. It’s not as easy as simply pointing fingers. It’s complicated, right? All in all, you have 52 distinctive voices here sharing with you just how complicated it all is in the best spirit of vigorous critical inquiry.
Your Sacred American Rights Bingo by Mimi Pond
I will finish up here by taking a closer look at the piece by Alice Walker, Don’t Despair. It is one of the shortest works and comes towards the end of this collection. She recounts how growing up in rural Georgia, all white men seemed to be like Donald Trump, petty and hateful. She looks back and wonders how she survived those times. Part of the answer is that Walker comes from a long line of ancestors who chose to live or die on their feet. Her family would survive, even proper, in the tiniest of spaces allowed to them by white people. Fast forward to today, Walker asks Is living under a dictatorship all that of a surprise? Her solution: Study hard! Study who you’re really voting for! And don’t rely on just voting for someone! “It is our ignorance that keeps us hoping somebody we elect will do all the work while we drive off to the mall.” Walker isn’t just offering hope. As she puts it, she’s offering counsel. Real change is personal and involves relating with each other. It is a time for an awakening and the choice is ours.
The Ugliest American Alphabet, by Eric Orner
It Occurs to Me That I Am America: New Stories and Art is a 375-page hardcover, with black & white and color images, published by Touchstone, an imprint of Simon & Schuster.
Every Hitchcock film features someone out of their element. My favorite Hitchcock character is the dapper ad exec Roger Thornhill, played to the hilt by Cary Grant, in North by Northwest. In the new graphic novel, Tumult, we have another ad exec type minus the charm. Enter Adam Whistler, a thirtysomething bratty wannabe artistic filmmaker. Writer John Harris Dunning and artist Michael Kennedy concoct a delicious brew of noir mystery with their Hitchcock-inspired graphic novel, published by SelfMadeHero.
Morgan, is that you?
This is a story of a man steadily getting in over his head. First, he has an affair with a teenager that destroys his marriage. Then he proceeds to destroy his career just as it looks like he’s about to land the film project of his dreams. He seals his fate when he has an encounter with a mysterious woman that he can’t let go. Her name is Morgan. Or is it Leila? Or Pretty Princess? The improbable suddenly becomes probable as Adam falls into a downward spiral. Subplots help to lighten and darken the narrative as needed. Adam has a friend who is endlessly reciting his opinion on macho-themed movies. Morgan can’t break free of Dave, an unsavory and persistent troll.
A fool in the making.
This is Mr. Kennedy’s first graphic novel and Mr. Dunning’s second. His previous one is Salem Brownstone. Dunning also set up the prestigious exhibition, Comics Unmasked, at the British Library. No doubt, Tumult would fit right in with that. Kennedy commands the pages with a bold and brash style, both exuberant and precise. His striking color choices compliment his powerful linework. I have to hand it to both gentlemen. It encourages me as this is just the type of offbeat stuff that I both write and draw for my own comics. And it is definitely my preferred choice of comics to read. I’ll bet it might be yours as well.
A touch of the littlest hobo.
Tumult is a 184-page full color hardcover published by SelfMadeHero.
We can all use a laugh and cartoonist John Atkinson has a unique way to provide that for you with his new book, “Abridged Classics: Brief Summaries of Books You Were Supposed to Read but Probably Didn’t.” This would make a great gift for Father’s Day or just about any occasion. Atkinson is known for his comic strip, “Wrong Hands,” where he distills things down to their hilarious essence. You have probably read his funnies in Time Magazine. Well, he takes no prisoners as he distills over a hundred works of literature down to a few mere words! Very funny stuff.
“The world of the one panel comics gag shares a lot in common with the world of stand-up comedy. Either the joke works or it doesn’t. Welcome to Wrong Hands, the world of John Atkinson, where jokes make impacts.” I said that as part of my introduction to an interview I did with John Atkinson five years ago. That was long before his gig with Time Magazine. I just happened to enjoy his ongoing work that all began, and continues to take place, on a blog at WordPress. I love that Atkinson keeps it all simple and real, down to maintaining his no frills free blog just like so many of us out here in the blogosphere.
There is a lot going on in Atkinson’s deceptively simple cartoons. There’s the joke, which can unpack in your mind on a deeper level. And there’s the pared-down art, free of ego-centric expressive lines. You end up with a very zen experience. Atkinson has a lot he wants to say in his work and the magic is in how he achieves the maximum impact with as little as possible. So, it makes total sense for Atkinson to tackle some of the most celebrated books–with hilarious results.
I highly recommend that you pick yourself up a copy. It’s a fun book that you’ll want to come back to. The little hardcover book has a nice look and feel to it. But, by all means, enjoy it on your phone too, especially since Atkinson’s format fits perfectly on any screen.
“Abridged Classics: Brief Summaries of Books You Were Supposed to Read but Probably Didn’t” is a 157-page full color hardcover, published by HarperCollins.
Honestly, I don’t see why I shouldn’t spring another chapter on you ahead of schedule if you’re ready. If you like it, you like it. If you don’t, well, I just can’t see why that should be. I am dying to know what you think. And I’m even thinking of knocking the price down on the Kindle edition if I’m talked into it. Anyway, enough of that for now.
Remember, all you really need to know is that our hero, Fernando, is a rogue immigrant from Cuba. He means well and, in fact, he has a pretty darn important purpose in life!
Manuel and Paloma did have a son. However, their good fortune would not last. In 1959, Castro took control. Artists, intellectuals, and activists were all in danger. And, as the years passed, Castro and his regime would pluck out dissenters. One day, in 1967, Manuel was plucked and never seen again. And, when Fernando came of age, in the prime of his life, in 1977, he too was thrown into a prison cell. It was now 2017 and Manuel Rivera’s son, so full of promise and supposedly with a special purpose, had been languishing in a Cuban prison for the better part of his life. This is where our story of Fernando begins.
So many years locked away. Oh, the horror. Fernando, if he ever dared to dream, had lost much of his youthful spark, almost forgetting how to dream. If he had ever known his true calling, it had been buried deep inside him, beyond reach. Perhaps his father had only hinted at what lay ahead in Fernando’s future. But, for now, he was not much better off than a dog. And what could he possibly do now at this point in his life? Was he already too old? Were his best days behind him? Had he ever had better days? Still, like a dog, he had a strong survival instinct fully intact—and he had not completely given up. In fact, he remained a crafty little devil.
Fernando had been plotting his escape for years. Unlike many prisoners, Fernando valiantly did all he could to hold on to his soul. He had seen what had happened to many of his fellow Cubans. Many of them blamed themselves for getting locked away in prison. Somehow, there was a peculiar mindset that believed in Castro and that, no matter what he did, Castro had a very good reason for it! This was the control that an authoritarian had over his people. It exists to this very day and not only in Cuba but around the world, even in the United States of America. Hard to believe—but true. Fernando had enough to worry about just being in prison but he knew that Castro was wrong and that others like him were also just as wrong.
Fernando’s father, before he disappeared forever, had told his son that he was the reincarnation of Dale Carnegie, the world-renown motivational speaker. But what did that really mean? So many years later, was that supposed to be accepted at face value or was it just a metaphor, a symbol of hope? Fernando stirred at night trying to understand what it meant and what was to happen to him. Did he have any hope left? What helped him out a lot was the fact he had become a fixture in the prison system. He had been around for so long that he could pretty much come and go as he pleased—at least that is what he thought.
Sometimes, Fernando was locked into his cell with great ceremony. Other times, it seemed that, if he wanted to, he could walk right out of the prison. It was a big game with the guards, he was sure. It went unspoken with little rhyme or reason. No one seemed to care much what Fernando did. The guards were an odd mix of utter incompetence and light thinkers with glimmers of philosophical insight. “Let him walk right out of here,” Fernando overheard one of them say, “and he will run right back to what he knows best, his dull but familiar prison routine!”
Finally, the day would come when Fernando would have the last laugh. Before it really became too late, he would escape and never return.
Welcome to my novella, “Dale Carnegie Lives!” We will be reading this together each week! This is the first installment and a new chapter will be rolled out each week all the way to the very end. I hope you enjoy the offbeat humor. I hope you get a kick out of this misadventure. If you would like a handy dandy complete version that you can read anywhere, then you can find the whole book at Amazon right here.
Set in the summer of 2017, this is the story of a Cuban illegal alien who slips across the United States border. Can you say, “Donald Trump” and “Build The Wall” three times fast? There is that aspect to this tale. But there’s much more.
This is the story of a man who stumbles upon his purpose in life, later in life, after most people would have called it quits. This is the story of a man, completely out of his element, who confronts numerous clues to discover his true destiny. Fernando is a man unjustly imprisoned for forty years who, in a great leap of faith, escapes Cuba in a hot air balloon.
Fernando believes in the promise and hope embodied in what is best in the United States of America. He is not fully aware of the Donald Trump phenomena but it doesn’t really matter. Fernando believes in something transcendent: the power of the individual to have the courage to chase after any dream.
Empowered with a belief in his own abilities and guided by a supernatural connection to legendary motivational speaker Dale Carnegie, Fernando has the power to move mountains and there is no wall that can hold him back!
We all, deep down inside, desire to improve ourselves. There’s that feeling to do better, be better. We all get that feeling, right? Some of us choose to act on it– but we often fall short. Sometimes we fall flat on our face. You get the picture. This is a story of a very unlikely hero who has always been determined to improve himself. Fernando Rivera knows a lot about falling down. He is a little man with little hands and little feet but with a way big heart. He has a very unusual tale to tell that should entertain and probably inspire. We shall see.
Over time, our optimistic little hero’s ideals had been crushed to near extinction. He had turned into a shell of his former self. He had regressed back, back, back, to something primal, a simple animal. This is the sad and sordid tale of such a pathetic beast who never stopped believing. He never stopped dreaming, despite all the nightmares.
Despite himself, buried under resentment, fear, and confusion, Fernando had a good side. For everyone is capable of redemption—or at least a cup of coffee and a good honest slap on the back (or face) for good luck. Fernando knew he deserved more, much more. Fernando, even after all those years of torment, had a purpose to fulfill. It seemed unlikely, so unlikely. But he had dreams to realize, dreams he hadn’t even dreamt of yet.
It is the story of Fernando’s entry into the world–so dramatic, unusual, and perhaps supernatural– that holds the key to his destiny. The chain of events goes back to New York City, Halloween night, 1955. It was on this very night in an alley overlooking a stage door exit, filled with expectant onlookers, that a mysterious-looking man in a fedora waited. Along with the masses, he waited for a glimpse at one of the most celebrated figures of the era, the world-famous motivational speaker, Dale Carnegie. But he hoped for more than just a mere glimpse. He aimed to talk to Mr. Carnegie. In fact, he was compelled to connect with Mr. Carnegie. Too much was at stake.
The man in the fedora was Manuel Rivera, a talented singer and musician. Back home in Cuba, he was a rising star. But on the streets of this massive metropolis, he barely registered any recognition. In the span of a few months, Manuel had tried to make his mark but, aside from a few club dates, he was as far away from fame and fortune as a lotto ticket is from winning. It was Dale Carnegie’s book, “How To Win Friends and Influence People,” that had helped him out so much during this struggle. He remained uncertain about his own future but he felt ever more confident that he and Paloma would soon have a family of their own back in Cuba. Perhaps a son. Instinct told him that it was essential that he try to make his mark that night with Dale Carnegie as his prized audience. There would only be a few minutes available to him. He would be on a plane back to Cuba that very same night.
Call it a leap of faith, a crazy fever dream, or simply following gut instinct. Manuel had to be exactly where he was, doing exactly what he was doing. Beads of sweat pored down his scrawny face as he grew anxious. He was over-thinking again. When Dale Carnegie emerged, he had to lunge forward and act. It was all in the timing. To any passersby, it would look perfectly natural, this highly unnatural act of forcing one’s self onto another: in those few innocent seconds, it would be him, his miserable sweaty and improvised little life, connecting with what seemed like this ray of pure beaming light.
Carnegie had chosen a little theater in Spanish Harlem to lead a workshop on self-improvement. Everyone in attendance had suffered some setback. Many had trouble finding work because of the color of their skin or their accent. They were vulnerable to blaming themselves but strong enough to know otherwise. There were whole families in attendance and, as it was that time of year, kids were dressed up in costumes celebrating both Halloween and Dia de los Muertos. Carnegie could see many little figures dressed as goblins, witches, and skeletons, each of them looking up and waving or dancing. When it was over, Carnegie bowed to great applause and made his way out the exit.
And then, it happened: there was Dale Carnegie at the stage door! He seemed uneasy as he surveyed the crowd outside but he offered up a smile and a warm wave of his hand. That was Manuel’s cue. He lunged forward for the sake of his own destiny and something more that pounded in his heart. If only Mr. Carnegie could understand how important all of this was.
He sang a few notes. He actually began with a song. It was so crazy—but it instantly set Manuel apart from all the others. That’s all it took. He sang a few bars from one of his own original compositions. “I was lost and desolate, and it made me cry. But then I discovered Dale Carnegie, and my heart flies so high!” In that moment, Manuel had Dale Carnegie’s full and undivided attention. “What a lovely song—or is it a poem? I appreciate the sentiment, sir!”
“And I appreciate you, Mr. Carnegie!” yelled out Manuel.
“Who are you?”
“I am Manuel Rivera. And it is my destiny to meet you!”
“Well, sir! I am very flattered. I understand too. You seek guidance, meaning, and purpose. You have it all within yourself.”
“Of that I am sure, Mr. Carnegie! What I am speaking about is a legacy. Not just mine—but yours too! With me, you can count on your legacy. I will do everything in my power to have your name, and your good works, live on!”
“I see,” Carnegie looked up and beyond the spectacle of well-wishers. “I am tired and tiring out, I must say.” Carnegie could not help but linger and studied Manuel’s face intently before giving out a sigh. “Sir, I may very well take you up on your offer!”
Carnegie seemed to nod to Manuel. And then the connection was abruptly broken. Carnegie proceeded down the steps, into the throng of people, and was temporarily swallowed up by the chaotic mass of excitement, followed by a quick escort into a waiting car that promptly sped away.
As if he’d been riding a magic carpet, Manuel Rivera had found his way home. It was almost as if he’d never left, back in the arms of Paloma. He had barely unpacked before he was more than just in his wife’s arms. It was all a matter of timing. They rolled around in bed, lost in each other, and he could feel it happening. He had mounted her. He was inside her, both their bodies throbbing. Suddenly, he felt an overwhelming release, sweat dripping down his back, and he shuddered. He knew this was the right time for great things.
Later that bright new day, one foot out of bed, he casually turned on the radio. They had been asleep for hours. He craved some music but the news on the radio jolted him back to life. Dale Carnegie had died. He could instantly sense what was going on. There was no other possibility. He knew that Paloma was pregnant! And that, he gulped just at that mere thought: Dale Carnegie knew he would be safe to reincarnate with the Riveras! It had begun: the reincarnation of Dale Carnegie!
Jamey Bradbury’s “The Wild Inside” is a ferocious debut novel! It’s about the mysteries of young womanhood, Mother Nature, and just how far apart we humans are from animals. Our main character, Tracey Petrikoff, is sure she is not quite human and far more animal. Ms. Bradbury has had the great John Irving as a mentor and it shows. This is a novel by a hungry and driven writer.
Tracey Petrikoff is a monster of sorts–but not in any obvious way. Trace is the ultimate misfit teenager in this most unusual work. Bradbury has crafted a slow-burn thriller that invites the reader to join a family of dog breeders and racers in the backwoods of Alaska and, bit by bit, reveals touch after touch of strange. There is no doubt that Trace is strange. Bradbury does a masterful job of normalizing it. In a first-person narrative, the reader is charmed by, and at the mercy of, Trace’s version of events. In a matter-of-fact manner, Trace repeatedly shares with the reader her drinking the blood of animals. What could be more natural, right?
Blood is all too natural for Trace. She can’t be far from a “drink” for too long. Some things seem utterly unknowable by outsiders: like the heart of a young woman, and Mother Nature. Bradbury plays with how these two powerful forces are inextricably linked. Trace’s bond with nature, with the animal world, is total and complete. She must nurse from the blood of animals not only to feel alive but to remain alive. In one key scene, her need for blood is so great that, when she struggles to find some, she resorts to drinking her own menstrual blood. This cross between Judy Blume and Stephen King totally works within context.
Illustration by Henry Chamberlain
Bradbury provides a mesmerizing first-person narrative: very direct and urgent while completely down to earth. Bradbury keeps it all deceiving effortless and casual, doing away with any and all quotation marks. This has a funny way of further immersing the reader who follows along, for example, an observation by Trace that seamlessly dovetails to something her father is saying. A series of small moments steadily add up in this wonderfully structured novel. All the time, the reader is anticipating a big race–and the Iditarod is certainly no small event–but there are plenty of twists and turns, including a creepy and potentially dangerous stalker and an unlikely lover. What cannot help but keep the reader engaged is following the mind of Tracey Petrikoff, half-woman and half-animal, trapped for a time and waiting to be set free.
Bradbury mines the coming-of-age tropes with great success. In that special time of transition from childhood to adulthood, there is a lot of soul-searching and negotiating over what stays and what goes. What matters most in your life? And, by the way, did you realize it is your own life–and no one else’s but yours? Sometimes freedom is more important than anything else in the world–including the life you have always known just before everything changes.
“The Wild Inside,” by Jamey Bradbury is a 304-page hardcover, published by William Morrow, now available. For more details, visit William Morrow right here. You can order this book from Amazon by clicking the image below:
“The Graphic Canon of Crime and Mystery, Vol. 1: From Sherlock Holmes to A Clockwork Orange to Jo Nesbø”
Jerome Charyn, one of our great writers, known for his Isaac Sidel mystery series among many other works, has said that “all novels are crime novels.” It is an intriguing idea. You may as well take it a step further and say that all narrative, even the Bible, shares something with the genre. It is in that spirit that Russ Kick brings us the latest in his series of great works of fiction adapted into the comics medium. “The Graphic Canon of Crime & Mystery Volume 1” is published by Seven Stories Press.
This is a take on the crime & mystery genre that proves quite refreshing and a true eye-opener. Russ Kick, in the role of curator/editor, has taken an offbeat path in order to emphasize just how diverse and unpredictable his subject can be. Kick goes so far as to not include any adaptation of two of the most prominent names of all: Dashiell Hammett and Raymond Chandler. Perhaps he’s saving them for another volume. As a cartoonist myself, I would find those two irresistible for adaptation. But I also appreciate that Kick is playing with a delicate balance of mixing the familiar with surprising elements. Take the cover image. What on earth is going on there? A woman has been left tied up to a bed as a man creeps upstairs. Kick manages to keep just the right unsettling vibe running throughout this impressive anthology.
Good crime fiction keeps you on your toes. You are not supposed to be on solid ground. You are supposed to expect the unexpected. To set the mood, as well as provide the necessary framework, Kick has done away with chronology and has organized each adaptation within chapter categories: The Act; Criminals; Whodunit; Judgment; and Punishment. Take the judgment theme, for example. Within that one you have a story from the Bible, “Jesus and the Adulteress,” a story from Boccaccio’s “The Decameron,” and Hawthorne’s “The Scarlet Letter.” Neither of these would seem to be an obvious fit. There are certainly no gumshoe detectives here. But there is undeniable intrigue, and each story revolves around a crime. It is in Hawthorne’s case that we have that persistent double layer of gloom that resonates with a contemporary reader.
Excerpt from “The Scarlet Letter”
One of my earliest reviews of comics was the work of Sophia Wiedeman. I am quite taken with her eerie and understated comics. It is very nice to see her adaptation here of “The Scarlett Letter.” Hawthorne, like Washington Irving and Robert Louis Stevenson, is a true master of early American psychological thrillers. Wiedeman’s adaptation evokes the chilling air surrounded by poker face Puritans hungry for self-righteous violence.
Excerpt from “Headhunters”
But you really cannot deny yourself altogether the grit, glamour, and style that is so inextricably linked to the crime & mystery genre. The one piece that really satisfies that “To Catch a Thief” vibe is an adaptation of “Headhunters” by Jo Nesbø. If the name is not familiar, then maybe you have not tuned into the crime fiction trend coming out of Scandinavia and known as “Scandicrime.” Who knew. I have tended to see Scandinavians as rather mellow sensible sorts. But, no, push come to shove, and ditch the lutefisk in favor of brass knuckles. For this piece, Jackie Roche adapts a tale of a man leading a double life: corporate headhunter by day; master cat burglar by night. Roche has a perfectly light touch that gives this story an added touch of class.
Excerpt from “In Cold Blood”
For something decidedly chilling, there is the adaptation by Emi Gennis of the Truman Capote masterpiece, “In Cold Blood.” Gennis is another cartoonist I have followed and always find interesting. For her piece, she lets much of the plot speak for itself with minimal dialogue. Her stark and space style gives it all a nice edge.
Excerpt from “The Postman Always Rings Twice”
Sarah Benkin does something similar with her adaptation of the James M. Cain all-time classic “The Postman Always Rings Twice.” Benkin’s approach brings home the old adage of how the best laid plans of mice and men can fail miserably.
Excerpt from “Strangers on a Train”
And one more: it’s fun to see a piece by Megan Kelso that turns up the heat on her usually reserved and understated style with her adaptation of Patricia Highsmith’s “Strangers on a Train.” It’s as if a lot of things that often go unsaid in a Kelso story are forced up a bit to the surface. That said, Kelso conceals where she needs to and leaves the reader wondering in the spirit of any good mystery.
“The Graphic Canon of Crime & Mystery, Vol. 1” is a 352-page trade paperback, available as of November 21, 2017, and published by Seven Stories Press.
Jerome Charyn concludes his Isaac Sidel mystery series with the recently published “Winter Warning.” In this interview, we begin with discussing the crime fiction genre and quickly gravitate to the strange resemblance between Charyn’s President Sidel and our current American president. Both men are prone to go it alone in the extreme. Mr. Charyn has some choice words to share on his view of the current political landscape as well as the art that can emerge from troubled times
Henry Chamberlain: Would you share with us your thoughts on the American roots to crime fiction and how it was perhaps inevitable for you to make your own contribution to this genre?
Jerome Charyn: I’ve always felt that all novels are crime novels and I just didn’t realize it. Of course, my brother was a homicide detective. And, once I’d read Dashiell Hammett, after having read Hemingway and Faulkner, I began to feel that Hammett had invented a new kind of language: a poetry of crime. To some degree, Hemingway also wrote crime stories. There’s one called “Fifty Grand.” I was overwhelmed by Hammett and not so much by Chandler. Chandler was recognizable in terms of his literary qualities. But Hammett was a true original. We had never had another writer like him, an actual Pinkerton, who described what it was like in that world, and the craziness of that world really mirrors the craziness of the world we’re living in now.
I don’t know if you’ve seen this series, “Berlin Station.”
No, I haven’t.
You should. It’s excellent. It’s about a CIA station in Berlin. And it has the same kind of madness that you would find in my own fiction. So I was very happy to watch it. I think after the discovery of Hammett, and particularly his novel, “Red Harvest,” I felt that this was a world that I had to enter as fast as I could. Also, I had read Ross McDonald but after a while, his novels became repetitive whereas it was Hammett who had invented a new kind of language for the 20th century. And, it seems to me, he has never received the recognition he deserves.
Jerome Charyn, a kid from the Bronx.
You have a terrific hook in “Winter Warning” with a renegade president. What some readers may not be aware of is that you had already laid down the groundwork for Sidel’s political rise to power in the two previous Sidel novels, “Citizen Sidel” and “Under the Eye of God.” With the latest novel, “Winter Warning,” you have Sidel as an accidental president. And you find yourself with the added bonus of the current president.
I wrote this before the election of Trump and, like everyone else, I didn’t anticipate that Trump would win.
Is it a bonus or is it more of a distraction in a way?
It’s certainly not a distraction as much as a mirror, a crazy funhouse mirror of what is actually going on in the world today. There are many resemblances between Trump and Sidel. Republicans and Democrats hate them both. They both have to maneuver on their own. They both have a kind of poetry. Isaac is tenuous. And Trump is not. There are certain similarities: the sense of the maverick, the person who goes his own way.
I imagine you followed current political trends while tapping into timeless qualities of the contemporary American presidency.
I was particularly fascinated with the presidency after writing a novel about Lincoln. And I also wrote a novel about Teddy Roosevelt just as he’s about to become an accidental president after McKinley dies. So, it was very much on my mind as to how the office shapes the man and the man shapes the office—because, in some way, the American presidency will never be the same after Trump. Never. It can never go back to what it was.
It is a very sobering thought. The pieces on the geopolitical chessboard are being jostled with by Trump. With Obama, we had a good role model. With Trump, I think, we have some sort of throwback.
It’s not simply that he’s a throwback. We never realized before the powers that the president had. With the separation of powers, with the Supreme Court, with the Congress, there seemed to be some limits on his powers. But there are no limits. He does what he wants, when he wants, as he wants. He says what he wants. He retrieves what he says. He denies what he says.
And, also, we’ve never had a president who tweets. I mean, it is a kind of crazy poetry. One has to give him that particular credit. He stays up in the middle of the night and tweets his platform. We’ve never seen this. We don’t know how to deal with it. And, obviously, the Democrats, who should have won the election, are completely bewildered—and didn’t know what to do with him. And we still don’t know what to do with him.
I think there is a strange resemblance between “Winter Warning” and the current situation. As I said, I didn’t write it with Trump in mind.
East and West Berliners tear down a portion of the Berlin Wall, November 9, 1989.
It’s interesting how the timeline for the Sidel series puts us in 1989, or an alternate 1989, I should say. In some ways, that was a more quiet time but the world is always changing and we are right on the cusp of the implosion of the Soviet Union.
Yes, as the so-called Soviet Union implodes, separates into separate nations; it is the end of the Cold War but it’s the beginning of a different kind of war. To some degree the secret agents that were in place, on both sides, remained in place even after the end of the Soviet Union, the coming down of the Berlin Wall, and so on. It’s very difficult to determine what is real and what is not real these days as we have a constant variation on the truth, or a constant multiplication of the truth. The truthful lie. I don’t know how else to describe it. Sidel isn’t like that. He’s a very moral person. But, remember, he’s killed his way to the top. He would never have gotten to where he is without his Glock.
I look at “Winter Warning” as a political thriller and a thinking person’s world-weary journey so, in that sense, Trump seems to me to be a distraction. He’s not in the equation to this novel and yet there is an undeniable connection.
He isn’t in the equation except that he is also a kind of accidental president. And Sidel has to go his own way because he’s so isolated in the White House. I particularly like the two trips he makes – to Prague and to Riker’s Island, where he tries to settle a war between the inmates and the guards. New York is still very much in the narrative frame. And everyone around him seems to want to kill him! (laughs)
“I Am Abraham” by Jerome Charyn
There are some presidents who will always lend themselves well to fiction. Lincoln stands out.
Lincoln is quite fascinating. I did a great deal of research on him for my novel. He really grew in the office. He had the prejudices of his own time. The presidency made him great and he made the presidency great. It was a strange evolution. When he talks about the better angels of our nature, there’s real poetry in what he wanted to say. He was our resident poet in the White House. I was hoping that Obama would be the same kind of poet but, in the end, he wasn’t. His speeches didn’t hold up in the same way. We don’t have a Gettysburg Address, which is overwhelming. It’s a kind of tone poem. Everyone was expecting Lincoln to give an hour speech and he spoke for four or five minutes.
Lincoln haunts Isaac Sidel’s White House because, of course, he haunts my own head. We will never see another man like him. I don’t think so. Teddy Roosevelt, in his own way, did a lot of great things but he wasn’t anywhere as poignant as Lincoln.
Of course, I wanted Isaac to be poignant. On the other hand, after completing forty years of work, I didn’t want to have a musical climax or crescendo. It’s just the end. His life can go on. It was the end of a jagged symphony. It was the last twisted movement.
I didn’t want to sum things up. But, on the other hand, I wanted him to end as a sitting president, to go all the way up the American ladder of success. He went from a deputy chief inspector to chief inspector to first deputy commissioner to police commissioner to mayor to vice president, although he never served as vice president. I did think of having him in that job (vice president) but it would have seemed a bit artificial to me. I wanted him to dig right into the dirt.
“Hard Apple” concept art by Tomer and Asaf Hanuka
Without having to give anything away, will the upcoming animated series, “Hard Apple,” based upon the Sidel books, (art by Asaf and Tomer Hanuka) be able to cover all the books?
Well, we will start with “Blue Eyes.” It takes several months to do one episode of animation. I would like it to follow Isaac Sidel’s career. I wouldn’t work on all the books but perhaps six or seven and have Sidel end up all alone in the White House.
Trump on North Korea
Do you think that Trump will make as satisfying a fictional villain as, say, Nixon? Or will people have soured so much on Trump that it will somehow not work?
One never knows. We’re living in such a strange time that I wouldn’t even want to make any kind of prediction. It would be very interesting to write about him just as a phenomenon because that’s all that one can say. He’s a kind of hurricane passing through the entire world. And we don’t know quite what to do. We don’t know how to be prepared for it. And yet, there he is.
If one were to deal with him fictionally, well, you must have seen Saturday Night Live. That’s probably the best fictional representation of him, with Alec Baldwin. I don’t think you can get any better than that. So maybe humor and parody are the way to deal with Trump. Anyway, the relationship between fiction and reality is so tenuous that one can’t anticipate what future writers will do in terms of Trump or how he will be treated.
For example, when we used to think about World War II, we had certain novels like “The Naked and the Dead” and “From Here to Eternity” and then suddenly in the Sixties, we had “Catch-22,” which was a completely different take on the war and the madness of war. It took a long time to re-envision what the nature of war was like.
We would never have thought of war in that particular way. And when Heller tried to do a a sequel, it didn’t really work. The original was too much a product of its own time. In other words, it was the Vietnam War superimposed upon World War II and that’s what made it so interesting.
I think it will take a very long time before we can fictionalize the world as it is unfolding today.
Trump on Distorting Democracy
For someone who seems so unintellectual, Trump does play the most devious mind games. There is his strategy of lying where he flips the lie and makes the accuser appear to be the liar—it’s a Russian technique.
He’s very shrewd in his own way. While Hillary was preparing for her victory at the Javits Center, he was out campaigning on the very last night. He was a man who stood there alone. Whether he believed he was going to win or not, we have no way of knowing. It’s not that easy to figure him out. Certainly, I think the tweets are brilliant. And when he uses the term, “Rocket Man,” for example, he does have a kind of poetry.
You were part of the Writers and Editors War Tax Protest in 1968 protesting against the Vietnam War. Do you think that today’s protests get the same kind of attention?
Well, it wasn’t exactly the way it sounds. What I did was help to educate people. I went door to door in California. I wasn’t trying to convince anyone about how they should feel about the war but just provide them with some history.
That is why I’m a little disappointed with the new Ken Burns documentary on Vietnam because it was a more complicated matter, with opposition coming from within the government, but those details got glossed over.
Johnson himself knew that we could never win the war. And we lost the war the first time American soldiers appeared on the ground. It was a very sad epic. And when you think of what we were able to do in World War II and how we rebuilt Europe. We brought these countries back into the world. So, it was a very different kind of strategy, the way Americans used power. And now, I haven’t got the slightest idea. For example, I wouldn’t be able to write about the current situation. But I did write a novel about the Vietnam War and felt comfortable doing it.
There are two films about the current situation, “The Hurt Locker” and “Zero Dark Thirty,” that really capture the craziness in the world. You have these young American soldiers, who haven’t traveled much, and then find themselves in a world where they can’t read the signs or the signals.
What I found most interesting about Vietnam was the lingo that Americans produced. The way that they combined colloquial French and a sort of Broadway slang, to create a whole new language for Vietnam was extraordinary. But the war itself was never winnable, no matter what we did.
Franklin D. Roosevelt fishes with Winston Churchill at the presidential retreat Shangri-La (later called Camp David) outside Washington in May 1943.
All of the characters in “Winter Warning” are colorful and interesting. One that stands out for me is Ariel Moss, the former prime minister of Israel. As a kid, I remember paying attention to the Camp David Peace Accords so I know that Moss is inspired by Menachem Begin.
I didn’t want to use the name. I wanted to invent a Begin-like character and evoke the sadness he went through after his wife died. Then there’s Camp David. And I had fun researching the presidential helicopter service, Marine One. I knew that Camp David and Marine One were going to create the thrust for the novel. I read whatever I could about Marine One and the squad of pilots and how each president leaves his own stamp on Camp David.
Franklin Roosevelt first used Camp David as a retreat. Lincoln had his own summer retreat. He’d go to the Old Soldiers’ Home and then ride back to the White House. After writing about Lincoln embodying that world, it was a little bit easier for me to see Sidel in that same house in Lincoln’s shadow. There’s also the way Truman described the White House as the “little white jail.” All of those takes are interesting.
“War Cries Over Avenue C” by Jerome Charyn
Could you name any of the French and Broadway combinations of lingo that emerged from Vietnam?
I wrote a novel called, “War Cries Over Avenue C.” For instance, for “city,” they would use the word, “ville.” I would have to go back and look at the novel. Once I’m out of a world, it’s not easy to go back. It is lingo like you see coming out from this war. You have that in “The Hurt Locker,” just think of the terms themselves. “Black Sites.” “Zero Dark Thirty.”
Like I said, I think “Berlin Station” is very powerful. I think some of the best writing is being done in episodic television. The movies now are for twelve-year-olds. But, in terms of HBO, Amazon, and Netflix, we’re getting exciting options. Think back to “The Wire.” Did you ever see that?
HBO’s “The Wire”
I have yet to see it.
You should. “The Wire” is one of the very best. There are others. “Deadwood” is another one. A lot coming out of the BBC, like “The Singing Detective.” That was probably one of the most creative things I’ve seen on television. It’s the writer-producer who creates the show. In that sense, you can have some very good things as well as bad.
New editions of Sidel books in Germany.
As I wrap up, I just want to say that I enjoyed “Winter Warning” very much and I am going back to read the other books. I am currently enjoying “Marilyn The Wild.”
The series, at the beginning, was very different. It evolved as I evolved as a writer. You never think that you’ll finish all twelve. I consider them three quartets. The only reason I was able to complete the Sidel books is because my editor/publisher at Liveright, Bob Weil, spent a long time on each draft. I’d be working on the Sidel books while he was working on Lincoln, or the book on Emily Dickinson. I had a strange surreal time between novels, trying to keep the distinct voices inside my head.
What I like best about the Sidel books is that you can read any title without knowing anything about the others. It will enrich the experience if you do read the others but each stands alone.
In Germany, they have been republishing each of the Sidel books with a photo of me on the cover that coincides with the time I wrote each book. It’s an interesting idea.
The main thing is that you want to keep working as a writer. I feel that we’re living in a time that is hostile to the writer. You have to have an inner resource to sustain yourself. Writing was something I always wanted to do from the time I finished high school. I never thought in terms of failure or success. I just thought in terms of how to sustain myself. I was very lucky, as my generation was the first that welcomed creative writers to teach at the universities. It had never been the case before. And then I stopped teaching and moved to Paris. And soon I began to teach there. I started a film department at the American University in Paris. As with anything, you also need a tremendous amount of luck.
Four graphic novels by Jerome Charyn, available from Dover Publications.
Yes, luck and will power.
Well, you can have all the will power in the world but if you don’t have any kind of luck, then you defeat yourself. You need some kind of acknowledgement. The books I’ve written are there for people to read. Some of them may survive and some of them may not. One never knows.
Also, the graphic novels that I wrote are very important to me. I was the first American novelist in Europe to work with a French artist and then other French writers began doing it too. I grew up with comics, as you already know. We’ve talked about it.
You have so many portals that one can slip into. You have so many outlets for people to discover your work.
Well, if they take the time. The problem is you don’t have as much time to read anymore. Everything moves so quickly, but if you can take the time to read then you can take the time to discover.
When I went to college, reading was the central occupation of what we did as students. You didn’t do anything but read books. You were much better equipped to deal with the outside world having had these dialogues with writers, with having had Plato inside your head.
Today it’s more of a juggling act. A student’s attention is divided between reading and engaging with social media.
It is in social media where people do their discovering. And, going back to Trump, it’s with his tweets where he’s so brilliant. Maybe you need a child-like manner to do it. I don’t really know. But he has a sort of brilliance with his tweets that very few people have. (laughs)
It’s a very different world. And it has evolved very quickly. What place there will be for books, I don’t know. I don’t feel very optimistic about the future of books.
The art of rediscovering books: “Call It Sleep” by Henry Roth
I feel there are a lot of dedicated readers. My daughter, at 21, prefers to read in print. I like both print and digital equally. There’s a healthy community of readers out there.
It’s not a question of a lack of readers. It’s about the lack of venues for these readers. For example, it’s so much more expensive to put out a print book. When I first started writing, if a publisher liked your work, he knew that you’d have a library sale of between 1,500 to 2000 copies so that you could easily sell four or five thousand copies. That would be enough to do a second book and a third book.
But now the library sales have disappeared; the book clubs have disappeared; and the paperback houses have disappeared so the avenues for income are not there. The only avenue you have left is the translation of a book into a film—and that may be more prominent that it was before. Or a television series. One or the other. And that may be what rescues fiction.
As long as I still get pleasure from books, I will write them. There are fewer book reviews, fewer publishing outlets, so it’s hard to reach the reader.
I think people are reading as much as ever but what they’re reading, I don’t know. Also, someone has to make predictions based upon book reviews. If you look back at the last fifty to sixty years, most of those predictions have been wrong.
What seems to be wonderful isn’t so wonderful. I’m not talking about myself. I am talking about how books can come out of obscurity. For example, “Call it Sleep,” by Henry Roth. It was published in the ‘30s and disappeared. Then it was republished in the ‘60s and it was a phenomenal hit. These things do happen but they happen much less frequently.
That’s the same case with “The Great Gatsby.”
That’s absolutely true. Fitzgerald died at a very early age. He was only 44. He was completely forgotten. It was only because of Edmund Wilson’s essays in The New Yorker that he was revived as a writer. In his own lifetime, Fitzgerald had disappeared into the void, his fame all eaten up.
It’s odd which writers are recycled, which writers come back to haunt us, and which writers speak to us in our own generation.
Thank you, Jerome.
Thank you, Henry
You can listen to the podcast conversation by clicking below:
“Winter Warning” by Jerome Charyn
“Winter Warning” is a 288-page hardcover, available as of October 3rd. For more details, visit Pegasus Books. Be sure to visit the Jerome Charyn website here.