Survivors of the Holocaust: True Stories of Six Extraordinary Children
Last June was the 75th anniversary of D-Day and the Battle of Normandy. This year we observe 75 years since the liberation of the Nazi death camps beginning with the Soviet Army’s 322nd Rifle Division entering the concentration camp at Auschwitz. One book that helps young readers understand these events from the perspective of children has recently been published by Sourcebooks entitled, Survivors of the Holocaust: True Stories of Six Extraordinary Children. What is striking about this book is how accessible it is through its honesty and specificity.
Stepping into history, at the start of the Second World War.
It is understandable if you might think the subject of the Holocaust is too much for a young reader but this book finds a way that honors young readers ages 10 and up. It is as if a thoughtful grandparent is telling their story. Each vignette is told my a real survivor in terms that inform and enlighten. The layout is inviting. The characters are engaging. The stories are revealing as with any good reportage. These are stories of the displacement and survival of Jewish children and young people amid the backdrop of Adolf Hitler and the Nazi party’s persecution of millions of Jews across Europe between 1933 and 1945.
A growing international crisis.
Because these are stories told by individuals, you get very specific points of view. For example, the reader is there with Ruth as her family manages to escape from Germany to England and she hears the official start to the war on the railroad intercom. Or, another example is Martin and his family, along with other Jewish families, who are rounded up by the Nazis. In order to avoid crossing into Poland and triggering an international conflict, the Nazis force Jewish families to walk along the railroad tracks that separate the borders. That strategy works, at least for a while. Survivors of the Holocaust: True Stories of Six Extraordinary Children is an essential book for young readers interested in better understanding one of the most tragic events in modern history. For more details, and how to purchase, visit Sourcebooks right here.
Craig Frank’s new graphic novel, Cool Valley, published by Fahrenheit, provides an intimate look at childhood with a masterful command of the comics medium. Frank has a zeal for storytelling that is rooted in his background in animation and his overall passion for creative pursuits. In fact, the reader will see Frank’s first stir of interest in comics and drawing within the pages of his new book. I was completely won over by Frank’s debut graphic novel from a few years ago, the quirky and surreal, JFK: Secret Ops. Read my review here. This new book shares a similar live wire sensibility, set in a small town in Missouri in the 1970s, packed with an uncanny amount of vivid details.
Cool Valley by Craig Frank
There’s a bit of Huck Finn mixed in this series of vignettes interlaced together building up to a sobering existential assessment. Along the way, there are more than some touches of the supernatural too. Actually, it may have been helpful to bring the supernatural elements to the forefront due to their compelling thematic strength. What is intriguing, and deliciously spooky, is how Frank ultimately approached things by having all the scary stuff gradually emerge! So, it’s something of a toss up. You can start in with a story already with built-in expectations or you can surprise an audience with unexpected material. Going in, the reader does not know to expect anything about demons. That said, the reader quickly picks up from the first few pages that there’s a melancholy and strange tone brewing.
Cool Valley by Craig Frank
Demons aside, young Frank is jumping from one misadventure to the next. While talk of demons is only one aspect to this narrative, that eerie sense of dread is woven throughout, especially since it involves a series of tragic events that gradually, then suddenly, take over amid a narrative that includes both sorrow and joy. Frank does a wonderful job of presenting this tableau of light and dark, always wondering about meaning, always daring to express frustration with elusive answers. This is a mature work for all ages that thoroughly respects and rewards the reader. It’s a great work for young adults and older adults alike.
Cool Valley by Craig Frank
Craig Frank has taken a very original and idiosyncratic path with his comics–and that is where the most authentic comics come from. It’s great for a budding cartoonist to follow an influence and emulate his or her favorite artist. We can always have yet another cartoonist who echoes the cool vibe of Daniel Clowes. That’s a tall order and to be applauded when it works. However, it’s even better when you develop a style and vision all your own and that also takes time and dedication. And another thing, sometimes the next graphic novel is the one that catches on and lifts up the one that came before. I think Cool Valley is definitely a perfect entry point to Frank’s work. Then make your way over to his hilarious JFK: Secret Ops and then…well, we’ll just have to see what Craig Frank comes up with next!
Here is a book trailer for Cool Valley:
And here is a panel discussing the relationship between comics and animation at SPX this year that includes Craig Frank:
BEFORE HOUDINI, script by Jeremy Holt and art by John Lucas
It is a pleasure to have the opportunity to interview writer and graphic novelist Jeremy Holt. His most recent works include After Houdini, Skip to the End, Skinned (Insight Comics), Southern Dog (Action Lab), and Pulp (comiXology), which IGN has called, “…one of the best one-shot comics of the year.” For this interview we try to cover a bit of everything with a focus on Holt’s most recent title, Before Houdini.
HENRY CHAMBERLAIN: Jeremy, thank you so much for doing this interview. We’re going to focus on Before Houdini, your latest title with Insight Comics as well as do our best to bring out something about you and your creative life. I’ll start with the introduction by comic book writer Matthew Rosenberg for Skip to the End, another work you did with Insight Comics. In his introduction, Rosenberg talks about the urgency of punk rock and indie comics: both are raw and unfiltered. That brings to mind your one-shot, Pulp. I think, in the end, whatever the genre, whatever the vibe, you want your work to be honest, right?
PULP, script by Jeremy Holt and art by Chris Peterson
JEREMY HOLT: First of all, thank you for having me, Henry. Over the last ten years of making comics, I’ve thought a lot about the stories that I want to tell. I think, at the beginning, most creators go for those big bright ideas that might get them noticed. I was guilty of that. For instance, I tried doing a zombie story, not realizing that market was pretty saturated. In the course of finding collaborators and pitching to publishers, I’ve found myself taking ten steps backward and having to re-evaluate myself, as a writer and a creator, and really thinking about those stories I want to tell. So, yes, honesty is a very important factor for me.
Share with us how you go about creating a multi-layered character like Jonny, in Skip to the End. He’s got a lot of rough edges. He comes from a certain subculture. And yet people can relate with him. Or maybe sometime from Skinned or After Houdini, whatever comes to mind.
For me, usually it starts with a concept. That’s usually how my ideas begin, with a concept that seems like a really cool idea. Then, from there, I start to develop the main characters, the cast if you will, and then the plot. If those three things don’t actually connect, even after thinking about them for days, weeks, months, I tend to move on. So, as far as characterization, that’s an ongoing process as I’m writing the stories. What I like most about a lot of the projects that I’ve worked on that have resonated with the readers is that, at a certain point, if you’ve done your job as a writer and figured out who these characters are, where they come from, where they’re trying to go, at some point during the writing process, they actually start making their own decisions and speak for themselves. Maybe in an early version of an outline for a specific issue, I may have Jonny saying this but, by the time I am actually writing that scene, so much has happened leading up to the writing of that scene that he ends up saying something more true to his character than I’d even thought to note originally. That’s always fun to see.
Oh, sure, that’s all part of the process. So, share with us what I’m thinking of as a fascination with Houdini. What can you tell us about the creation of the Houdini books?
That’s a great question. To be honest, the idea of writing about Houdini began with the original artist I’d worked with, Kevin Zeigler. We met through mutual friends. We both went to Savannah College of Art and Design. He was a freshman and I was graduating. So, we missed each other by a year. But, through networking, his name kept coming up and so we got together. I would pitch him ideas but nothing seemed to gel. Then I decided to try a really good writer’s exercise: ask my collaborator what they liked to draw. He said he was very interested in Houdini. So, I began to do some research. One book stood out in particular: The Secret Life of Houdini: The Making of America’s First Superhero by Larry Sloman and William Kalush. That book opened my eyes to the idea of Houdini being this covert spy. So, I brought that back to Kevin and we tossed that creative ball around. That is how After Houdini came about, that collaboration.
I’d like you to share something about the storytelling process. You’re a graduate of the the Savannah College of Art and Design, known for its Sequential Art program. I envision you with a skill set to create your own comic alone if you chose to. But you’ve fine tuned your path to focus on being a comic book writer. Should I see you as someone like Ed Brubaker who did create comics in the auteur tradition but ultimately came to the realization he needed to focus on being a writer?
Well, no, not exactly like Ed Brubaker. I studied film. In essence, I was around storytelling but I concentrated on sound design which is more post-produciton, sound editing. I only did that for about a year after college. It really just wasn’t for me. I’d done some writing in high school but I had never viewed myself as a writer. Let’s see, I graduated from SCAD in 2005. I didn’t collect comics as a kid. My oldest brother was a collector. It wasn’t until 2008 that I read The Dark Knight by Frank Miller and that opened up a door and made me want to start writing. I didn’t know anyone. I didn’t know how to start. So, it was a lot of trial and error. That’s what the early years were like.
SKINNED, written by Jeremy Holt and Tim Daniel and illustrated by Josh Gowdy
We all have our own unique perspective on the world and we’re all dealing with something. As a writer, you find ways to dig into a character to one degree or another depending upon the project. Sometimes it’s more direct. Sometimes it’s more subtext. Do you have a preferred approach in your storytelling? More direct or more subtext or does it just depend? I think of your comic, Southern Dog, which basically goes for the jugular.
I try to walk that fine line between both being direct and using subtext. I definitely pull from real life experience as an Asian-American, and being an identical triplet, as well as being adopted. So, identity is something that is at the front of my brain. Skip to the End is probably the only story I’ve written that is not somehow drawing from my own experience. Jonny was a character I knew nothing about firsthand. I’m not a drug addict. I haven’t lost anyone to suicide. So, there was a lot of research I needed to do in order to feel comfortable writing about someone from that perspective. Generally, I try to weave some personal experience into a narrative that isn’t directly taken from my own life since that’s part of the fun of creating stories. You get to live vicariously through these fictional people.
SKIP TO THE END, script by Jeremy Holt and art by Alex Diotto
What do you hope readers will get from your Houdini books?
You get a sense of adventure. Before Houdini has a substantially darker tone than After Houdini since it has my take on Jack the Ripper. I think you get a sense of wonder from these two books. You get fun action adventure stories.
You’re living in Vermont. You came from Brooklyn. Maybe you could share with us what it’s like living in Vermont. And I’m also curious if you’ve had a chance to visit the Center for Cartoon Studies, located in White River Junction, Vermont.
I did spend a good part of a day there. It’s a very small town. It’s very distinct. The Center for Cartoon Studies is right in the middle of this one single winding street. I’ve met its co-founder, James Sturm, before. He gives talks around the country. And I’ve met people who have given talks there or taught or went to school there. Vermont is a pretty small state so you end up rubbing elbows with folks. As far as why I’m in Vermont, I’m recently divorced. My ex-spouse took a job in Middlebury, Vermont so I ended up here. My friends thought I’d move back to New York. And I love New York. I lived there for five years. But, honestly, the quality of life here in Vermont is substantially higher in a lot of ways to the daily grind of living in New York City. And I still go back two or three times a year to visit with friends. It makes for a nice balance.
Page from BEFORE HOUDINI
I can see why the Center for Cartoon Studies would want to be in Vermont. You get to share that same mellow easy-going atmosphere.
Yeah, I think so. There are fewer distractions for a writer. I think, when I was younger, I was naive enough to think that the city providing me with inspiration. And in a lot of ways it did. But it also provided a ton of distractions. Since moving to Vermont I’ve become exponentially more productive than when I was in New York thinking that I was prolific. In fact, I’ve produced more, in a shorter amount of time, than when I was living in New York.
What might you tell us about two upcoming projects, Made in Korea and Virtually Yours? Are you still working on them or are you shopping them around?
Both of those have publishers but I can’t disclose who. As for Virtually Yours, I have finished writing and the artist is well under way working on it. And regarding Made in Korea, I’ve scripted two of six issues. I’ve outlined the entire series. I have a very clear idea of where it’s going. I plan to script the rest of it in the next two months. I’ve pitched a couple of new projects this week so I’m waiting to hear back from those publishers. I need to keep my fingers crossed.
Page from BEFORE HOUDINI
It sounds like you’re in a really great position. You have these impressive titles with Insight Comics and you’ve got a number of new projects well under way. It looks like you’re right where you need to be.
I think so. The important thing for any creator to figure out is working at a pace that isn’t daunting. Obviously, early on, I wanted to be a full-time writer and quit my day job. I do tech support during the day. But, to be honest, I am producing enough work in my free time outside of my day job that I’m hitting my deadlines without a problem. I know that, once I didn’t have a day job, my relationship to my creative work will change. I’ll be depending upon that in ways that I don’t now because I don’t have to worry about making a ton of money off my work. And I kind of like that. I like that there’s no pressure and I can just create and have fun with it. So, I’m not sure that I’m going to quit my day job anytime soon even if I have the opportunity because I think it makes me work harder.
And you have something that is really working, a really well calibrated routine. So, you don’t want to mess with it.
I think so. As a creative person, it’s about moving that goal post, not being afraid to say that something isn’t working, that expectations need to change. That allows you to keep working. For creators that don’t make these adjustments, it’s easy to burn out. You can end up feeling defeated or pessimistic about your career. I think it’s totally normal, totally acceptable, and even helpful, to move that goal post, to set expectations that are right for you at whatever place you are in your life.
Page from PULP
We could pretty much bring this to an end unless you had anything else you might like to add.
This was great. Thank you for your questions. Thanks for your in depth look at my books. That’s a first.
Well, I found Pulp, for instance, at comiXology. It’s there for anyone to find. I highly recommend it. I particularly appreciate the indie flavor to it.
For me, Pulp was a writing exercise. I wanted to see if I could tell a story within 24 pages. I think, from the beginning of the concept all the way through production, it took Chris and me five days to put it all together. It was ridiculously fast, unnecessarily fast. But I still think it’s one of the stronger stories that I’ve written.
It definitely has that urgency and energy that Matthew Rosenberg was talking about in the introduction I began with.
Wonderful things often take place in the world of alt-comics. I’m talking about when a bigger publisher lends a hand to help a smaller publisher. A case in point is the graphic novel, Jeremiah, which joins AdHouse Books in promoting and distributing and One Percent Press in publishing this remarkable work. There are quite a few gems out there among indie comics and Cathy G. Johnson proves that wonders never cease. Johnson’s work has a beauty that looks effortless and pure. In the span of 160 pages, she mesmerizes the reader with her gentle yet powerful watercolor comics.
“You are not a child.”
This is the story of Jeremiah, a young man who seems to be a blank slate with no past or future, just a country boy out in the middle of nowhere. Jeremiah may seem pretty simple and, in a lot of ways, he is. But he also has his own set of complex desires. Johnson masterfully rolls out a narrative pared down to its essentials while brimming with ambiguity and mystery. Just what is the relationship between Catie and Jeremiah? Perhaps a handyman can help sort through an accumulation of despair and confusion.
A boy’s desire may consume him.
Johnson conveys emotion in her artwork in a very direct and economical way. She can evoke years of longing and melancholy with just the right amount of lines and wash. Poor Jeremiah. He’s still just a boy and his mounting desire may consume him if he doesn’t free himself. Johnson practices the subtle art of restraint in telling his story; and, in the end, it all comes out when Johnson is ready to release the floodgate.
Lost among the corn fields.
For more details, be sure to visit Cathy G. Johnson right here.
Here are two wonderful writers for young adults from Macmillan’s imprint, Feiwel & Friends, and the Fierce Reads celebration of YA reading. Alexandra Christo, author of To Kill a Kingdom, and Tricia Levenseller, author of Daughter of the Pirate Kingand Warrior of the Wild,have hit the road together on the Monsters & Sirens Tour. It’s an even bigger deal for Alexandra Christo since she’s come ALL THE WAY from the UK to team up with Tricia Levenseller for this 6-stop tour. I was able to catch with both of these authors during their Seattle stop for Emerald City Comic Con. View the interview by just clicking the link below:
Both authors provide exciting novels which each feature main characters on a quest. And not just any ole quest, each of these adventures could mean life or death. Below I provide a synopsis for both books:
WARRIOR OF THE WILD by Tricia Levenseller
As her father’s chosen heir, eighteen-year-old Rasmira has trained her whole life to become a warrior and lead her village. But when her coming-of-age trial is sabotaged and she fails the test, her father banishes her to the monster-filled wilderness with an impossible quest: To win back her honor, she must kill the oppressive god who claims tribute from the villages each year or die trying.
TO KILL A KINGDOM by Alexandra Christo
Princess Lira is siren royalty and the most lethal of them all. With the hearts of seventeen princes in her collection, she is revered across the sea. Until a twist of fate forces her to kill one of her own. To punish her daughter, the Sea Queen transforms Lira into the one thing they loathe most—a human. Robbed of her song, Lira has until the winter solstice to deliver Prince Elian’s heart to the Sea Queen or remain a human forever.
Sunday, March 17: Emerald City Comic Con (Seattle, WA) Monday, March 18: Interabang (Dallas, TX) Tuesday, March 19: Main Street Books (St. Charles, MO) Wednesday, March 20: Red Balloon Bookshop (St. Paul, MN) Thursday, March 21: Boswell Books (Milwaukee, WI) Friday, March 22: C2E2 (Chicago, IL)
Warrior of the Wild is a 336-page hardcover (ages 13-18), published by Macmillan. For more details and how to purchase go right here.
To Kill a Kingdom is a 352-page hardcover (ages 13-18), published by Macmillan. For more details and how to purchase go right here.
KISS NUMBER 8 by Colleen AF Venable and Ellen T Crenshaw
My new favorite graphic novel is Kiss Number 8, written by Colleen AF Venable and illustrated by Ellen T. Crenshaw, published by First Second. This is a book that is about family, self-discovery and gender identity that requires that you find a nice spot to read because you won’t want to put it down. Our main character is 16-year-old Amanda. Her friends call her, Mads, which is a fitting nickname for an exuberant personality. Mads is mad about life but struggling to find her way. And growing up in a conservative religious family adds to the complications. Conventional wisdom is telling her that she should be pining over boy-next-door Adam. But her heart is telling her that she wants to be kissed by girl-next-door Cat. Our story is set in 2004 which provides a whole set of pop culture references while also giving everything a timeless quality.
Venable has a wonderful way with evoking the trials and tribulations of young souls. She was telling me about her background in playwriting and I can clearly see that ability to lift up characters and events and have them dance upon the page. It’s about knowing how to craft one scene after another and one moment from the next. Consider the opening pages: a steady sequence of panels depict Mads bumping along as she gains experience in how to kiss and, when we reach Kiss Number 8, it’s enigmatic, something we’ll come back to. Then we proceed a few more pages in and we realize there’s a whole other mystery up ahead.
Page from Kiss Number 8
Ellen T. Crenshaw and Colleen AF Venable
Crenshaw is superbly matched with Venable as her artwork is so in tune with the thoughtful and gentle quality to this work. We chatted about process and the inevitable topic of how time-consuming graphic novels can be was discussed. Well, far be it from me to dissuade Crenshaw from changing anything about her methods. Each page is utterly beautiful. She has a perfect thing going with her use of hand-drawn ink and ink wash. It is a delight to the eyes. We also chatted about how First Second appreciates the beauty of black & white comics and how it is often the best way to convey more mature themes. It certainly works in this case.
Page from Kiss Number 8
No doubt, this is a book working on many levels and is sure to engage readers from teenagers on up. If you’re looking for a good book exploring LGBTQ themes from a teen perspective, this is a wonderful read.
Page from Kiss Number 8
Kiss Number 8 has the depth of a good play and the pace of an immersive work in manga. It is a queer story that will resonate with young readers as well as any reader who loves a good coming-of-age tale. This is a 320-page trade paperback that will reward the reader upon rereading it! Lots to savor in the way of word and image! Available as of March 12th, for more details and how to purchase, go right here.
It is truly a pleasure to share with you a rising talent, singer-songwriter Mariel Darling. You might think of her as a future Taylor Swift or Lady Gaga. Who knows? She certainly has got talent and determination and, at 16, she has some solid songs like “No Mirrors” and “Unknown,” to show for it and a work ethic going back to the age of nine. So, yes, Ms. Darling is the real deal. I believe in Mariel Darling. So much so that I created the above illustration. Mariel, if you ever need an artist for an album cover, I’d be more than happy to do it.
A Western Massachusetts native, 16-year-old Mariel Darling started recording music when she was only nine years old after being discovered by manager Jackie Sarkis (formerly of Radio Disney) and working with producer Shaun Bless, and by age ten she was already turning heads performing at the New York Knicks halftime show. Even in her early years, the young singer knew that she wanted to use her talent to help promote positive messages, and by eleven she was already hard at work writing and performing songs for the National Education Institute encouraging other kids in a fun and upbeat way to read, study, and focus on their education as a way to further their well-being. These initiatives lead Darling to perform on bigger national stages and festivals including the Maritime Festival, Washington D.C.’s CureFest for Childhood Cancer, and the Camplified Tour which saw her perform in front of thousands of teens and tweens at summer camps across the nation at fourteen.
Mariel enjoys motivating her fans with her music. During our conversation, Mariel said she’s excited about connecting with the huge fan base of girls and young women who follow her music. She’s proud of her songs, like “No Mirrors,” that resonate with her fans and speak to positive self-image and empowerment. And another more recent song, “Unknown,” speaks to the challenges in young lives in facing the unknown. Mariel says she admires those performers that are able to reach out like Taylor Swift and Billie Eilish. No doubt, you can add Mariel Darling to the short list of the best influencers. Listen to my interview by clicking the link below:
Keep up with Mariel Darling on Instagram right here.
Abrian Curington has created Woolmancy, a fascinating graphic novel set in another time, place, and world. This is quite a fun work of fantasy. It’s a place of magic, dragons, and kind-hearted people busily creating wondrous items. The main focus is textiles. And the main raw material is wool. Our story takes place in the village of Kanvala. Two promising young weavers have been left in charge of the guild when the master must leave on urgent business. Reminiscent of The Sorcerer’s Apprentice, Mirin and Satski are loaded down with formidable responsibility and must rise to the challenges up ahead.
Ms. Curington is a very resourceful storyteller. She does a wonderful job of sustaining the narrative pace. And her artwork is very enchanting. The character development is spot on. The reader gets to know the main characters well and wants to root for them. Mirin can be stubborn and leads the way. Satski can be cautious and loyal. Between the two of them, they must solve a mystery and save their village. All in all, it’s a great all-ages tale. It reminds me of some of the titles coming out of First Second, like Faith Erin Hicks’s Nameless City trilogy.
When it comes to spotting new talent, it’s important to set aside flashy trends and gimmickry. It’s important to appreciate and acknowledge integrity and originality. I see quality work here and I look forward to seeing more. Abrian Curington is leading the way with family-friendly comics. It is an exciting journey. Here’s a quote from her website:
I decided to just make simple, visual stories. I wanted everyone to be able to experience them, nothing you’d have to hide from little eyes. I wanted each story to take readers on an adventure that lifts them out of their tired, stressed states. Or to add to the joy they’re already experiencing!
Charles Forsman is a wonderful independent cartoonist. I have had the privilege to review his work. Mr. Forsman creates work that is usually intended for a relatively small audience. That is the nature of comics, especially niche comics. But things can get turned on their heads. Just imagine, a highly obscure copy of an underground comic is sitting in a trash bin when it’s picked up by a movie director and he’s so thrilled by it that he’s compelled to move heaven and earth to turn it into a hit television series. That’s what happened with Forsman’s The End of the F***kingWorld, now available on Netflix. And it’s happened again. This time without any trash bin. The news it out that Forsman’s I Am Not Okay With This is coming to Netflix.
‘I Am Not Okay With This’ by Charles Forsman
There’s something about the fresh and quirky goodness of independent alt-comics that can catapult them from obscurity to crazy full-on stardom. It won’t happen to most of the self-published comix out there but it happens. So, don’t try this at home unless this is a labor of love first and foremost. Otherwise, it won’t work. Painfully honest stories have a greater than average chance of getting attention. That’s part of it. The rest is just the right mix of hard work and a bit of good luck. While you wait to enjoy I Am Not Okay With This, check out The End of the F***king World now on Netflix:
I Am Not Okay With This follows the misadventures of Sydney, an unassuming 15-year-old freshman with telekinetic powers. Be sure to visit Charles Forsman right here. I Am Not Okay With This is a 160-page graphic novel published by Fantagraphics Books.
The comics medium can be as clear and as ambiguous as the work requires. One of the great things about comics is its unlimited and distinct potential to alternate between clarity and mystery. When you feature yourself in your own work, you seek the right balance. Someone quite capable of playing with those modulations is writer/artist Ariel Schrag. Her recent collection of comics is entitled, Part of It: Comics and Confessions, published by Houghton Mifflin Harcourt.
Ms. Schrag is known for a number of brilliant memoir comics that feature her growing up, struggling through high school, and finding her way. While her work can neatly fit within the categories of YA and LGBTQ, it certainly transcends any label or genre. And don’t let anyone tell you different: a good coming-of-age story will always be welcome and never go out of style. We’re human and we all have our own unique tales to tell. This new collection of comics provides compelling proof of that.
Page from Part of It
Part of It is a collection that culls through some of Schrag’s best work over the years. Probably the best piece is one from a 2004 anthology with an eyeglasses theme. In this one, we find Schrag having been sucked into a vortex of vacillation over just what constitutes the perfect pair of eyewear. Is it promoting the best experience possible? Does it look right? Does it fit right? Is it dated? Is it…sass? Just one meaningless derisive utterance from her little sister triggers heartbreaking regret. Schrag tentatively enters a room with her latest choice in glasses. All it takes is one negative comment, “Sass,” from her sibling, and it’s all over.
Just wanting to be “part of it.”
Ms. Schrag has proven to be quite a funny and adroit writer. As an openly gay woman, she has shared excellent insights and observations. That said, whatever a writer’s background, it’s the work that speaks for itself in the end. Sexuality is not the key element, for instance, in the eyeglasses piece just mentioned above. In fact, sexuality is often part of a bigger picture in a typical auto-bio comic. You simply share things about yourself in the process of telling a story, in the service of the narrative. If all goes well, your tale combines the universal and the specific in a satisfying way. While all these pieces come from different places and times, Schrag finds common ground and eloquently returns again and again to a theme of wanting to be accepted, wanting to be “part of it.” This is a great collection of comics. Wonderfully wicked good fun!
Part of It: Comics and Confessions is a 176-page trade paperback, published by Mariner Books, an imprint of Houghton Mifflin Harcourt.