The Loneliness of the Abyss by Dimitris Vanellis and Nikolas Kourtis

First published in Greece in 2022; published in translation by Europe Comics on November 29, 2023

A legend holds that Alexander, after slaying the Great Serpent who stood guard over the Eternal Waters, brought a bottle of the water to Babylon, where he planned to achieve immortality. His sister thought the bottle contained ordinary water. She drank it and became immortal, much to Alexander’s displeasure. The girl begged the gods never to let her see her brother die. They granted her wish by changing her into a gorgon. In that form, she roams the seas, asking passing ships whether Alexander is still alive and crushing those that admit his death.

The Loneliness of the Abyss extends the legend and brings it to a conclusion. The graphic story begins with a cargo ship that has lost power, surrounded by mist in a still and silent sea. The crew waits and broods for days before a giant woman rises from the sea. The crew member she snatches does not know the legend, so he fails to assure her that King Alexander still lives. She crushes him between her fingers, then capsizes the ship and tears it apart. All of this is captured in a few balloons of dialog and lovely drawings of the gorgon, the sea, and destruction.

The story adds to the Alexandrian legend when the narrator falls overboard. Instead of drowning like his shipmates, the narrator occupies a bubble of air at the bottom of the sea. The gorgon is there. He hears her thoughts. She explains that she spared him because he bears a strong resemblance to Alexander.

The narrator finds it in his interest to deceive the gorgon, so he tells her of the wonders of Babylon under Alexander’s immortal rule. The gorgon believes him but accosts more sailors to gain additional knowledge, then sinks their ships when they “lie” by asserting that Alexander is no longer king. Caught in the abyss, the narrator grows old and becomes lost in his own invented tales of Babylon. He takes drastic action at the end, after he is reminded of the life he once lived.

The art is well suited to the story. The sister looks more like a mermaid than a traditional gorgon (a deliberate choice to reflect the Greek take on gorgons, the artist explains). The coloring is a misty gray above the sea’s surface, deep blue with an occasional wash of green below. Human characters are drawn with photo-realism (perhaps assisted by some form of photoshopping?). The gorgon is either beautiful or demonic, depending on whether she is being told a pleasant lie or the unwelcome truth. In short, the art is striking and the story is cool.

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Dalí vol. 1 - Before Gala by Julie Birmant & Clément Oubrerie

First published in France in 2023; published in translation by Europe Comics on October 25, 2023

Dalí is the first installment of a graphic biography of Salvador Dali. It begins with Dali’s childhood and follows him to age 22. The story depicts Dali as a young man who is tormented by grasshoppers. His father wants him to find an occupation that will produce a reliable income but recognizes that his son is too spacy for the business world and eventually basks in the glory of his son’s success.

Before Dali becomes known in the art world, his father sends him to art school in Madrid, hoping his son will at least earn a living by teaching drawing. Deciding that he looks like a sewer rat and hoping to blend in with his new friends, including Luis Buñuel and Federico García Lorca, Dali gets a Rudolph Valentino haircut, changes his wardrobe, and learns to drink cocktails, including one of his own bizarre invention. He still stands out, in part because he is obsessed with female armpits. I don’t know if the armpit kink is true, but the story gives the sense that the reader is getting to know the real Dali.

Dali is expelled when, after being asked to draw a sculpture of the Virgin Mary, he draws a scale (he admires the balance in the sculpture and is told to draw what he sees). He is accused of being a political revolutionary in a turbulent period of Spain’s history, is tossed into jail, and uses his notoriety to score a show with a gallery in Barcelona. He isn’t gay but he has sex with Lorca by proxy when he shags a woman who Lorca chooses for him.

Dali earns more shows and becomes an artistic hit in Catalonia, although Julie Birmant & Clément Oubrerie do not try to reproduce Dali’s work. The reader will need to look elsewhere to get a sense of Dali’s early style.

Buñuel is introduced to surrealism in Paris. During a visit to Catalonia, Buñuel introduces surrealism to Dali.

When Dali finally visits Paris, he flees from a bordello after seeing the women as praying mantises who want to devour him. I appreciated the graphic renderings of Dali’s nightmares and fantasies. Dali also discovers that random Parisian women will not satisfy his requests to display their armpits.

Dali clearly lived an interesting life. So far, Birmant and Oubrerie appear to be doing it justice in an abbreviated fashion, although I can’t say that I know much about Dali or art in general. The graphic style of Dalí is similar to the style of most graphic stories. When Dali visits an art museum and admires Bosch’s “The Garden of Earthly Delights,” the painting is rendered more as a blur than a reproduction of the original, although a greater effort is made to showcase a small portion that captures Dali’s attention. I’m a bit surprised that the first installment of a graphic series about Dali doesn’t focus more on Dali’s early work — it barely gives a sense of the art that earned so much praise — but the volume has value as an introduction to Dali the man, if not Dali the artist.

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Watership Down: The Graphic Novel adapted from Richard Adams' original work by James Sturm (text) and Joe Sutphin (art)

Published by Ten Speed Graphic on October 17, 2023

The novel Watership Down is a celebrated anthropomorphic adventure novel that was written by Richard Adams and first published in 1972. While the original book is classified as a children’s novel, it has long earned the praise of adult readers. This graphic adaptation captures the magic of the original work in a simplified form that makes the story accessible to children who haven’t mastered the ability to read. The story isn’t dumbed down so adults can enjoy it just as much as kids, either as a reminder of a book they read years ago or as a quick introduction to the original. A note of caution, however. Some parents might deem the art inappropriate for very young children as some of the scenes of rabbits biting and clawing each other are a bit bloody.

Weighing in at 385 pages, the graphic version adapts Adams’ novel without losing essential elements of the story. The primary characters are rabbits, although a bird and mouse play critical roles. Humans are largely represented through machinery or weapons.

Fiver is an ordinary rabbit, apart from his inconsistent ability to foretell the future. He has a vision of a disaster that will wipe out the warren if the rabbits do not flee. When the chief rabbit refuses to take Fiver’s warning seriously, Hazel leads a group of dissident male rabbits in an escape from the chief rabbit’s authority. Their best storyteller joins the group, telling stories of cunning rabbits that inspire the dissidents to be sneaky and cautious, even when the chief rabbit sends one of his rabbit goons to bring them back. The rabbits defy the goon and embark on a long journey.

The graphic novel makes judicious choices about aspects of the original text that deserve to be highlighted. For example, the graphic novel emphasizes the role that legends and storytelling play in helping a culture maintain an identity and preserve its values. The rabbits repeatedly turn to tales of courage and sacrifice in rabbit kingdoms of the past to guide their responses to current problems.

I see the story is an ode to freedom and a warning about the dangers of authoritarianism. In an early example of that theme, the dissident rabbits encounter a group of rabbits who offer safety in a large and comfortable warren, but those rabbits are willing to sacrifice some of their number in exchange for food and protection from predators that humans provide to them. Leaders who tell their followers that strong rulers will keep them safe by sacrificing the less worthy are common across the world. We’ve seen too many of them in the US.

Moving on, Hazel saves a mouse from a kestrel, an act of interspecies decency that will later be repaid. As the journey continues, Hazel helps a wounded bird who also repays his kindness. The rabbits learn that when they work together and accept the friendship of diverse members of the animal kingdom, they can overcome stronger foes. Even a cat can be chased away by rabbits working in concert.

The rabbit goon eventually reappears. He confirms the calamity that Fiver predicted. Humans, they discover, will callously kill rabbits, not just because rabbits ruin gardens but because rabbit warrens stand in the way of property development. The rabbits do not understand the strange ways of humans. That’s not surprising. Neither do humans.

Being male rabbits, the dissidents decide they need female rabbits to help them live their best lives, so they try to free captive does from a farm. I recall some feminist criticism of the novel as male-rabbit-centric because female rabbits don’t have much of a role except as breeders. I don’t recall females being mistreated (they certainly aren’t in the graphic novel) but I suppose readers who are sensitive to how female rabbits were portrayed in 1972 should be warned of those concerns. To me, this is a book that happens to be about male rabbits. I don’t think that demeans female rabbits.

The attempt to free the female rabbits requires a sacrifice, followed by a daring rescue. Other rabbits, hoping to recruit females, are taken prisoner by another group of rabbits who are governed by an authoritarian leader. More stories of daring and self-sacrifice ensue. The ending is touching.

Although I was in my twenties when I read Watership Down, I recall being very concerned about the fate of the rabbits. The graphic novel prompted those feelings to resurface. While the story might be less epic than The Odyssey, Adams told a compelling adventure story that touches upon adult themes in a classic tradition.

The art would be appealing even to kids who can’t yet read. Like real rabbits, some rabbits have a similar appearance, others are quite distinctive. Their facial expressions do not emulate humans, yet the artist made their emotions clear. The pastoral settings through which the rabbits roam — some pages are nothing but grassy fields beneath blue skies — convey a sense of tranquility that gives way to the violence of rabbits running from foxes or fighting each other. The purpose of a graphic version of a text novel is to create art that helps readers interpret the story. This one succeeds admirably.

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Carole by Clément C. Fabre

First published in France in 2023; published in translation by Europe Comics on August 30, 2023

For reasons he never explains, Clément’s life fell apart at the age of 27. His therapist suggested he learn more about his grandparents’ experience in Turkey. They were children during the Armenian genocide and fled after nationalists became violent in the mid-1950s. Perhaps Clement is suffering from intergenerational trauma. Perhaps his crisis is one of identity. He doesn’t feel like an Armenian. He doesn’t feel like a Turk. France is the country of his birth but he doesn’t seem to feel French.

Before his grandparents moved from Istanbul to France, they had a child named Carole who died in infancy. Clément’s grandmother later tried to locate Carole’s grave but discovered that the grave is missing. In need of a vacation and perhaps for its therapeutic value, Clément and his brother Robin decide to find Carole’s grave. Robin also wants to make the trip to further his study of history.

The brothers arrive in Istanbul during the Gezi Park protests. They search a cemetery, and then several more, taking pictures of headstones that are represented as drawings in the graphic novel. They can’t find Carole in any death registry. They visit and photograph places that were important to their grandparents: the church where they married; a court where their grandfather played basketball; an apartment building where their grandmother lived; their grandfather’s school and the place where he had his shop.

The brothers discover that Turkey is divided between nationalists who support Erdoğan and those who want the country to accommodate Kurds and Islam. Clément plans to create a graphic novel about their journey. To that end, he draws the scenery: beautiful old buildings, lovely landscapes, but also the aftermath of riots and buildings covered with graffiti. The brothers are also a bit divided, both in their willingness to try local foods (Clément finally relents and enjoys his brother’s culinary suggestions) and in their dedication to solving the mystery of Carole’s missing grave.

When the trip seems incapable of solving the mystery of the missing grave, the brothers wonder whether the trip was worthwhile. Perhaps the journey was more important than the destination. Traveling to Istanbul gives them a reason to think more carefully about their grandparents’ stories and their own ancestral identities. They don’t understand why their grandfather has nothing but fond memories about a country that slaughtered his ancestors, forced him to forget his language, and made him change his name so he would fit in with Turks. Their fascination with their grandfather’s story shortchanges their grandmother’s history. Their mother, on the other hand, seems wary of disturbing her parents with new discoveries about their past.

The story is mildly frustrating in that the facts that the brothers learn, both before and during their trip, don’t quite match the details of their grandfather’s explanation for leaving Turkey. Those discrepancies cry out for an explanation but none is forthcoming. I suppose the story is autobiographical and the author can’t explain what he doesn’t know.

Otherwise, the story is informative. Using narratives, headlines, and drawings of old photographs, the book provides a history lesson of Turkish nationalism and its impact on Armenians and Greeks. At times, the story seems like it is told by a relative who is showing slides of a family vacation (although these days, I suppose slides have been replaced by digital photos or videos that are displayed on the family’s widescreen TV). The travelogue might be more meaningful to the person telling it than to the audience.

The art and coloring are effective but familiar. Had Carole followed a mystery to a solution, it would have been a more gripping story. On the other hand, it is packed with important information about a part of the world that is probably a mystery to most Americans. For that reason, Carole is worth an inquisitive reader’s time.

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Swamp by Johann G. Louis

First published in France in 2023; published in translation by Europe Comics on May 24, 2023

Swamp is a graphic novel. It tells the story of three kids during a summer in the Bayou in 1930. An afterword explains that it is a tribute to Southern gothic literature. Johann G. Lewis underplays the grotesque themes that characterize Southern gothic, although racism provides a grotesque undercurrent to the story. The setting includes an abandoned steamboat that is said to be haunted, but the story has no significant elements of the supernatural. To me, the story echoes Huckleberry Finn in its creation of an interracial friendship that defies cultural expectations.

Otis and Red are eleven. They live in the bayou. Neither child’s parents believe white and black kids should mix — not because they are racists, but because it isn’t safe. Yet the kids bond over their shared interests:  skipping school, playing pranks, swimming and fishing.

Otis and Red take an interest in a family that’s occupying a local mansion for the summer. The family consists of a 12-year-old Shelley, her governess, and her mother. Shelley has a heart condition and is not supposed to go outside, but hanging with Otis and Red proves to be more entertaining than sitting in the house all day. Shelley befriends them platonically and equally. This is a simpler time when kids aren’t distracted by gadgets or the pressure of becoming a sexual person.

Black adults are searching for a man who went missing but they won’t talk about his disappearance with Otis. Red’s mother does what she needs to do to pay the rent but Red doesn’t understand why strange men visit the house. A gang of men, protected by the Klansman Sheriff, are killing blacks and causing problems for everyone they dislike. Thugs are smashing the windows of the general store owner.

Red has a vague sense that things aren’t as they should be, but he is the embodiment of innocence. He thinks life is good. Soon enough, he’ll realize that life can be ugly. The reader won’t want Red to grow up, but the best to be hoped for is that he grows up to be a decent person.

The story’s ending is equally sad and hopeful. Nothing good lasts forever but change does not mean the world is ending. Red and Otis are on the verge of transitioning to an adulthood that will probably be difficult for them both, but they’re in no hurry to enter a world that they regard as needlessly complex.

The story makes a simple point, but its simplicity reflects its honesty.  There is nothing natural about racism. Kids don’t care about skin color. They care about being kids. They learn to hate from adults who sabotage the possibility of interracial friendships.

The art is also simple. Most daylight panels are a wash of pale green, reflecting the life of the swamp where much of the action unfolds. The art conveys the swamp’s spookiness with burls and knots that make trees seem human. The story’s sweetness is captured in both the art and the innocence of its child characters.

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