Graphic Novel Review: Harlem by Mikaël

 

 reviewed by Matthew Teutsch, Associate Professor of English, Piedmont University

Mikaël. Harlem. New York: NBM Graphic Novels, 2024. https://nbmpub.com/products/harlem

 

French-Canadian artist Mikaël concludes his New York triptych with Harlem, a fictionalized narrative about Stephanie St. Clair, a woman from Guadalupe who became a businesswoman and racketeer in Harlem during the early part of the twentieth century and the Harlem Renaissance. The narrative moves back and forth in time, detailing St. Clair’s life in Guadalupe to 1930s Harlem. When depicting St. Clair’s early life and eventual immigration to the United States, Mikaël’s color palette changes from more browns and darker colors to shades of purple with splashes of yellow. The yellow, which appears in various objects during these flashbacks from a parakeet to a bag to a light in a window, displays St. Clair’s hope and the hope of others for a better life, one where they can live their lives in happiness and safety.    

While on the surface Harlem appears to be a crime narrative centered on St. Clair, Mikaël infuses his story with much more. Mikaël highlights the ways that St. Clair and others navigate, through extra-legal means, a system that keeps them oppressed and subjugated from the highest levels of city government to the police force that walks the streets to other racketeers, notably Dutch Schultz (a white man), who also participates in extra-legal activities. Along with all of this, the community must deal with the ramifications of the Great Depression on their lives. Even as she maintains a hard exterior, St. Clair looks out for the community, providing individuals with hope and resistance, specifically through the pieces that she writes in the New York Amsterdam News calling out systemic oppression.

Ostensibly, the white reporter Robert Bishop serves as the overarching narrator of Harlem, opening the narrative by telling us, “What I did was unforgivable. I know.” By framing the narrative through Bishop, Mikaël allows us an outside view of events. The reader does move into St. Clair’s perspective and the perspectives of others, but Bishop remains the core, and in this manner, he serves, in many ways, like the “white clientele” who flock to Harlem for the clubs and nightlife that Harlem’s residents are barred from entry. Bishop has a relationship with Tillie Douglas, one of St. Clair’s friends, and their interactions highlight the ways that white supremacy did not solely reside within the Jim Crow South or the once colonial regions of the Americas. 

Bishop’s connection to St. Clair arises after the editor of the New York Amsterdam News tells her she needs to revise a piece that she hopes to get published in the paper. St. Clair sees Bishop with Douglas and enlists him to help her revise the piece, which he does. In her article, St. Clair lays out what she and the community endure in the face of white supremacy. Over three pages, Mikaël prints St. Clair’s article interspersed with images of individuals getting kicked out of their homes, police brutality, and cultural tourism with whites descending on Harlem for clubs. The sequence ends with the reactions to her piece from Schultz, the police, and her right-hand-man Bumpy. Thematically, this three-page sequence sums up Harlem and the ways that St. Clair pushed back against a system that seeks to keep her and other locked in cages as they bloody their wings against the iron bars.

In “Sympathy,” Paul Laurence Dunbar uses the metaphor of a caged bird beating its wings until “its blood is red on the cruel bars” to describe his position as a Black man at the turn of the twentieth century in America. He concludes the poem with the famous line, “I know why the caged bird sings!” The caged bird metaphor appears throughout Harlem, from St. Clair releasing a bird from a cage in Model’s shop to numerous panels depicting birds flying as St. Clair and others walk the Harlem streets. Harlem concludes with St. Clair returning to the community as residents thank her for speaking in front of the commission and her actions, and the final two panels show birds flying freely in the sky. The first shows birds flying up into the air as we see buildings and a street sign for 125^th street. The final panel zooms out, showing the entire New York skyline with flocks of birds in the distance, symbolizing St. Clair’s and the residents’ desire to, as St. Clair tells W.E.B. Du Bois earlier, that she will not “shut [herself] between four walls.”  

If one reads Harlem quickly, one will miss many of the historical and cultural references that Mikaël incorporates throughout the book. For example, in a seven-panel sequence following a numbers runner, we see the marquee for Smalls Paradise, one of the only African-American owned clubs in Harlem at the time, and a panel depicting young kids marching with brooms and paper hats imitating the Harlem Hellfighters as a World War I veteran sits on the side. Mikaël also incorporates two poems by Langston Hughes, one at the end of each section. Hughes’ “Harlem” concludes section one, and Hughes’ repetition, in the first and third stanzas of referring to Harlem as “on the edge of hell” drives home what St. Clair fights against. Juxtaposed against “Harlem,” Mikaël ends the book with Hughes’ “I, Too,” where Hughes proclaims his equality and finishes by stating, “I, too, am America.”

Mikaël ‘s Harlem details the history of white supremacy in the United States, colonialism, sexism, and structural issues that impact Harlem and its citizens. It also highlights community and the ideals of America, specifically the immigrant experience and the ways that communities work together to confront oppression and move forward. Through Bishop, Mikaël explores allyship and the need for white individuals like Bishop to listen instead of speaking at times. Bishop gets St. Clair arrested, and as she leaves prison, we see Bishop’s words to her as he types them. He tells her when he envisions her in his mind he sees “[a] look of anger. The anger of an entire people,” and he concludes by telling her, “I only wanted to speak out about the world around me because I thought I had the right to.” Bishop’s words end, allowing St. Clair a voice for herself at the end, a voice that speaks for Harlem.     

 A version of this review will appear in IJOCA 27-2  

Graphic Novel Review: Godzilla Library Collection Vol. 4

 reviewed by Cord A. Scott, UMGC-Okinawa

Chris Howry (w), Matt Frank (a), and Jeff Zornow (a). Godzilla Library Collection Vol. 4. Sherman Oaks, CA:  IDW Publishing, 2025. 280 pp. US $29.99. ISBN:  979-8-8872-4265-1. https://www.penguinrandomhouse.com/books/770074/godzilla-library-collection-vol-4-by-chris-mowry-matt-frank-jeff-zornow/

Godzilla is one of the most internationally recognized characters in popular culture today. Over the course of more than 40 films, countless toys, cartoons, and a variety of media, the character and the franchise show no signs of waning. To that end, it is a natural extension of the character to be in comic book form. As is noted, Volume Four of the Godzilla Library Collection is a collection of issues 1-12 of Godzilla:  Rulers of the Earth. As to whether this collection is to be read in succession with the other volumes is unclear, but as with any Kaiju series, there is a lot of action to absorb from reading the volume.

This series starts from multiple vantage points. The first is from the USS Wimbish, a U.S. submarine tracking an unknown kaiju. While it gives the appearance of Godzilla, it seemingly becomes a new kaiju, dubbed Zilla. Without any idea of how this new monster will act, it is tasked with tracking the monster in the water. The second vantage point is on the concept of Megazoology in Hawaii. One participant, Lucy Casprell, has hopes of joining a research team led by Dr. Kenji Ando. All of this culminates with the appearance and destruction of Honolulu by Godzilla. The last vantage point is that of Steven Woods, the hardnosed soldier tasked with the hunting of kaiju, and who has a grudge after several from his team were killed.

From this point, much of the volume centers on what we have come to expect from Godzilla films and comics:  kaiju fights and a lot of general destruction. We are introduced to many from the Godzilla gallery through the fights. In fact, some of the monsters are introduced so quickly, that it becomes difficult to follow them all in the book. The story also involves two alien races, the Devonians (a sea race) and the Travelers (a shapeshifting race) fighting over the Earth as an eventual home. To this end, they both use the kaiju to wipe out the human race or, at minimum, substantially cull the race.

Some of the kaiju become more prevalent than others. The two humanoids, Manda and Giara, are used in the story arc as a part of weapons (or in this case, kaijus) of mass destruction program (112). China becomes a part of the arc when they note that they have one of the kaiju contained and have kept him as a contingency.

Throughout the series, the regular characters, within the pantheon of kaiju, are brought in:  Gigan, Orga, Mechagodzilla, Mothra, Rodan, Manda, Varan, and Destroyah, to name, but some. The counter to some of these kaiju is the use of robotics, and this necessitates the introduction of another movie character and ally of Godzilla, Jet Jaguar. The readers are treated to Jet’s backstory as well.

By the end of the book, the battle of the titans has left the world damaged, some kaiju back under control or in containment, and scientists looking to study their new subjects for weaknesses.  In this regard, the series is similar to two Showa era Godzilla movies, “Destroy All Monsters” (1968) and “All Monsters Attack” (1969).

The volume shifts back to the intergalactic war on Earth, as the Devonians are revealed to be shape shifters, who have, in fact, utilized the kaiju and humans to eliminate their alien enemy, and humanity. In all, the series is left on a cliff-hanger as the war has escalated, and the Travelers seem to have the upper hand.

The volume has all the hallmarks of Godzilla media:  massive fights, massive destruction, and a storyline that fills the gaps. One problem that does occur is that the monsters are brought in so quickly, and not always with “introductions,” to the extent that it gets confusing. If one has not memorized the catalogue of monsters, it can be overwhelming. Additionally, the characters seem a bit one dimensional. This issue might not be as problematic if one was reading all the volumes, but if a reader just looks at this volume, it may give the characters a limited emotional connection to their plight.

There are also some nods to the movies. Mothra is brought in as a character, as are the twins, who serve as a conduit for communications with humans. Not all the monsters from the entire series are used, either. These characters might be introduced in a later volume.

In all, it is what one has come to expect of Godzilla stories:  action, some interaction between people and monsters, misconceptions and biases towards other races or species, and even commentary on how some groups might be used as unwitting pawns in a wider war. For those who grew up with the movies, or were introduced to Godzilla later, it is still a form of simple fun. It is just missing a rubber suit and model cities to destroy.

 A version of this review will appear in IJOCA 27-1

Sir Francis Carruthers Gould: The Gentle Knight of “Picture Politics”

 Mark Bryant

  This year marks not only the 50^th anniversary of the official inauguration of the British Cartoon Archive (BCA) at the University of Kent, but also the centenary of the death of Sir Francis Carruthers Gould (1844-1925), the first staff political cartoonist to work for a daily newspaper in Britain, the first of his kind to be knighted, and the earliest artist to be represented in the BCA’s collection of some 200,000 British cartoons and caricatures dating from the late 19^th Century to the present day.

Though sufficiently famous in 1890 to warrant a caricature in the “Men of the Day” series in the popular society magazine, Vanity Fair, Gould is perhaps not as well known in modern times as his fellow cartoonist knights--Max Beerbohm, Osbert Lancaster, David Low, and John Tenniel--despite that more than 130 drawings by him are held in the collection of the National Portrait Gallery in London.

Gould’s personal bookplate. The heads include 

Lord Salisbury and Joseph Chamberlain 

(who also appears as a monocled fox).

 

Born in Barnstaple, Devon, the son of an architect, he began work in a local bank and, at the age of 18, moved to London, where he became a successful stockbroker. While working at the Stock Exchange, he drew caricatures of his colleagues and began to submit cartoons, caricatures, and illustrations to the popular weekly journal, Truth (1879-1895), including the large double-page color drawing, “The Kaiser’s Dream” (1890), seen by many to predict World War I. He also drew seven whole-page color caricatures for Vanity Fair (1879-1899).

In 1886, he began to contribute political cartoons freelance to London’s influential Liberal daily evening newspaper, the Pall Mall Gazette (later absorbed by the Evening Standard). Then after Edward (later Sir Edward) Cook became its editor, he was invited to join the staff. As a result, in 1890, he left the Stock Exchange and became the first staff political cartoonist on a British daily newspaper. He drew cartoons five days a week and was very much a gentle satirist, never malicious in his work, and once said:  “I etch with vinegar, not vitriol.”

The cover drawing of the Earl of Rosebery 

(after David’s famous equestrian portrait of Napoleon) 

is from Harold Begbie’s Great Men (1901).

 

In 1893, when the Gazette changed ownership (and turned Conservative), Gould moved to the newly launched Liberal daily evening paper, the Westminster Gazette, and was later appointed its assistant editor. He quickly became the leading daily political cartoonist in Fleet Street, and his work was syndicated nationwide to the Manchester Guardian and others. He continued to draw for the Westminster Gazette for the following 30 years, producing powerful satires during the Boer War and World War I. Four large hardback volumes of his drawings were published, as well as many smaller collections. In addition, he edited his own monthly journal, Picture Politics, which ran for 20 years.

As well as his newspaper work, Gould wrote and illustrated a number of books, notably Froissart’s Modern Chronicles (1902-1908), a three-volume series which featured real parliamentary figures engaged in imaginary wars between the Blues (Tories) and the Buffs (Liberals) in a pastiche of the famous medieval chronicles of French historian, Jean Froissart, and drawn in an appropriate “woodcut” style.

Gould also collaborated with others, including the journalist, Harold Begbie. Together, they produced The Political Struwwelpeter (1899) and The Struwwelpeter Alphabet (1900)--parodies of the classic German children’s book --and Great Men (1901). In addition, Gould illustrated The Westminster Alice (1902)--parodying both Lewis Carroll’s famous story and Tenniel’s original illustrations--with a text by a young H. H. Munro, later better known as the short-story writer “Saki.”

Gould retired in 1914 and moved to Porlock in Somerset, but continued to send political cartoons and illustrations to the Westminster Gazette until the end of 1923. He also designed a series of Toby-jug caricatures of “Prominent Personages of the Great War,” including U.S. President Woodrow Wilson, Allied Supreme Leader Marshal Foch, and British Prime Minister Lloyd George, which have become very collectible (the BCA has a complete set).

Sir Francis Carruthers Gould died at his home in Porlock on Jan. 1, 1925.

________________________

Mark Bryant is a former trustee of the Cartoon Museum in London and a former research associate at the British Cartoon Archive, creating the original online biographical database of artists in its collection. He has written widely on the history of cartoons, caricature, and humorous art (including Dictionary of 20^th Century British Cartoonists and Caricaturists) and is the editor of a new book, The Picture Politics of Sir Francis Carruthers Gould:  Britain’s Pioneering Political Cartoonist (Manchester University Press), published to coincide with the 50^th anniversary of the official inauguration of the British Cartoon Archive and the centenary of Gould’s death.

  The British Cartoon Archive (University of Kent)

https://www.kent.ac.uk/library-it/special-collections/british-cartoon-archive

 The Cartoon Museum (London)

https://www.cartoonmuseum.org/

 The Picture Politics of Sir Francis Carruthers Gould (Manchester University Press)

https://manchesteruniversitypress.co.uk/9781526181985/ - ebook. The print edition will appear in June 2026.

  A version of this book notice will appear in print in IJOCA 27-1