Graphic Novel Review: Woman & Man+

 reviewed by C.T. Lim

Craig Yoe. Woman & Man+. Clover Press, 2024. https://cloverpress.us/products/woman-man

Craig Yoe is best known as an editor and publisher of archival comic book compilations (usually those that have fallen out of copyright) that he put together under his own imprint Yoe Books and for other publishers like Abrams, Fantagraphics, IDW and Dark Horse. He has not drawn a comic book for decades, but since moving to Bagio City in the Philippines recently, he has come out with Woman & Man+. 

The backmatter of the book encourages an autobiographical reading: "A wildly surreal autobiographical story of Yoe losing his love, his country, and some say - his sanity - and his struggle to reinvent himself." Yoe himself proclaimed, "This humble underground comix / pretentious-art book is a psychedelic telling of my fleeing the U.S. to hook up with the underground comix comrades in Berlin, then booted out of Germany to find solace - then devastating heartbreak - in the Canary Islands. Finally the Philippines have granted me asylum... and hope." In his introduction, Yoe explains he was mentally and emotionally in a bad place where he had no choice but to draw Woman & Man+ to survive and to find hope. Thus, this book is art therapy. 

One would be hard-pressed to see the above-described journey of NY-Berlin-Canary Island-the Philippines in the art and story. As described in the backmatter, it is a surrealistic landscape of Dali and Hieronymus Bose mixed with Robert Crumb. Animation Magazine described this book, "like Dr Seuss on acid!" It is pop art by way of 1970s underground comix (the period when Craig started doing comics) as we have Minnie Mouse, Batman (Adam West), Nancy, Snoopy, Korky the Cat and even Mr Monopoly made their guest appearances. The art is reminiscent of Keiichi Tanaami, but without the vibrant colors. It is closer to what the late Rick Griffin (an old friend of Craig's back in the day) or S. Clay Wilson may have done if they were still alive, and working with the heavy black and whites. In a way, Craig is the link between the 1970s underground comix and the 2000s alternative comics of Dave Cooper. Craig's position has always been that comics are not meant to be taken too seriously. They are not high art but rather, in this book, it is “Yoe-brow.”

The bottom line: the way to appreciate Woman & Man+ is to let its stream of consciousness sweep over you and go with the flow. Is it about the eternal struggle between the passions of men and women? Maybe. Some might want a stronger narrative structure like the wordless comics of Phil Yeh (another artist of Craig's generation), but we should take Woman & Man+ as it is. Craig is approaching his mid-70s soon. It will be a pity if he does not write and draw more at this late stage of his career. Maybe the cool air of Bagio City will do him some good and we will see more of his art. 

In his 70s, Craig Yoe continues to be on the road.

( photo by CT Lim)

 

Graphic Novel Review: The Incredible Story of Cooking: From Prehistory to today, 500,000 years of adventure.

 reviewed by Cord Scott, UMGC Asia

Stephane Douay and Benoist Simmat and Montana Kane (translator).  The Incredible Story of Cooking: From Prehistory to today, 500,000 years of adventure. NBM Publishing, 2024. ISBN 9781681123417. https://nbmpub.com/products/the-incredible-story-of-cooking

One of the simplest, yet most complex of basic needs, is food.  We need it to survive, but in this era of food on demand in the industrialized world, we have come to take it for granted unless it is not to our taste, or even expected taste.  Through the development of food preparation, Douay and Simmat take us into the history of cooking.  While such a momentous undertaking may seem impossible, the creators give the reader a good overview of how we have come to develop our collective culinary skills.

As with any historical text, sourcing of information is important, and this book does go into a variety of sources from centuries of written material.  It also relies on information from academics, cultural anthropologists, and historical accounts to give us an interaction of food and the development of society as a whole.

The book is divided into nine general chapters, with a final chapter centered on recipes for dishes made during historical times, as previously referenced in the book.  The first chapter covers the most time, from various proto humans through to the last ice age of approximately 9000 years ago.  This chapter goes into detail as to the types of food eaten, mostly through gathering of what could be foraged while watching what other animals ate to determine what was edible versus poisonous.  Many of the anecdotes on the developments of cooking are illustrated by humorous interactions of random characters and give the stories a human quality.

The first chapter also emphasizes the importance of preservation, such as lacto-fermentation as well as that of cold storage and other methods for preservation of foods.  The domestication of grains allowed for the later concepts of farming.  These concepts allowed people to sustain themselves for longer periods of time and therefore settle into one area.  This in turn allowed societies to work on permanent structures, develop written language and even preserve history.  Some of the basic diets from this era have come back into vogue, as is referenced later in the last chapter about food sustainability and diet.

The middle chapters deal with the rise of ancient civilizations such as Sumer, Egypt, Greece and Rome, and how their dietary habits influenced the rest of the world.  The authors state the creation of alcoholic beverages was important, but did not address the issue of why water was not used (due to contaminants).  This may be simply thought to be common knowledge, clean water is something taken so much for granted in the Western World, that the recent widespread development of it often is unstated in historical settings.

The link between food and trade is also explored in the middle chapters.  The idea of Chinese cuisine, going along the “silk road” towards the West, where concepts such as pasta were altered to suit needs and adapt to local grains was important.  This migration of spices, foods and preparation methods is often understated except when it leads to crises, such as the South American potato being introduced in Europe, only to be dismissed as an unfit food item for any but animals or the poor.

Douay does a nice job of explaining the traditional aspects of kitchen duties in the ancient world through the present day.  He highlights the idea of the importance of food as haute cuisine to diplomacy and status. He also explains the development of the modern restaurant concept, gastronomy (an ancient Greek word, revitalized by the French in the later 1800s) and the idea of standardization of food preparation.

The final chapters deal with food preservation in terms of cans and the creation of the food industry.  For this section, Douay notes the industrialization of the meat packing industry in Cincinnati and Chicago, to the phases of “pure foods” promoted such as Kellogg’s Corn Flakes and Graham Crackers (p. 190).  Inevitably, any discussion of modern food leads to American fast food and its impact on the global scale as well as that of general nutrition.

The last part of the book glosses over more recent trends in terms of food security and availability.  More could have been written on these more present trends.  One “new” trend is that of getting protein through the consumption of insects to reduce the land needed for cattle; however, the idea of eating insects existed in many ancient cultures.  The new food movement recipe on page 214 for sustainable soup, using scraps of food, actually is what needed to be done for most of human history until very recently. Lastly, newer movements in cooking, such as the “slow food movement” are discussed as moves towards the future.

One of the few areas where I would have liked to see a bit more information is for spices and their use in southern climates.  It seems counterintuitive, but the idea that spicy food makes one sweat, and hence cool off, is not addressed aside from a quick reference.  Overall, the book is one that will give a basic overview of the culinary world, and it is an interesting one.  The recipes are ones that are also interesting but may or may not be practical in a current setting.

Graphic Novel Review: Adieu Birkenau: Ginette Kolinka’s Story of Survival

reviewed by Matt Reingold

Ginette Kolinka, Jean-David Morvan and Victor Matet (writers), Cesc and Efa (illustrators), Roger (colorist) and Edward Gauvin (translator). Adieu Birkenau: Ginette Kolinka’s Story of Survival. SelfMadeHero, 2024. https://www.selfmadehero.com/books/adieu-birkenau-ginette-kolinka-s-story-of-survival

If one were to compile a list of the subjects most-featured in Jewish graphic novels, the Holocaust would surely be the topic that has garnered the most attention. Since Art Spiegelman’s Maus was first serialized in Raw in 1980 and then subsequently published in two well-received and successful collected volumes in 1986 and 1991, license was afforded to authors and illustrators to creatively explore the Nazi-perpetrated genocide of 6 million of Europe’s Jews.

As the 21st century nears its quarter mark, the proliferation of graphic narratives about the Holocaust has not slowed despite the increased chronological distance from the original tragedy. In the past three years alone, a variety of works in English have been published that explore different facets of the Holocaust. This includes grandchildren trying to understand their grandparents’ experiences (Solomon J. Brager, Heavyweight, 2024; Jordan Mechner, Replay, 2024), child survivors telling their own stories (But I Live, 2022), speculative stories about what Anne Frank would do today were she alive (Ari Folman, Where is Anne Frank, 2022), and the horrors of the Holocaust on American soldiers (Leela Corwin, Victory Parade, 2024). Added to this group is Adieu Birkenau which first appeared in French in 2023.

Adieu Birkenau tells the story of Ginette Kolinka’s life from before the Holocaust and what she endured during it. The graphic autobiograhy was produced by a team of creators that included three writers (including Kolinka), two artists, and one colorist. The work is set in both the past and present, with readers learning about Kolinka’s upbringing in France, her eventual deportation to Auschwitz-Birkenau, and how, in her seventies, she began to speak publicly about her wartime traumas. Much of the book is set during a 2020 school trip to Poland that was designed to introduce students to the horrors of the Holocaust. Kolinka’s role on the trip was as a survivor, there to speak to the students about her personal wartime experiences. Her co-authors, Morvan and Matet, joined the trip in order to document it for the graphic novel.

Readers who have deep familiarity with other Holocaust graphic novels will no doubt see vestiges of these other works in Adieu Birkenau. Using travel to Poland as a conduit for conveying historical traumas can be found in Jérémie Dres We Won’t Visit Auschwitz. Cesc and Efta’s superimposing contemporary experiences atop historical memories is also not novel; Rutu Modan did this in The Property. The use of history to inform reader reactions to contemporary injustices is also something that is present in other Holocaust graphic narratives. This includes Folman’s Where is Anne Frank and Sid Jacobson and Ernie Colón’s Anne Frank.

My point in calling attention to the employed narrative tropes and the artistic decisions made by Adieu Birkenau’s creative team is not to suggest that their work is a duplication of previously issued works. Nor is it to offer a comparison that concludes that one rendering of the Holocaust is preferable to another. Rather, acknowledging what has come before - and with regards to the Holocaust, it is so very much - allows for a greater appreciation for what is new and novel in Adieu Birkenau’s exploration of the Holocaust.

First is the audience of school children who attend the trip to Poland alongside Kolinka. Though we do not know much about them, what we do know is that they are not students who attend a Jewish day school. Rather, they are average French school children who are taking advantage of the opportunity to learn from someone who personally suffered during a traumatic moment in world history. In fact, they are quite like Kolinka was as a child: an average French citizen. Kolinka loved playing sports and her closest friends were not Jewish. In fact, she openly shares with the reader that her family was not particularly religious. By calling attention to the ways that Kolinka is like the children with whom she is travelling and not someone primarily defined by something that makes her other, they bear witness to a tragedy that could have befallen them had they been born at a different time and to a different family. As witnesses, they, too, become owners of a sacred story and become part of the narrative of transmission. As readers, we, too, now become owners alongside the children, bound by the same obligation.

A second important feature of the work is its depiction of bodies. Maus’ power lay in its metaphoric depictions that highlighted the ways that Jews (and other groups) were seen as distinct from one another. Cesc and Efa do the very opposite. Their illustrated bodies are drawn in proportion and reveal the realness of the human physique and what happens to it when it is broken down and ravaged by hunger, disease, and violence. Readers see what naked bodies of average women look like as they await having their heads shaved and their arms tattooed. This includes flabby midsections, sagging breasts, and pubic hair. Their rendition eschews a Hollywoodization that presents bodies in an unrealistically idealized form. Instead, once again, what readers see are real people and real victims. Furthermore, the illustrations capture the women trying to cover themselves as they are exposed against their will. I cannot recall another example of a Holocaust graphic novel that so boldly and graphically depicts the human form at its most vulnerable and with this, the brutality of the Nazi regime.

The primary creative license that Cesc and Efa take has to do with a series of dark shadows. Used in panels set in Birkenau, they inhabit Kolinka’s memories and represent the many Jews who were killed because of Nazi persecution. As Kolinka guides the students through Birkenau, the shadows become illustrated in the present and no longer solely occupy space in Kolinka’s memories. Their enduring presence in her memory results in them becoming imaginatively rendered in the present. In these scenes, readers come to better understand the awful staying power of trauma and how, despite having lived outside of Birkenau for over 70 years, parts of her remain there too.

 It is the confluence of honest renderings of the past, depictions of the impact of trauma, and the invocation to create a different future that make Adieu Birkenau a valuable addition to the catalogue of Holocaust graphic novels. The children’s personal interactions with Kolinka at Birkenau depict the relationship that forms between the survivor who testifies and the audience who receives it. What we, as readers, gain from witnessing their transformation is the opportunity to also be transformed as we gain new understandings into one of the 20th century’s worst atrocities through the narrative power of a single survivor.

Film Review: JewCE: The Jewish Comics Experience

reviewed by Matt Reingold

JewCE: The Jewish Comics Experience. Tony Kim (dir.). JLTV and Turnkey Pictures, 2024.

            JewCE, or the Jewish Comics Experience < https://jewce.org/>, is an annual convention and awards ceremony held in New York City and sponsored by The Center for Jewish History. Its inaugural event in 2023 included the opening of an interactive museum exhibit that is designed to celebrate Jewish comics, cartoons, and graphic narratives and is now traveling around the country. This fall, JewCE released an almost 23-minute video about the exhibit and provided a copy for review.

The narrative arc of the video provides a chronological overview of Jewish comics, cartoons, and graphic novels since the 20th century. With so much to cover in a limited amount of time, viewers are introduced to seminal writers and artists such as Stan Lee and Jerry Siegel, and also to noteworthy figures in comic book history like the publisher Maxwell Gaines and psychiatrist Fredric Wertham. The video is narrated by JewCE’s exhibit curators, Roy Schwartz, Danny Fingeroth, and Miriam Eva Mora who also provide commentary and insights. I appreciated JewCE’s interest in moving beyond a description of what happened in Jewish comics history to an analysis of the importance of what happened. This is a demonstration of the curators’ stated intention to bring together not only artifacts, but to also draw upon history and comics scholarship to inform the exhibit’s content. The video concludes with a section on the exhibit’s interactive features which afford attendees the opportunity to participate in storyboarding and to see themselves as characters in comics.

One of the greatest strengths of the video (and the exhibit itself) is the inclusion of material published by Marvel Comics and DC Comics. Securing permissions can be notoriously tricky (and costly), but the inclusion of these materials provides viewers with strong visual anchors that allow them to see what the narrators are referring to. The inclusion of scenes featuring different characters in animated movies and tv shows was also a nice addition showing the many ways that characters who were originally conceived for print media have evolved over time.

Despite the film’s strengths, I have two concerns and both have to do with the use of superhero narratives. My first is with how Jewishness was read into superhero stories. In its inclusion of Jewish connections to the superhero genre, the three narrators document examples where creators make explicit reference to Jewish themes and topics like the famous cover of Captain America #1 where the hero punched Adolf Hitler in the face. Where I found myself less convinced was with the narrators’ decision to read Jewish creators’ stories and experiences into the characters. Some of these readings are ones that have long been espoused such as locating parallels between Superman being sent to Earth in a rocket ship by his parents who wanted to save him and the biblical Moses being saved by being sent down the Nile in a basket by his mother. Jules Feiffer wrote about that analogy over fifty years ago, and it has remained a part of the free-flowing background of Superman, even though he is never claimed to be Jewish. JewCE: The Jewish Comics Experience also identifies Spider-Man as being Jewish. Though they do acknowledge that there are no explicit references to Peter Parker being Jewish, both Schwartz and Mora read his character as being Jewish. Mora says: “Spider Man is typical nebbish (nerdy). Slight. From Queens” and Schwartz adds “he says oy and meshugas (craziness) and tuches (butt) and Manischewitz.” Reading superhero stories as metaphors for national, religious, and ethnic minorities is not a novel concept, with Marvel’s X-Men being an oft-cited (and ex post facto) metaphor for any group that is singled out as other. Though it would temper its claims, I think the film would stand on more solid ground by emphasizing that this is a reading of these characters rather than the reading of them.

Moreover, if there was interest in telling the Jewish story in superhero comics, there are many characters whose Jewish identities are given significant treatment in comics and they could have been the focus of the superhero section of the video. Though The Thing is mentioned as being Jewish, the character’s decision to recite Hebrew prayers when his friend is hurt is not. Not mentioned at all is Magneto, retconned into being a Holocaust survivor and illustrated with a concentration camp tattoo in the comics. Magneto Testament, a limited series specifically about his wartime traumas, would have certainly been worth mentioning. Both of these examples are of characters whose Jewishness is explicit. It is important to acknowledge that pages from comics are on display at JewCE’s exhibit that show these (and other) superheroes doing Jewish things. I would have appreciated the film’s director focusing greater attention on those overt signs of Jewish content.

My second concern has to do with the decision to allocate almost 70% of the video to Jewishness in superhero stories. I found myself wishing that more attention was paid to the rest of the Jewish comics canon. During the superhero segment, detailed descriptions of people and stories were offered. Viewers are treated to the stories of how Gaines helped launch comic books and how Wertham was vehemently opposed to children reading comic books because their contents would influence children to commit crimes. Conversely, Harry Hershfield’s Abie the Agent, the first Jewish cartoon character, is not mentioned even once despite being a breakthrough success created decades prior to any of the superheroes. Art Spiegelman’s Maus, widely considered by scholars to be one of the most seminal graphic narratives ever published, is only referenced in relation to Spiegelman being a member of the underground comix movement. The limited mention of Spiegelman is reflective as to how every non-superhero author and artist is spoken about. After spending over 15 minutes on superhero stories, Spiegelman and the rest of the Jewish comic book and graphic novel canon are afforded just under 4 minutes total. In this short section, pages from different graphic novels are quickly splashed across the screen. This is done to highlight how Jewish communities from around the world are depicted in visualized narratives, but no specific details are provided beyond mentioning three Israeli artists and saying that their work shows diversity. The video’s inclusion of pages from these different works demonstrates that these other types of graphic narrative are included in the physical galleries themselves and the narrators and JewCE’s website mention the types of panels that were featured at the convention. These too show that thought and attention is being paid to non-superhero texts. I believe the film would have done a better job of showing the rich diversity of Jewish graphic narratives had greater balance been struck between the attention given to superhero stories and every other text.

As a scholar of Jewish comics, I fundamentally believe in the importance and value of telling Jewish stories in visualized narratives. As a fan of Jewish comics, a museum and convention about Jewish comics is right where I would want to be. All evidence suggests that Fingeroth, Mara, and Schwartz have done an admirable job including a wide range of texts at the exhibit in order to show attendees the richness of the Jewish experience as it has been told in Jewish comics and graphic narratives. I am hopeful that any future iterations of the video will provide viewers with that same attention to the whole of Jewish comics. Including more substantive examples – superhero and non-superhero – where Jewish expressions are on display will ensure that viewers leave the film with a deeper appreciation for how Jewish stories are told in illustrated narratives.