“The look of a ghost with ashes in her shoes.” Review of Leela Corman’s Victory Parade by Hélène Tison

Review by Hélène Tison

Leela Corman. Victory Parade. New York:  Pantheon Graphic Library, 2024. $29.00. ISBN 9780805243444. https://www.penguinrandomhouse.com/books/552601/victory-parade-by-leela-corman/

“The look of a ghost with ashes in her shoes.”

Leela Corman is a warm, lively, funny and very serious person – much like her work as a cartoonist, from Unterzakhn (Schocken/Pantheon, 2012), her Eisner-nominated graphic novel about life in New York City’s Lower East Side at the turn of the twentieth century, to her collections of short fiction and nonfiction You Are Not A Guest (Field Mouse Press, 2023) and We All Wish For Deadly Force (Retrofit/Big Planet, 2016), to her new graphic novel Victory Parade (to be published by Schocken/Pantheon in April 2024) which is described on her website as “a story about WWII, women's wrestling, and the astral plane over Buchenwald.” To which one could add such prominent themes as migration and diaspora, racism and antisemitism, brutal social hierarchies, authoritarianism, predatory patriarchy and sexual exploitation, and the many grey areas of life, including in the country that some consider to be “the world’s greatest democracy.”

Corman’s art is striking. She has been working with watercolor for about a decade now, a technical and aesthetic choice that underscores the sensory or haptic quality of this entirely hand-made graphic novel (apart from the lettering – cf. my upcoming interview). It creates a sense of intimacy with the characters, enables the reader to feel the tenderness of the author not only for her protagonists, but also for the survivors and the dead that haunt the concentration camp – and the Jewish American soldier who has returned to civilian life. Her work is beautiful, but not beautifying: as discussed in the interview, Corman presents us with a cast of de-idealized and highly expressive figures.

Corman does a lot of research for her graphic stories, and Victory Parade, which could be described as part fantasy and part historical novel, is no exception: it is full of references, both visual and narrative, not only to the events, but also to the culture and arts of the time, such as Germany’s Bauhaus and New Objectivity, the musicals of Busby Berkeley, propaganda posters or period beer cans. It is also informed by Corman’s family history.

 

Fig. 2 - Victory Parade, page 95. © Leela Corman 2023

As in Unterzakhn, the female characters in Victory Parade are resourceful and impressively powerful – indeed Ruth, the wrestler, is something of a superhero – but as a social group, they are rather low in the hierarchy. This is reflected in the very structure of the book, which first focuses on women (Rose the welder and her colleagues; her daughter Eleanor; Ruth/Rifche, a young Jewish refugee from Germany who lives with Rose), who are central to the story as they are to the war industry for a while – until the soldiers come home, the women are sent back to the kitchen, and Sam (the husband Rose doesn’t love) comes home after having participated in the liberation of Buchenwald, and takes center stage in the narrative. With the exception of the several scenes where Rose and her lover George share intimate and tender moments, sexuality is generally conflictual or predatory in Victory Parade: the book opens on a scene of sexual harassment, and it is ubiquitous, violent and ultimately deadly for Roses’s friend Pearl – as it is, indirectly, for Ruth who was sexually exploited as a child in Germany.

It is fascinating to read Victory Parade in light of Corman’s autobiographical and nonfiction work, which brings to light the more specific and personal meaning of a number of details, images, and symbols. In her graphic narratives, trauma is embodied in the figure of falling, drowning or immersed women who are alternately crushed, distraught, sinister, or empowering – just as nature, the forest in particular, is an ambivalent space, “a place of trauma as much as refuge” (You Are Not A Guest, p. 3). Traumatic loss and multigenerational trauma run through Corman’s autobiographical stories, as in “Yahrzeit” (in We All Wish For Deadly Force, unpaginated), in “Blood Road,” where the figure of the artist braces herself for “an epigenetic storm” as she plans to visit Buchenwald (You Are Not A Guest, p. 22) and in the story that gives the 2023 collection its name, when she visits the Polish town where many of her ancestors were murdered in 1942. In those stories – as is the case for Victory Parade’s Ruth who is described by another character as having “the look of a ghost with ashes in her shoes” (36) – trauma is often impossible to articulate, but it doesn’t go away, it persists as hallucination, after-image, as specters or the undead, limbs and bodies hiding in the woods, coming out of the ground or the sky who accompany, soothe, or bully, Leela Corman’s characters. And so, in the last section of Victory Parade, she addresses, in painful and tender detail, the central trauma running through the generations in her maternal family, and in many others – the Holocaust.

The manner in which she chooses to address it, in a thirty-page episode focusing on the so-called “liberation” of a camp by young, unprepared American soldiers, points to a central trope in the book, indeed, in its very cover: the coexistence of two unimaginably opposed experiences, two continents, one ravaged by brutal, genocidal war and another whose people were far from unconcerned or uninformed, but where ordinary life did not change drastically. The superimposition is symbolized in the uncanny figure of the skull-faced pin-up in a pink bathing suit, legs dangling above a pile of corpses; smoking and blowing toxic, deadly-looking fumes that form the background to the word “Victory,” she puts its antiphrastic quality into relief.

The “victory” announced by Harry Truman on May 8, 1945 (we see Rose listening to his speech on the radio, p. 119) is bitter in the narrative as well: not only does it signal the end of Rose’s relative freedom, but it also heralds the end of innocence or ignorance, the revelations of the extent of Nazi horrors, the confirmation of the fates of relatives left behind in Europe… The antiphrasis is also a comment on political hypocrisy and cynicism, exemplified by that very same speech, in which Truman promises to “build an abiding peace, a peace rooted in justice and in law,” mere weeks before giving the order to launch atomic bombs on Hiroshima and Nagasaki. Although that episode is left out, its “off-frame” presence is hard to miss, and is confirmed (again, elliptically) in the concluding quote by Japanese photographer Shōmei Tōmatsu.

After the preceding paragraphs, it may come as a surprise to read that Victory Parade is not devoid of humor – humor which is neither gratuitous nor mere comic relief, as when Corman offers her readers moments of unexpected, highly political and very dark comedy. She not only dares to tackle Nazi concentration and extermination camps, a topic which is notoriously hard to do right, without trivializing or sensationalizing one of the worst episodes in human history. But, in the mode of Roberto Benigni’s controversial 1997 film Life Is Beautiful, she dares to do so in a passage that she calls the “Busby Berkeley death scene,” (p. 172) superimposing the camp and the type of light, extremely popular entertainment that came out of Hollywood throughout the war years.

Leela Corman’s graphic novels are both historical and topical – in Unterzakhn, before Roe was overturned, she reminded her readers of the reasons why access to abortion is a matter of life and death; today, with Victory Parade, she wants us to remember what tyrannical supremacy and the murderous maligning of the racial Other actually mean – and warns us against going on with our lives as though nothing were amiss while the humanity of others is being denied.

Hélène Tison is associate professor at the University of Tours (France) and is the author of

Female Cartoonists in the United States: Bad Girls and Invisible Women (Routledge, 2022).

 

Read Dr. Tison's interview with Leela Corman.

Book Review: Into the Jungle! A Boy’s Comic Strip History of World War II by Jimmy and Michael Kugler

reviewed by James Willetts

Jimmy Kugler and Michael Kugler, Into The Jungle! A Boy’s Comic Strip History of World War II, Jackson: University of Mississippi Press, 2023. < https://www.upress.state.ms.us/Books/I/Into-the-Jungle>

Few readers, even those intimately familiar with 1940s comics, are likely to have heard of Jimmy Kugler. As a schoolboy creator of comic strips, Kugler fits into a long tradition of children producing their own cartoons in imitation of commercial comics. Into the Jungle! collects his war stories for publication for the first time. Written and drawn when Kugler was an adolescent in the immediate aftermath of World War II, his strips present a fictionalized reflection of the war in the Pacific through a conflict between anthropomorphic frogs and toads. Drawn in pencil on both sides of scrap paper – including on the back of school handouts on poetry and public speaking – these comic strips present an archive of one boy’s response to the war. The story is told over the course of four chapters; “The Fall of Frogington,” “The Fate of a Toad Convoy,” “The Battle of Toadijima,” and “The Fall of Eagle Island.” Each of these are reprinted in full, amounting to over a hundred pages of material with a small number of supplementary images from Kugler’s horror comic and one-off panels.

            This collection of strips is compiled by Jimmy’s son, Michael Kugler, a history professor at Northwestern College in Iowa. Kugler provides a biography of his father, an introduction to his comics, as well as a brief explanation of what is happening in each section and how it relates to the broader course of the fictional war between frogs and toads. Michael’s sections are enlightening and demonstrate both a deep love for his father’s legacy and a recognition of what a reader will need to understand the comics. One of the central problems in compiling the book is that there is no official chronology to fit the strips into. Once the war begins “it is not clear which chapters follow which.” (29) Michael has worked to try and develop an order for the stories based on in-text developments about the course of the war. He also argues for a reassessment of what order Jimmy wrote certain comics in. He disputes the chronology of Paul Karasik who suggests, in ““Die, Frogs!”: The Lost Comics of James Kugler” in The Comics Journal no. 307 (Winter-Spring 2021), that the war comics were written and drawn after “The Mystery of the Winged Frogs,” Kugler’s horror comic, which was reprinted in full alongside Karasik's article.  Karasik's analysis of the drawings in the comic strips suggests that Kugler's artistry underwent a process of development between "The Mystery of the Winged Frogs" and the “War of Frogs and Toads,” which Professor Kugler reverses. Instead, he argues that the “Famous War of the Frogs and Toads” is a thematically – if not artistically – more sophisticated story and likely served as one of the last things that Jimmy Kugler created.

            Michael Kugler situates these comics within the wider history of American post-war adolescence. He notes the influence of newspaper comic strips, comic books and movies on his father’s work. Jimmy’s father worked as a typesetter for Lexington’s newspaper, the Clipper. While the paper didn’t carry syndicated cartoons, Jimmy’s father may have provided him with cartoons from other papers. Certainly, Jimmy’s personal items included a page of comics from Salt Lake City’s Deseret News, alongside collected reprints of Li’l Abner, Tarzan, Mickey Mouse comics, and Alley Oop. Alongside these, Jimmy Kugler’s war comics were certainly influenced by the horror films showing at Lexington’s Majestic Theatre. These disparate influences combine to create a vision of a war without mercy infused with individual acts of heroism and brutality.

            The diversity of Kugler’s pop-culture influences was also filtered through wartime propaganda, with anti-Japanese films and imagery taking form in his comic strip’s portrayal of brutal toads attacking the peaceful cities of the frogs. Once the war begins with the toads attack on Frogington, neither side shows any remorse for their actions. There is no attempt at dialogue or character development for either side. The only focus on both sides is a campaign to exterminate the other completely. While the narrative chronology of the war is not always clear, the duels between individuals or airplanes are lovingly rendered. Kugler’s depiction of aerial combat is some of his best work. While the majority of the illustrations are unsurprisingly crude, Michael does well in drawing attention to the sophistication of his father’s cartoons of aircraft. Jimmy had been drawing pictures of planes which he kept in a scrapbook for years before he started his war comics. He may have observed American fighters from nearby airbases engaging in training flights, alongside reading newspapers, or maybe comics, as a reference. While his frogs and toads are always shown in profile, Kugler includes a range of perspectives to portray aircraft in action, from overhead shots of a flight of enemy planes approaching Frogington through the clouds (67) to bombing runs, enemy aircraft strafing defenseless civilians, and even aerial dogfights (86-87).

            Michael Kugler notes the importance of his father’s comics as a largely untapped archive representing a “a boy’s imagination filtering his experience of popular culture and mass media immediately after wartime.” (27) Kugler’s stories can – and should be - analyzed as both an artifact of post-war adolescence and as objects of historical memory. Introducing these comics to a wider audience makes Into the Jungle! a significant first step in what is sure to become wider study of Kugler’s work.

Exhibition review and photos: Spirou in the torment of the Holocaust

Spirou dans la tourmente de la Shoah. Didier Pasamonik and Caroline Francois. Mémorial de la Shoah, Paris. December 9, 2022 - August 30, 2023.

 

 Exhibition title in French and its English translation

 

Image by Emile Bravo used for the main poster of the exhibition and its catalogue

 

Since opening in 2005, the Mémorial de la Shoah in Paris programs two temporary exhibitions each year to complement its permanent exhibition that traces the history of French Jews during the Holocaust. On January 19th 2017, the Mémorial launched its first temporary exhibition that explored the Holocaust as recounted, confronted and contemplated through comics. Shoah et bande dessinée offered an historical, artistic and cultural overview of the different ways and forms that comics engaged with this most challenging of subjects through fictional and non-fictional lenses. The success and popularity of the exhibition - which included supplementary conferences, meetings, film projections and a reading library that offered almost every title referenced in the exhibition - prolonged its duration well past its original October 30th 2017 closing date, finally ending on January 7, 2018.

Five years later, comics have once again returned to the Mémorial for another temporary exhibition, this time focusing on a singular work featuring Belgium's famous bande dessinée bellboy Spirou. Under the scientific commission of Didier Pasamonik (who also played a major role in realizing Shoah et bande dessinée), this new exhibition illuminates the different historical contexts that inform the wartime adventures of Spirou as written and drawn by Emile Bravo. Over the course of the four albums that make up L'ESPOIR MALGRÉ TOUT (HOPE DESPITE EVERYTHING), Bravo takes readers alongside his version of Spirou through a journey of awakening that forces the young bellhop to face the harsh realities of the Second World War through the plight of Felix Nussbaum and Felka Platek, two real-world Jewish artists whom he befriends while they hide in occupied Brussels. This intertwining of the fictional characters of Spirou (and his companion Fantasio) with the real-life figures of Felix and Felka in their real-world context provides Bravo with a rich tapestry to open a dialogue with Comics, History and the Holocaust in a deeply personal fashion. 

Taking Bravo's bande desinnée as its starting and framing point of departure, the exhibition digs into the historical contexts that are evoked and referenced throughout his 330-page Spirou tetralogy: the Occupation, Deportation, Resistance and the Shoah as they were experienced in Belgium. By exposing these contexts, the exhibition actually illuminates parallel stories of humanism in the face of war: one centered on Emile Bravo's Spirou comics themselves, the other focused on Le journal de Spirou, the weekly comics magazine that introduced its eponymous hero in 1938. With a wealth of supporting archival material that includes original artwork by Felix Nussbaum and Felka Platek, the exhibition reveals the fascinating negotiation between comics fiction and historical fact that engages with the Shoah through the morality and empathy of Spirou and Emile Bravo. It is through this optic that L'ESPOIR MALGRÉ TOUT is presented as an ideal vehicle to transmit the memory of the Shoah across a generational audience, leading Didier Pasamonik to boldly hail Emile Bravo's magnum opus as "the most important comic written about the Shoah since Art Spiegelman's MAUS".

Entrance to the exhibition with a visual guide to introduce the different interpretations of Spirou since his creation

Spirou dans la tourmente de la Shoah is divided into twelve sections installed across two adjacent rooms that are connected by two short separate halls. The first room houses seven sections and one centerpiece that anchors visitors first to Emile Bravo and his take on Spirou, then progressively delves into the real-world contexts that inform the narrative.

Section 1: Emile Bravo's SPIROU

Watch the opening interview clip with Emile Bravo.

 

Section 2: Belgium in the War

Section 3: Spirou and Fantasio meet Felix and Felka

 

Section 4: Undesirables

 

Section 5: Belgium Under the Occupation

 

Section 6: Resisting

 

Section 7: The Persecution of Jews in Belgium

Each section is always introduced with a page excerpted from the comics, followed by expository text enhanced by captioned archival documents, newspaper clippings, photos, film clips, wartime propaganda, maps and artifacts. What is illuminating about the organization of the information is how the interplay between fiction and fact suggests the natural manner that Bravo negotiates their relationship in his comics without didactic overplay or overt signaling. L'ESPOIR MALGRÉ TOUT is very much a coming-of-age story told from the child's perspective of Spirou, so his character experiences much of this information that is presented in the sections about Belgium in the War and under Occupation. One of the most sobering aspects on display in the third section are the identity documents of Felix Nussbaum and Felka Platek alongside a reproduction of an abstract painting of them by Nussbaum. Their juxtaposition functions as stark testament to their real-world existence, and is extended one dimension further in the face of the centerpiece display of Emile Bravo's original pencil sketches and page layouts for Spirou's meeting up with them.

The fourth section on the "Undesirables" also illuminates the little-discussed existence of the internment camps in France that held German civilians living on French and Belgian soil during the earliest months of World War II. Visitors are first introduced to the Saint-Cyprian camp located in the French Pyrennes and learn that this is where Felix Nussbaum was interned in 1940 before eventually escaping to Brussels. During his imprisonment, Nussbaum created several works of art to express the physical, emotional, and spiritual turmoil that he witnessed and endured. Reproductions of two of his paintings are on display here, and they may be familiar to readers of L"ESPOIR MALGRÉ TOUT since Bravo smoothly integrates them into his comics as a way to enlighten Spirou (and by proxy, the reader) of the harsh reality of French and Belgian wartime politics. The camp at the nearby Argèles-sur-mer is also highlighted, and the visitor learns that many Spanish Republicans fleeing the Franco regime were interned there, among them the father of Emile Bravo himself, whose identity card and photos taken during his time there attest.        

The first room centerpiece featuring original artwork by Emile Bravo.

The sixth section about Resisting not only sets the context for Spirou's moral and ethical awakening, it also introduces Le journal de Spirou and its editor-in-chief Jean Doisy - the pseudonym of Jean-Georges Evrard- as exemplars of Resistance itself. With the help of newspaper clippings, correspondence, and ads and comics from Le journal de Spirou, the exhibition highlights the open yet clandestine efforts in which children were being directly addressed to keep true to a code of honor as an "ami de Spirou". One of the most important vehicles of this direct address, both in comics fiction and in historical fact, was the Traveling Farfadet Puppet Show starring Spirou himself, and the exhibition displays an actual historical Spirou puppet alongside actual posters, sheet music, promotional pamphlets and historic film clips for the show. There are even postwar newspaper clippings attesting to the importance of this puppet show and its puppeteers in saving many Belgian Jewish children. Installed on the backside of the first room centerpiece, the puppet display is fittingly placed to face the Resisting section to spatially capitalize on their thematic relationship. This section is quite rich in terms of presenting historical information that offers visitors a new window to consider Spirou, both the character and the magazine. Considered in this new light, their creation and activity during the war years holds a deeper resonance as a transmitter of hope and resistance, one that Bravo brilliantly evokes in his comics.  

The Farfadet Puppet Show featuring Spirou on the back end of the first room centerpiece.

 

Exiting the first room through the short hallway at the back leads to the eighth section of the exhibition: the Deportation Trains. The use of trains in ESPOIR MALGRÉ TOUT is always accompanied by a sense of dread and the unknown, to the point that Bravo begins and finishes each of the four albums with scenes involving trains or railway stations. 

 

Section 8: The Deportation Trains

Though it is a relatively short section in terms of presentation and display of historical information, it makes the explicit point of the existence of deportation trains in the city of Mechelen, where Jews and Roma were held in military barracks (the Kasserne Dossin) before being shipped off to Auschwitz-Birkenau. Photos, passenger lists, registration plates and inventories of meals given to deportees on the day and eve of their departure are presented as a sobering testament of the systematic administrative process behind what was for many to be their final train ride to the East.

The two rooms connect via a hallway that houses the section about the deportation trains

 

The second room is grounded in the historical reality of the visitor, that is, the reality outside of the pages of Spirou. At about three-quarters the size of the first room, it holds four sections that consider the grim reality of the historical backdrop of Bravo's story, as well as a consideration of the history and role of comic books during these dark years.

 

Section 9: What's Happening in the East

 

Section 10: The Painter's Gallery

 

At first glance, the second room of the exhibition seems less packed with original pages and artifacts on display, but a closer look shows that this is not a situation of lack of content, rather it is a thematic decision to focus exclusively on the real-world contexts both outside of and after the pages of Bravo's Spirou. The ninth section examines the growing awareness of what was happening to the East with the deportations, introduced by an excerpt from the comics that shows Spirou's awakening to the same horrible fact. Here we are introduced to Victor Martin, a member of the Belgian Independence Front who went under cover on behalf of the Jewish Defense Committee to investigate what was happening to the deportees. The report that he brought back to Brussels after a series of arrests and interrogations confirmed that the unbelievable rumors that were circulating about forced labor and death camps were fact. Through documents attesting to the veracity of his mission and his identity (including his false identity papers), as well as select pages of his report that eventually made its way to the Belgian government-in-exile in London, this section not only is succinct in confirming the reality of atrocity, it also helps set the tragic tone to digest the next section. 

The Painter's Gallery (see photo above for Section 10) opens with five different panels taken from L'ESPOIR MALGRÉ TOUT where Spirou visits Felix in his Brussels studio-in-hiding and sees some of his tableaux. Next to the comics panels are shown their real-world equivalents (in reduced scale reproduction) so visitors can see the moments when Bravo introduced and integrated these five actual paintings into his Spirou story and their progressive effect on his titular character. Immediately following are installation spaces for the display of original artwork by Felix Nussbaum and Felka Platek, courtesy of the Felix-Nussbaum-Haus in the Museumsquartier Osnabrük. Here visitors can examine in close detail some of the original artwork of Felix Nussbaum in their original scale, size and texture.

Felka Platek's portrait painting (top) overseeing Felix Nussbaum's separate portraits of Felka (left) and himself in 1940 (right)

A lone full-size portrait painting by Felka Platek of an unnamed woman is also displayed to remind visitors of the dual tragedy of the loss of these artists and human beings. It is documented fact that in 1944, both Felix and Felka were arrested in Brussels, detained at the Kaserne Dossin in Mechelen, and deported by train to be murdered in Auschwitz. None of these facts about the fate of Felix and Felka are raised by Bravo in his comics as it all deliberately occurs "offscreen". In Bravo's words, he wanted to make clear that their death would not be at the hand of the author, it was our reality that killed Felix and Felka. That said, this section shows that, to the great failure of the Nazis, the traces of Felix and Felka's existence are memorialized through their own artwork to the point of inspiring Emile Bravo more than sixty years later to bring them back to life.

 

Nature morte d'une mannequin (1942), left, and Atelier à Bruxelles (1940), right, by Felix Nussbaum.

A portrait of Felix Nausbaum by Sad Ji (top) overlooking two pencil drawings by Felix Nussbaum drawn near the end of this life.

The final two sections respectively deal with the fate of Le journal de Spirou following the Liberation, and the situation of Franco-Belgian comics during the Occupation years. It's an interesting choice to close the exhibition with these two comics-centric sections (as opposed to finishing on a more emotional note such as the previous section) and it speaks to the curator's concerted attention to include comics history into this larger historical context to round out the concerns that this exhibition has chosen to deep dive into.

Section 11: A Comic Book in History

With a sequence showing the Liberation of Brussels taken from the final part of L'ESPOIR MALGRÉ TOUT to set the scene, the eleventh section paints an atmosphere of rebuilding and reprisals in the wake of the Nazi defeat. Given Jean Doisy's activities in the Belgian Resistance as recounted in the sixth section of the exhibition, Le journal de Spirou was able to reappear on newsstands and start on a strong enough footing to soon usher a Golden Age of of the magazine with the likes of André Franquin and Will Morris at the drawing board. Using the display of Liberation-era ephemera, photos, recordings and official correspondence and attestations in support of Jean Doisy and others associated with Le journal de Spirou, the political contextual relationship between the era and the magazine is convincingly established. This was not the case for all comics and comics creators in the Franco-Belgian scene as the twelfth and final section outlines. Presented on both sides of the centerpiece (one for France, the other for Belgium), actual comics and newspaper strips from the Occupation era such as Journal de Mickey, Coeur Vaillant, and Bravo! are displayed as examples of how certain comics thrived or survived in those countries. Questions of collaboration with the Occupying forces are raised with respect to certain authors, most notably Hergé, whose mug shot is displayed in a fascinating piece of Resistance ephemera titled "Galerie des Traitres". In France, Jewish-owned comics publishers were often the target of antisemitism. Some publishers were immediately "aryanized" whereas some moved production to Marseilles in the Free Zone, where their distribution was contained to that geopolitical borders. These challenges, alongside the eventual rationing of paper, are all evoked here in a rudimentary sense but  offering a necessary base to give enough context to conclude the tale of the two Spirous, with enough material to suggest further contemplation (perhaps as the subject of an entire exhibition unto itself).

Section 12: The Comic Book under the Occupation in Belgium and France

The exhibition closes off with a final wall that offers two closing remarks in summation. The first is a quotation in its original French and translated into English that leaves the visitor with no question as to the canonical status of Emile Bravo's accomplishment with Spirou from the perspective of the Academie Francaise.

The second-to-last closing statement about L"ESPOIR MALGRÉ TOUT, from Pascal Ory of the Academie Francaise.

 

The final word naturally ends with another interview with Emile Bravo that serves as an appropriate bookend to bring the visitor back to where the exhibition started with his opening words. 

 Watch the closing interview with Emile Bravo

The exhibition is accompanied by an excellent 160 page catalogue published by Dupuis that contains wonderful color reproductions of many of the elements on display. The information presented in the exhibition is taken up and expanded upon in illustrated essay form by a variety of specialist authors. It is an excellent companion piece that sits perfectly on the shelf next to the four volumes of L"ESPOIR MALGRÉ TOUT.

The exhibition catalogue (center) surrounded by the four albums that recount L'ESPOIR MALGRÉ TOUT

Table of contents of the exhibition catalogue

 

To suggest that one leaves this exhibition learning something new is an understatement. The vast wealth of information on display is arranged and organized in a comprehensible academic fashion that evokes a solid DVD supplementary section authored by the Criterion Collection. Far from being a simple presentation of Emile Bravo's research notes and preparatory sketches and outlines, Pasamonik and Francois have curated this exhibition as an interpretative act of reading. Emile Bravo himself stated at the vernissage of the exhibition that he was genuinely surprised by how much was information and material were being drawn from his work for this museum display, and he admitted being unsure as to whether there was enough material to merit such a project. Without question, this exhibition offers more than enough to see, read and contemplate in such a small compact space, leaving visitors with the desire to not only appreciate Emile Bravo's Spirou albums, but to re-read them with a wider conscience, and perhaps look further into the life and work of Felix Nussbaum and Felka Platek, for an even richer experience than before. That in itself is a fitting testament to both this exhibition and the work of Emile Bravo.      

 

- Nick Nguyen

All photos taken by Nick Nguyen

P.S. For the completists, please find below a collection of all the photos of the exhibition that I managed to take to give readers an idea of the spatial layout and organization of the exhibition. I've tred to include all of the elements on display, though not all of them are in close-up.