For Art Spiegelman, the Pulitzer Prize-winning author of Maus, the terrorist attacks of September 11, were both highly personal and. Aili McConnon admires Art Spiegelman’s compelling vision of the aftermath of the attack on New York, In the Shadow of No Towers. IN THE SHADOW OF NO TOWERS By Art Spiegelman. Illustrated. 42 pp. Pantheon Books. $ Duke Ellington was luckier than Art.
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Catastrophic, world-altering events like the September 11 attacks on the United States place the millions of us who experience them on the “fault line where World History and Personal History collide. As in his Pulitzer Prize-winning Mauscartoonist Spiegelman presents a highly personalized, political, and confessional diary of his experience of September 11 sgadow its aftermath. In 10 large-scale pages thr original, hard hitting material composed from September 11, to August 31,spiegelmam essays, and 10 old comic strip reproductions from the early 20th century, Spiegelman expresses his feelings of dislocation, grief, anxiety, and outrage over the horror of the attacksand the subsequent “hijacking” of the event by the Bush spiebelman to serve what he believes is a misguided and immoral political agenda.
Readers who agree with Spiegelman’s point of view will marvel at the brilliance of his images and the wit and accuracy tje his commentary. Others, no doubt, will be arr by his candor and, perhaps, be challenged to reexamine their position. The central image in the sequence of original broadsides, which returns as a leitmotif in each strip, is Spiegelman’s Impressionistic “vision of disintegration,” of the North Tower, its “glowing bones But the images and styles in the book are as fragmentary and ever-shifting as Spiegelman’s reflections and reactions.
The author’s closing comment that “The towers have come to loom far larger than life Despite the ephemeral nature of the comic strip form, the old comics at the back of the book have outlasted the seemingly indestructible towers.
In the same way, Spiegelman’s heartfelt impressions have immortalized the towers that, imponderably, have now vanished. Pulitzer Prize—winning cartoonist Spiegelman’s new work is spiegelkan inventive and vividly graphic work of nonfiction. The artist, who lives in downtown Manhattan, believes the world really ended on Sept. He provides a hair-raising and wry account of his family’s frantic efforts to locate one another on September 11 as well as a morbidly funny survey of his trademark sense of existential doom.
This beautifully designed, oversized book each page is heavy board stock opens vertically to offer large, colorful pages with Spiegelman’s contemporary lamentations along with wonderful reproductions of 19th-century broadsheet comic strips like Richard Outcault’s Hogan’s Alley and Rudolf Dirk’s Katzenjammer Kids. Old comics, Spiegelman Tye writes, saved his sanity. Would you like to tell us about a lower price?
If you are a seller for this product, would you like to suggest updates through seller support? For Art Spiegelman, the Pulitzer Prize-winning author of Mausthe terrorist attacks of September 11, were both highly personal and intensely political. In the Shadow of No Towershis first new book of comics since the groundbreaking Mausis a masterful and moving account of the events and aftermath of that tragic day. Spiegelman and his family bore witness to the attacks in their lower Manhattan neighborhood: But the horrors they survived that morning were only the beginning for Spiegelman, as his anguish was thee displaced by fury at the U.
He responded in the way he knows best.
In the Shadow of No Towers – Art Spiegelman
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Please try again later. It was read by the whole family eventually. Board book Verified Purchase. I treasure both the original and the following Spiegelman’s book. They are sheer genius, and my tpwers also enjoyed the style and the content.
Every possible emotion I endured while tenaciously devouring the stories. My 4 children were teenagers when the first book came out. Years later, my Son bought the whole set for me as a gift.
He’s thoughtful that way I shadoow all of them. The stories were indelibly envisioned, and I felt the anguish of feeling s felt by the family and the story teller s. A world treasure in a format that enables slow reading, or hungry reading, whatever you can digest at the time.
In the Shadow of No Towers – Art Spiegelman Review | CultureVulture
I would highly recommend this read. His illustrations are wonderful. If you like graphic novels, this is one you should not pass up. I also highly recommend the seller, who shipped out the book promptly as well as protectively. Spiegelman captures the confusion and disbelief felt that day by spoegelman who witnessed the terrible tragedy of the destruction of the World Trade Center. He also includes a history lesson about how comics relate to journalism. From the author of Maus, and Maus II, here is another graphic masterpiece.
Spiegelman could have written another Maus book. True to form, the content is written as a graphic novel read: I have to admit I didn’t “get” everything he was writing – perhaps because I wasn’t there. But I was still left feeling the impact of the tragedy – this is important to remember in light of the call to arms and global splintering that’s followed.
Thr if you don’t agree with his politics, this is an important read. I can’t complain about the quality of the content of this book, only that there’s not enough of it!
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The artwork is incredibly crafted, and the large-format reproduction is spectacular. His visual story-telling skills, aided by references to comic book history, are as powerful and clever as ever — the “Cuddly Tower Twins” sub-panel, featuring the Katzenjammer kids and their crazy uncle, says more in a few frames than most insta-pundits can get across in 10 minutes of cable news rants or in long-winded op-eds.
But then, halfway through the book, you’ve read all of Spiegelman’s new work. I was expecting more, but he makes clear in the foreward that it’s painstakingly slow for him to produce. I’m guessing a rush to toaers is a factor in how thin this collection is. I certainly hope he keeps working in this format — for stuff this good, I can wait.
The rest of the book is still rewarding — a monograph on the old comic strips that influenced his work is followed by brilliant color reproductions of that old work. Speigelman is upstaged in his own book by a stunning “Little Nemo in Slumberland” strip that’s worth the price of admission alone. By providing this window into his world of references, Speigelman makes his own work a little richer. Not recommended for robots, tragedy fetishists, Bush lovers, or Britney Spears. But if you’re even reading this you probably know that already.
Was surprised on the size of the book, but enjoyed Spiegelman’s Maus and this one doesn’t disappoint. Laced with his own family history as well as cameo appearances by the stars and supporting characters of the early days of comics, it is an excellent display as well as a vital and telling portrait. I happen to agree with the politics, which may grate on readers who cannot see past a message with which they may not agree to consider the artistry and heart-felt concern.
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