Brain Pickings

Posts Tagged ‘Nobrow’

03 FEBRUARY, 2015

Gertrude Stein’s “Word Portrait” of the Love of Her Life, Illustrated

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“Some one who was living was almost always listening. Some one who was loving was almost always listening.”

Gertrude Stein (February 3, 1874–July 27, 1946) and Alice B. Toklas had one of creative culture’s greatest love stories and were among literary history’s most influential power couples. Their first encounter, love-at-first-sight that lasted until death did them part four decades later, is the stuff of legend, and their lifetime of literature and love endures in the befittingly unusual form of an equally legendary cookbook-memoir. In their Parisian home at 27 rue de Fleurus, the couple hosted the famed Stein salons, frequented by such icons as Pablo Picasso, Ernest Hemingway, F. Scott Fitzgerald, Ezra Pound, Sinclair Lewis, Thornton Wilder, Sherwood Anderson, and Henri Matisse — artists and writers whose careers were often aided, and in some cases practically made, by Stein’s patronage.

In 1910, three years after she met and fell in love with Toklas, Stein wrote the first in her series of “word portraits” — pioneering descriptive essays that fell partway between prose vignettes and narrative poems. Her subjects were mostly famous peers — including Picasso and Matisse — but the very first such piece was, fittingly, inspired by Toklas — the story of a young woman named Ada, “after her grandmother who had delightful ways of smelling flowers and eating dates and sugar.”

For the centennial of Stein’s story, British independent press Nobrow brought Ada (public library) back to life with striking illustrations by Berlin-based artist Atak inspired by the golden age of chromolithography. Working in the tradition of early printmakers — a technique only rare artists like Blexbolex still use, with breathtaking results — Atak adds a whole new dimension of uncommon whimsy to Stein’s already quirky mesmerism and singular magic of word-wrangling. (“If you enjoy it, you understand it,” Stein memorably asserted about her unusual prose.)

She came to be happier than anybody else who was living then. It is easy to believe this thing. She was telling some one, who was loving every story that was charming. Some one who was living was almost always listening. Some one who was loving was almost always listening. That one who was loving was almost always listening. That one who was loving was telling about being one then listening. That one being loving was then telling stories having a beginning and a middle and an ending. That one was then one always completely listening. Ada was then one and all her living then one completely telling stories that were charming, completely listening to stories having a beginning and a middle and an ending. Trembling was all living, living was all loving, some one was then the other one. Certainly this one was loving this Ada then. And certainly Ada all her living then was happier in living than any one else who ever could, who was, who is, who ever will be living.

Complement Ada with Stein’s posthumously published alphabet book, her little-known early children’s book, and her object miscellany for grownups, Tender Buttons, illustrated by artist Lisa Congdon.

Images courtesy of Nobrow

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14 JANUARY, 2015

A Graphic Cosmogony: Illustrators Imagine the Origin of the Universe

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From the lyrical to the ludicrous, uncommon takes on how our world came to be.

Humanity’s history of mapping the cosmos is as long as our margin of error in explaining the universe is wide. We have been wrong about so much so often and so staunchly stubborn in admitting our errors. But we have also produced works of immeasurable beauty in giving form to our awe, however rooted in illusion, and continue to dwell in awe as we struggle to reconcile conflicting explanations and pursue the truth of our origins.

In A Graphic Cosmogony (public library), twenty-four of today’s most celebrated illustrators and graphic artists each take seven pages to tell their version of the story of the universe’s origin and how our world came to be. There are unusual takes on traditional creation myths like The Book of Genesis (who needs Adam’s biologically suspect rib when there is Eve’s true-to-life vagina?), imaginative homages to evolution, gorgeous interpretations of Japanese folktales, and all kinds of fanciful alternative mythologies that fuse the playful with the profound.

In the introduction, Paul Gravett considers why the medium of comics lends itself to the story of creation so aptly:

There is something instinctual, almost primal about making and reading/viewing comics, especially highly graphic ones with few or no words. They spark a provocative clarity that taps into our inner caveman’s brain, our pre-literate child-self deciphering to make sense of the strange wonders of the everyday. And for all our scientific advances, here we are now, only a mere decade into this second millennium, and still finding fascination in the show-and-tell choreographies of pictures, lettering, balloons, captions and panels.

Rob Hunter: Luna

Rob Hunter: Luna

Rob Hunter: Luna

Rob Hunter: Luna

Brecht Vandenbroucke: Genesis

Brecht Vandenbroucke: Genesis

Jon McNaught: Pilgrims

Ben Newman: All That Dreams Matters

Ben Newman: All That Dreams Matters

Ben Newman: All That Dreams Matters

Clayton Junior: Ara Poty

Luc Melanson: Deus Magicus

Yeji Yun: Solitude

A Graphic Cosmogony, far more delightful in its sequential and tactile totality, comes from British independent press Nobrow, who have previously given us such gems as a graphic biography of Freud and an illustrated tour of how the brain works. Complement it with French graphic artist Blexbolex’s bewitching Ballad, a different kind of lyrical graphic mythology as old as the world, and this evolution coloring book.

Illustrations courtesy of Nobrow

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18 DECEMBER, 2014

How New York Became New York: A Love Letter to Jane Jacobs, Tucked Inside a Graphic Biography of Robert Moses

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How two titans faced off to shape the ideal of the modern metropolis.

Few people have done more to redefine the fate of a city — and, by a halo of influence, of cities in general — than Robert Moses (December 18, 1888–July 29, 1981), “master builder” of New York during the city’s astonishing growth spurt in the middle of the twentieth century. He envisioned and brought to life 658 playgrounds, which increased the city’s previous supply of these precious play-areas fivefold, 416 miles of parkways, 288 tennis courts, and 678 baseball diamonds, in addition to numerous major roads and bridges. A brilliant architect and fierce politician who denied doing politics, Moses possessed “an imagination that leaped unhesitatingly at problems insoluble to other people,” as Robert E. Caro wrote in his Pulitzer-winning, 1,200-page biography The Power Broker — one of the most impressive books ever written in the English language — tracing how Moses slowly changed from “the optimist of optimists, the reformer of reformers, the idealist of idealists” into a man who used “iron will and determination” to bend a city, perhaps the world’s greatest city, to his will. That uncompromising willpower and its fruits would eventually lead the great urbanist Lewis Mumford to proclaim that “the influence of Robert Moses on the cities of America was greater than that of any other person.”

Forty years after Caro’s classic, writer Pierre Christin and artist Olivier Balez offer a very differently delightful take on the legendary man’s life in the beautiful graphic biography Robert Moses: The Master Builder of New York City (public library) — the latest installment in the same series by British independent press Nobrow that also gave us the excellent graphic biography of Freud and that of Karl Marx, which was among the best history books of the year.

In gorgeous mid-century-inspired illustrations, the story chronicles Moses’s formative years, his rise to power, his many contradictions — the greatest urban planner who ever lived built revolutionary highways and freeway systems, but never learned to drive — and how he acted out that infinitely rare combination of dreamer and doer on one of the grandest stages the world has ever known.

But make no mistake — Moses was no holy hero. The deep flaws of his power-hungry character and the dehumanizing ruthlessness of his industrial vision reveal themselves gradually and crescendo midway through the book as his counterpoint emerges: Jane Jacobs, legendary patron saint of urbanism and the human-centered city, enters the scene, via the beloved bicycle on which she was known to roam the city.

By that point, Moses has developed “such arrogance that he started to think himself irreplaceable.” Jacobs, on the other hand, operates with equal determination but from a deep place of humility and compassion for the citizen’s experience. The two titans of urban planning soon clash over their differences, exposing the disquieting fact that no ideal is without its tradeoffs and that what is most effective, more often than not, comes at the expense of what is most ennobling.

Moses’s fertile and perhaps perverse imagination has no limits and a second, equally gargantuan project will bring the antagonism between him and Jane Jacobs to a climax….

Jane has no trouble denouncing the monstrous “Spaghetti Bowl” that will constitute the Lower Manhattan expressway, soon also to be known as the LOMEX.

All that constitutes New York’s heritage, but also the memory of the tenements crammed with new immigrants — the air laden with the smell of meat from the meatpacking district; the discarded fish of Fulton Street; the sewing workshops full of exploited girls — all of this, considered by Robert Moses as inefficient or worse, unhygienic, is destined to disappear under a ten-lane highway.

Jane Jacobs will personify the refusal of the systematic eradication of the human, done in the name of a hypothetical better world.

In fact, the entire book feels like a love letter to Jane Jacobs buried inside a biography of a man far less worthy of admiration, which begs the obvious question: Where is the graphic biography of Jacobs herself? And, more broadly, why is it that among all the major graphic biographies released in the past few years — Salvador Dalí, Andy Warhol, Sigmund Freud, Karl Marx, Charles Darwin, Richard Feynman, Hunter S. Thompson, Steve Jobs, and Francis Bacon — there hasn’t been a single one of a female cultural icon? There are some lovely children’s books celebrating great women — such as those about Julia Child, Maria Merian, and Jane Goodall — but the graphic biography genre woefully remains gender-warped, to say nothing of the subtler implication that women’s stories are to be infantilized and men’s superheroized.

Even so, Robert Moses remains an excellent book and in many ways a necessary one, worthwhile not only for that love letter to Jacobs — though it, to me, was the highlight — but also for telling the complicated story of a complicated man who shaped a complicated city. In doing so, it disabuses us of the dangerous illusion that history’s most important narratives are simple and straightforward hero-myths.

Illustrations courtesy of Nobrow

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06 OCTOBER, 2014

Karl Marx’s Life and Legacy, in a Comic

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From the opium of the masses to the downfall of capitalism, by way of love and revolution.

The history of our species is rife with ideologies — political, religious, social, philosophical — that have been either wholly hijacked from their creators or gradually warped, with only fragments of the original vision intact, doomed to being continually misunderstood by posterity.

On the heels of the excellent graphic biography of Freud, British indie press Nobrow is back with Marx (public library | IndieBound) by Swiss writer, economist, historian, and psychoanalyst Corinne Maier and French illustrator Anne Simon — an illuminating chronicle of the life and legacy of a man at once reviled as “the Devil” for denouncing capitalism and celebrated for his ideals of eradicating inequality, injustice, and exploitation from the world. More than the sum total of his political legacy, Marx’s story is also one of great personal turmoil and tragedy, inner conflict, and moral tussle — subtleties that the comic genre, with its gift for stripping complexities to their simplest truths without losing dimension, reveals with great sensitivity and insight.

The story begins with Marx’s childhood as the third of nine kids in a traditional Jewish family and traces his exasperation with classical education and his choice to study philosophy instead, how he fell in love with the woman who would become his partner for life, the evolution of his influential treatise The Communist Manifesto, how he ended up dying a stateless person, “both adored and hated,” and what his ideas have to do with the 2008 economic collapse.

One of the final pages, reflecting on communism’s rise to power in Russia, Eastern Europe and China in the twentieth century, captures the dimensionality of Marx’s legacy in elegantly simple form. “Some very good things came out of it, but some very bad ones, too,” writes Maier as Marx’s ghost is depicted walking off, muttering to himself, “My ideal of freedom was betrayed.”

Complement Marx with other fantastic graphic biographies — Salvador Dalí, Richard Feynman, Andy Warhol, Charles Darwin, Hunter S. Thompson, and Steve Jobs — then revisit Nobrow’s wonderful graphic novel about the brain.

Images courtesy of Nobrow Press

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