The graphic memoir has become an increasingly important genre for the comics medium. With his graphic memoir In Waves, A.J. Dungo is joining the likes of Art Spiegelman, Alison Bechdel, and Tom Hart. It’s heady company to be in, especially considering that Maus, Fun Home, and Rosalie Lightning are all different kinds of survivors’ stories. Dungo’s first-person narrative—when it is a first-person narrative—tells of his survival even as Kristen, the love of his life, slowly succumbed to cancer. Combined with tales from the history of Hawaii and the history of surfing, it’s an odd story, but that’s okay. Comics is an odd medium, and some of its best work is done in the service of strange tales, strangely told.

In Waves is Dungo’s first book and began as an art school project focused on two major figures in the history of surfing: native Hawaiian Olympic swimmer Duke Kahanamoku and surfboard innovator Tom Blake. The project’s ambitions expanded naturally when he decided to incorporate his partner Kristen’s story into the existing narrative. The results are eccentric, but overall quite moving. It’s a slow-paced story whose moments seem to come and go like tides. From the beginning, the reader knows that Kristen will not survive this story, but that does not lessen our attachment to her, nor does it reduce her significance. And while his inclusion of Blake and Kahanamoku’s stories in a book about a loved one is an unusual choice, it adds a pleasing ebb and flow to the narrative. Dungo and Kristen were both surfers, so learning about the sport’s royal Hawaiian origins and its many developments fits into their story more naturally than one might expect. There’s a sorrow to both of these men’s triumphs, and to surfing itself, and a kind of parity in the way that these great surfers used their boards to escape their worldly problems. Using this same technique, surfing is everything to Kristen and “her boys” as well, and the narratives flow unexpectedly naturally between the past and present. The result is an emotional portrait of different times, flowing together into one. Adding in the visual influence of Hokusai—the Japanese artist most famous for The Wave—this book is an elemental experience rather than a plot-driven one.

In Waves has its limitations. Dungo sketches his historical figures carefully from photographs, but his contemporary characters have sparse facial features. He sometimes seems aware of this problem, as he often draws the backs of his characters’ heads. This can limit their emotions as well as make it easy for readers to confuse different characters, and it minimizes the impact of the fact that his primary characters are largely Asian American. Even so, his art is patient and directed, with monochromatic pages skillfully dictating mood and pacing through color, panel structure, and design. His words are largely dispassionate, but somehow a passionate mood infuses everything his characters say and do. As a result, this book transcends both its apparent limitations and ambitions. In its words, pictures, and silences it has much to say. It is a book that one person could read many times, and never quite get the same meanings from twice.

Death is a part of life and history, and every library—public, school, or otherwise—serves people of all ages who have lost loved ones. This is a very valuable book for any collection because it speaks honestly and accessibly about loss but not just about loss. Dungo is describing loss as part of a living tapestry. It isn’t the end, but it can’t be discarded. This book is a significant graphic memoir and is highly recommended for all libraries and is unusually accessible for such an artistically-rendered story. That said, In Waves is most appropriate for libraries with teen and young adult comics collections, though it wouldn’t look out of place in an adult collection. Other than the fact that it is a book about a loved one’s death, there are no content warnings attached to this book.

In Waves
By AJ Dungo
ISBN: 9781910620632
Nobrow, 2019
Publisher Age Rating: Teen+

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Character Traits: Characters with Disability Japanese, Hawaiian or Pacific Islander
Creator Highlights: Own Voices, BIPOC Creator

  • Matt

    Past Reviewer

    Matthew Z. Wood has over a decade’s experience in public and academic libraries, and has worked everything from IT to Reference Desks, from the Reserve Room to Acquisitions. He received his Master’s in Library Science from the University of North Carolina- Chapel Hill in 2011. He has worked at the North Carolina State University’s D.H. Hill Library, and the Durham County Library in Durham, NC and is currently a Writing Trainer for Comic Book Resources and Valnet. Working with his partners, David Milloway and Stephanie Freese, Mr. Wood co-created the webcomics “The Dada Detective” and “Chocolypse Now!” Their collection “The Dada Alphabet” was shortlisted for the Lulu Blooker Prize; the team received a Nerdlinger Award in 2008. Though a child of the Carolinas, Mister Wood resides in Spokane, Washington with his wife and daughter; they have dinner with his in-laws every Sunday. A church-goer but not an evangelist, a practicing martial artist for more than 30 years (Southern Chinese kung fu and T'ai Chi Chuan) but not a fighter, he has loved comics his entire life. Most recently, he has contributed articles to Dr. Sheena Howard’s Encyclopedia of Black Comics and in August of 2018 his first book-- Comic Book Collections and Programming, A Practical Guide for Librarians-- was published by Rowman and Littlefield. He writes under the name The Stupid Philosopher at

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