In his first work intended for young readers, Jaime Hernandez reworks three traditional folktales from Latin America. F. Isabel Campoy’s useful introduction speaks to universal importance of folktales, the complex interplay of the folklore from various countries on the folktales from Latin America, and the importance of strong independent women in the body of tales.
The title tale, “The Dragon Slayer,” has many familiar motifs from other folklore traditions. The youngest daughter’s generosity to an older stranger results in a reward of a magic wand that informs her about everything she needs to know. Armed with her courage and wit, she seeks employment at a castle, falls in love with the prince and, in a series of clever maneuvers with the help of the magic wand, slays the dragon, saves the day, marries the prince, and, in a slight twist to a traditional ending, establishes a new home and kingdom.
The second tale, “Martina Martinez and Perez The Mouse,” is adapted from Alma Flor Ada’s version of the traditional story of Raton Perez’s marriage from Tales Our Abuelitas Told. Martina and her red hair ribbon catch the attention of several suitors, but it is little Raton Perez that captures her heart and hand in marriage. Unfortunately, one day he falls into a cauldron of boiling soup creating a series of overemotional and unhelpful chain reactions from Martina and neighbours and friends. Thankfully, for Raton and Martina, a wise older woman offers wisdom rather than melodrama and another happy-ever-after-ending is the result. The final story, “Tup and The Ants,”’ is another amusing tale, this time of three brothers, none of whom are particularly clever. The youngest, Tup, is especially lazy and he manages to create an advantageous alliance with ants to win the respect of his in-laws and family.
All three folktales are told sparingly and simply in both text and illustration. The brightly coloured illustrations are generally divided into six panels with ten pages allocated for each tale. These colourful, unpretentious, and unadorned illustrations are extremely appropriate for the retelling of folktales for readers of all ages. While economically drawn, the characters, human and non-human, are imbued with expressive body language and emotions. Their eyes, in particular, are effective in developing character, tension, and moving the story from panel to panel just as the oral storyteller would use his or her facial expressions to bring the stories alive. There is a joyful movement and play that is evident in each panel, in the gutters, and, ultimately, in the telling of the three tales.
There are four pages of notes following the stories that provide background on each of these tales. The notes, aimed at older readers, include a bibliography of print and online resources and several stock beginnings for oral storytelling in Spanish and English. They explain antecedents and put the tales within context of the history of the area where the tales were traditionally found. Realizing that this collection is intended for young readers and those who share books with young readers, I will not take umbrage at the fact that a moral or lesson for each tale is spelled out in the notes. Stories from a rich heritage such as these should not have to be elucidated to the reader or listener of the tales and, as told by Hernandez, they are left for the audience to embrace their own conclusions. At the same time, I am very pleased that the background information to the tales is included in this slim, colourful, approachable, and enjoyable collection. Also available in Spanish: La Matadragones: Cuentos de Latinoamerica. hardcover and paperback editions of both languages.
Highly recommended.
The Dragon Slayer: Folktales from Latin America by Jaime Hernandez ISBN: 9781943145287 Toon Graphics, 2017 Publisher Age Rating: 8+
Dead Weight: Murder At Camp Bloom, a new standalone graphic novel written by Terry Blas and Molly Muldoon and illustrated by Matthew Seely, follows a group of four teens attending weight loss camp who come together after witnessing a grisly murder. Though Jesse, Noah, Kate, and Tony all arrive at Camp Bloom with different goals and attitudes, they join forces to figure out which of their cabin mates or counselors may be responsible for murder.
While the title of this book is a tongue-in-cheek reference to the mission of Camp Bloom, the story itself relies very little on stereotypical ideas about weight. In popular culture, weight loss camps often serve as a punchline rather than a multidimensional setting. Perhaps the most famous example is Disney’s 1995 film Heavyweights, wherein a group of teen campers deal with outrageous situations imposed by a tyrannical fitness counselor.
In Dead Weight, by contrast, we’re not meant to derive humor from the antics of food-obsessed caricatures. Instead, the spotlight is on the mistakes and hypocrisy of the camp counselors, whose struggles with image and identity fuel the conflict in the story. The campers themselves, though still working to find their voices amidst the influence of parents and peers, generally behave in ways that are competent, brave, and well-intentioned. Weight loss camp, in this instance, is not a punchline. It’s a setting that is both zany and thoughtful, giving the story a unique hook while subverting pop culture’s stereotypical notion of “fat camp.”
Seely’s cartoonish and saturated style meshes effortlessly with the tone of the text. When tasked with illustrating corpses, he leans into the absurd, and the visual is similar to that of corn syrup and food coloring. Images that could be frightening or disgusting by another hand instead blend well with the overall silliness of the story. Depicting violence and humor on the same page is tricky, but Blas, Muldoon, and Seely manage it gracefully.
The mystery at the heart of the book is entertaining, though silly, and the four main characters are an unlikely and compelling band of allies. There are characters of color and LGBTQ+ characters in major roles. Fans of the Goldie Vance series will appreciate the diverse cast and light tone of the mystery, while fans of television shows like Adventure Time and Gravity Falls will like the artistic style and overall wackiness. Though there are moments of cartoonish gore (this is a murder mystery, after all), the story would be appropriate for middle school audiences, and may attract younger readers due to its visual similarities to popular cartoons. This is a solid title that will surely delight those who enjoy over-the-top stories in unique settings where friendship plays a vital role.
Dead Weight is an excellent additional purchase for a large graphic novel collection, particularly in communities where irreverent YA titles heavily circulate. Additionally, those looking to expand their collection to include more titles that deal with body image and size diversity may find this to be a valuable addition. This book contains a complete story arc and currently stands alone, though the ending allows for the possibility of a sequel.
Dead Weight: Murder at Camp Bloom by Terry Blas and Molly Muldoon Art by Matthew Seely ISBN: 9781620104811 Oni Press, 2018
Alberto Ledesma had a secret that he hid from others for most of his life. A secret that his parents had kept from him for years—his parents brought him to America illegally when he was a small child. As a teen, Alberto worried that he would be found out and sent back to a country he couldn’t remember. So he worked hard and excelled, thinking that high achievement would make him worthy of staying. He eventually earned a PhD, became a university professor, and a legal resident. In Diary of a Reluctant Dreamer, Ledesma reminisces about this journey in diary form, accompanied by many drawings that he has done over the years.
While there are drawings and short comics in this memoir, this book is not, strictly speaking, a graphic novel or a graphic memoir. The artwork doesn’t tell a story; it is not sequential art. The pictures are snapshots of Ledesma’s life, much like you would find in a diary. The book is a thoughtful, moving memoir and rumination on what it means to be an undocumented child and adult in the United States. The shame and emotions on display are palpable and the book makes it easy to identify with Ledesma’s plight. Having to tell his daughter that he was once undocumented is a particularly riveting tale.This is a story that needs to be told and one that is relevant to our current situation in the US.
Though the story is important, the book itself is strange and hard to categorize. The format is unusual in that it is slightly oversized, bigger than an average book, yet not quite the size of a typical coffee-table book. The font is unusual and somewhat difficult to read. Some of the drawings have different fonts in them which is distracting as well. The artwork is raw and inexpert, but the ideas conveyed are occasionally powerful and illuminating, like the Statue of Liberty dressed in Day of the Dead garb or migrant workers with mechanical limbs to indicate their true value as machines in the US. While not sequential, chapter 7 is entirely made up of drawings depicting different letters of the alphabet and the words that impact undocumented peoples like “Back Pay”, “Coyote” and “Deportation”. In general, I found it to be a powerful book.
However, as this site focuses on reviewing graphic novels, I would like to note that I did not put this book in my library’s graphic novel collection. I put in with young adult nonfiction, but it might find more of an audience in a public library’s adult nonfiction section. Ledesma seems to be writing for college students here, not high school students. There are many academic terms and I could see it being used in a college classroom. This book is a part of a new project out of Ohio State called Latinographix: the Latinx comics series. It is heartening to think that there might be more works about the Latinx experience coming. I look forward to a completely sequential story about the Latinx experience that I can add to our graphic novel collection.
Diary of a Reluctant Dreamer: Undocumented Vignettes from a Pre-American Life by Alberto Ledesma Art by Alberto Ledesma ISBN: 9780814254400 Latinographix – Mad Creek Books, 2017 Publisher Age Rating: ((OT 16+))
Genie, a purr-fect orange cat, has disappeared after a series of earthquakes. Lupe Impala, Elirio Malaria, and El Chavo Octopus must close their garage and follow tiny paw prints to track down their missing furr-end. Along the way they discover more than they bargained for: a giant corn maze, a tricky coyote, a weeping mother, and Mictlantecuhtli: the Aztec god of the Underworld. The Lowriders must rely on their mechanical skill and creative thinking to outwit their latest foe.
Lowriders to the Center of the Earth is the punny, adventure-filled sequel to Lowriders in Space. The series follows the adventures of three best friends/mechanics as they navigate their world in their tricked out ranfla, or lowriding car. Spanish phrases are seamlessly integrated into the text, adding cultural flavor and making the story more fun to read. Readers may well find themselves reading out loud—I certainly did! Translations for the text are offered at the bottom of each page, while a handy glossary of all terms and phrases can be found at the back of the book.
I love puns and Lowriders to the Center of the Earth is full of ‘em. English puns, Spanish puns, and BILINGUAL PUNS! Camper does an excellent job of writing dialogue that seems naturally bi-lingual; it’s never awkward or forced. Conversations feel authentic and characters are well developed. Science and cultural history are also interwoven into the story. While the three mechanics are on their journey, they encounter geology lessons, Aztec myths, Mexican wrestling, and a Day of the Dead celebration. The narrative almost resembles a Magic School Bus plot, albeit one that is hipper, a little edgier, and infused with Latino culture.
The coolest thing about the artwork is that it was created using a humble material: ballpoint pen. Raul the Third’s drawings have great detail and a street art flair. Some of the coolest panels combine Aztec imagery with Mexican wrestling Lucha Libre costuming. The colors are simple and effective; blue, red, and black pop off of the cream colored pages. The drawings are stylized like notebook doodles but sophisticated enough propel the story forward. Young readers might be inspired to create their own ballpoint comics!
Teachers and librarians might be interested in sharing the downloadable activity kit that accompanies Lowriders to the Center of the Earth (http://www.chroniclebooks.com/landing-pages/pdfs/Lowriders_ActivityKit.pdf). The kit includes a Spanish language activity, drawing activity, and comic creation activity. Put some printouts on a table with pens and paper and you have an instant activity station!
“Bajito y suavecito” (low and slow) might be the way Lupe, Elirio, and El Chavo travel, but it’s not the way this graphic novel reads. Although Lowriders to the Center of the Earth is a sequel to Lowriders in Space (2014), the story can stand alone, leaving readers furiously flipping pages to find out if these amigos will rescue their gato and get their ranfla back to the garage!
Lowriders in Space; Lowriders to the Center of the Earth, Book 2 by Cathy Camper Art by Raul the Third ISBN: 9781452123431 Chronicle Books, 2016 Publisher Age Rating: 8-12
In this quasi-autobiographical tale, comic book legend Gilbert Hernandez paints a vibrant and pragmatic view of his memories of suburban family life in California during the 1960s. Firmly affixed in time with popular culture references from television programs, music, and, of course, comic books, the book navigates the reality of childhood, school and family dynamics, friendships, and self awareness and identity within and without the borders of this specific community and family. Significantly, Hernandez’s coming-of-age story is as relatable to contemporary readers as to those who grew up playing marbles and continuously engaging in role-play without the aid of electronic means.
While the protagonist is essentially Huey, the book reveals the inner workings of the relationships of other characters as well, highlighting the interconnectivity of childhood dreams, ideals, and coping skills among members of the nuclear family and the neighborhood residents. Huey is an individual, but he is also an everyman, identifiable and relatable for most readers, regardless of gender. It is a story fueled by male memories of brothers, but it does not overlook the female members of the neighborhood in the telling. All of the characters are fully developed, and nary a stereotype jumps off the page.
The worldview offered here is one that is nostalgic but also child centred. It is a world populated by iconic signs of childhood: the worshipping of comic books and other elements of popular culture, the diverse age range of the main characters, and the almost complete unawareness of intolerance.Hernandez subtly offers insights into racial divides and distinctiveness in the community, all through the eyes of its youngest members. While adults are invisible in this world, readers see their influence on their children. For example, comic books are taken away until marks improve, revered collector cards are trashed, siblings are babysat, and loud playing in the yard is forbidden.
This is a colorful and noisy world, ironically portrayed in black-and-white, cartoon-like illustrations. The panels, uniformly six to a page, offer only basic background vistas, focusing instead on the body language and facial expressions of the participants in this character-driven collection of vignettes. This is not to say that there is not a great deal of action in the comic; there are, in fact, constant interactions between Huey, his siblings, his friends, and other neighborhood children. The illustrations and layout are reminiscent of both the world of Peanuts and of Archie’s Riverdale,but still present a world unique to the tale. The attractive hard-cover package includes an extended essay by comic scholar Corey K. Creekmur on childhood as portrayed in this book and in other comic book worlds. The essay may be of interest to educators and librarians, but its adult worldview and dense type will probably discourage younger readers.
Marble Season by Gilbert Hernandez ISBN: 9781770460867 Drawn & Quarterly, 2013 Publisher Age Rating: 12+
In his first work intended for young readers, Jaime Hernandez reworks three traditional folktales from Latin America. F. Isabel Campoy’s useful introduction speaks to universal importance of folktales, the complex interplay of the folklore from various countries on the folktales from Latin America, and the importance of strong independent women in the body of tales.
Dead Weight: Murder At Camp Bloom, a new standalone graphic novel written by Terry Blas and Molly Muldoon and illustrated by Matthew Seely, follows a group of four teens attending weight loss camp who come together after witnessing a grisly murder. Though Jesse, Noah, Kate, and Tony all arrive at Camp Bloom with different goals and attitudes, they join forces to figure out which of their cabin mates or counselors may be responsible for murder.
Alberto Ledesma had a secret that he hid from others for most of his life. A secret that his parents had kept from him for years—his parents brought him to America illegally when he was a small child. As a teen, Alberto worried that he would be found out and sent back to a country he couldn’t remember. So he worked hard and excelled, thinking that high achievement would make him worthy of staying. He eventually earned a PhD, became a university professor, and a legal resident. In Diary of a Reluctant Dreamer, Ledesma reminisces about this journey in diary form, accompanied by many drawings that he has done over the years.
“You’ve GATO be KITTEN me!”
