In 1852, 400 Chinese laborers in transit to the Americas mutinied against the white ship captain profiting from their transportation. Terrorized by British forces and accused of piracy by British and American courts, the rebels briefly won freedom, but never saw justice. Pairing a short graphic novel with academic essays, The Cargo Rebellion: Those Who Chose Freedom surfaces a buried history of Chinese and South Asian labor exploitation that took place throughout the nineteenth-century colonial world.
Written by academics Jason Chang, Benjamin Barson, and Alexis Dudden and illustrated by Kim Inthavong, The Cargo Rebellion opens with a short comic narrating the historical development of the so-called “coolie trade” that saw Chinese and South Asian indentured laborers transported to the Americas under exploitative conditions that the authors characterize as human trafficking. The Robert Bowne mutiny is briefly recounted, as well as the subsequent international legal battle that pitted American and European systems of imperialism against Chinese efforts to combat trafficking.
The comic provides a clear overview of the political and economic context under which Asian unfree labor proliferated in the nineteenth century. Its text skews academic but is still accessible, elevated by Kim Inthavong’s emotive full-color art. The last pages connect the history of Asian American labor with the contemporary practices of transnational slavery and trafficking. The authors issue a call to action for readers to stand against a system of “racial capitalism” and work toward “a global ethics of de-objectification.”
Following the comic are three academic essays by Dudden, Chang, and Barson: a detailed discussion of the mutiny and its legal aftermath, best practices for teaching Asian indenture in the classroom, and a study of Afro-Asian culture in the United States through the lens of music history. The essays contain valuable information and ideas, but there seems to be a missed opportunity to use the comic format to bring some of this material to life—in particular, details of the mutiny and legal dispute might have added depth to the rebels’ narrative, and historiographical details would help explain why stories like the Robert Bowne mutiny are so hard to reconstruct.
A related pitfall of the essays is that they give the book a scholarly bent that makes it much less accessible to younger readers. High school students are unlikely to persist when they come to the denser academic text. Again, it feels like the graphic novel format is underused, specifically, its potential to draw in a larger audience.
Nevertheless, The Cargo Rebellion stands out as virtually the only publication by a non-academic press about nineteenth-century Asian labor trafficking. Its important subject matter makes this title a good fit for university libraries, as well as general adult nonfiction collections that emphasize Asian and Asian American history and social justice topics.
The Cargo Rebellion: Those Who Chose Freedom By Jason Chang, Benjamin Barson, Alexis Dudden Art by Kim Inthavong PM Press, 2023 ISBN: 9781629639642
NFNT Age Recommendation: Adult (18+) Creator Representation: East Asian Character Representation: American, Chinese
In an age where computers can create comic panels that saturate the viewer’s eyeballs with color or render scenes that only existed within one’s imagination, a more simplistic art style can be seen as an artist doing the bare minimum of artwork. But that viewpoint completely ignores the story being told. One such example of a story buoyed by its minimalist artwork is Anthony Del Col and Fahmida Azim’s Pulitzer-Prize-winning book I Escaped a Chinese Internment Camp.
This graphic novel tells the harrowing ordeal of Zumrat Dawut, a mother of three who is arrested and detained by the Chinese government simply for being Muslim. Tortured, beaten, and even sterilized, Dawut’s only recourse is to escape her captivity, and does so with the help of her husband. That escape, however, is hard earned, and readers will accompany Dawut throughout her harrowing time as a prisoner.
Perhaps most harrowing about this particular story is the fact that it’s true. The source material uses testimony Duwat herself gave to the United Nations Human Rights Council. Writer Del Col created a very clear character arc to Duwat’s story, beginning first by exposing her quiet life as a wife and mother before going into her nightmare. Readers are there for every beating, every degradation, every time her hope of someday leaving her cell is dashed. By the time Duwat is free, that freedom feels both well-earned and ephemeral, not sure that she is really safe until the final page is closed.
Azim’s artwork for this story is minimal, mostly in black and white, which makes sense, considering that Duwat is incarcerated. Life in prison is lacking in color and vibrance by design, so as to break a prisoner’s spirit. That lack of color eventually feels like a physical weight for the reader, who is forced to imagine what that experience is like for Duwat. Color only returns when Duwat, along with the reader, is assured of her freedom.
This novel is a great addition for librarians who want to show the capabilities of graphic novels to tell realistic, human stories. It doesn’t take place in space, or in medieval times, nor does it feature hyper-detailed human figures ready to leap off the page. It depicts the action without indulgence, shunning a color-saturated sheen for honest emotion. Patrons who love biographical works and the comic format, while able to appreciate a more serious tone in their stories, will find Duwat and her story worthy of triumphant cheers.
I Escaped a Chinese Internment Camp By Anthony Del Col Art by Fahmida Azim Lev Gleason, 2023 ISBN: 9781988247960
Publisher Age Rating: 12 years and up NFNT Age Recommendation: Adult (18+), Older Teen (16-18) , Character Representation: Chinese, Muslim
When it comes to renowned texts within the Eastern literary canon, Journey to the West towers over its fellows, often being cited as one of the four great classical works of Chinese literature. There is something enduring about the story of Sun Wukong, a powerful monkey king turned Buddhist disciple that must use his immense strength, durability, and supernatural abilities to protect the monk Sanzang on his quest to obtain sacred texts, all the while facing many rigorous trials and demonic threats along the way.
For centuries, it has entertained and enlightened readers with its rich allegories, political commentary, and overall engaging, adventurous plot. It has also been the source of inspiration for countless plays, novels, movies, TV shows, comics, and manga, most notably Dragonball and Naruto. Here, as a visually captivating graphic novel, Chaiko’s The Monkey King: The Complete Odyssey revitalizes the classic tale for an audience that, while most likely familiar with the fruits of its influence, have yet to witness this perilous, strange, yet somewhat comical journey.
While Sanzang technically holds the status of main character in the original story, the refocusing of Wukong as the central character makes the most narrative sense. He displays more character development than anyone in the cast, going from a prideful, violent instigator aiming to topple the Heavens themselves to a loyal protector and disciple of Sanzang capable of showing mercy. His frequent moments of mischief and playfulness make him quite endearing to the reader, playing into a multifaceted nature that can be intimidating yet also charismatic. Wukong is a classic trickster character, similar to Loki and Hermes from Norse and Greek myth respectively, though he is more likely to fight his way out of a situation than through wit or cleverness.
No matter how one chooses to adapt Journey to the West, the main draw and appeal will be its memorable characters and how the creator interprets them for the audience. Along with the chaotic Wukong and devout Sanzang, the other figures that guard the monk during the long trek are the disciples Zhu Bajie, a greedy pig-like being, and Sha Wujing, a quiet, though obedient river ogre. With these varying and certainly clashing personality types, it makes for some standout character moments that give readers an insight into the inner dynamics of the group. At times, there appears to be a familial aspect to how the characters interact with each other: Sanzang as the authority figure,
Wukong the responsible eldest, Bajie the antagonistic foil to Wukong, and Wujing as the peacemaker. Wukong and Bajie’s arguments play off as sibling rivalry at times, making for some hilarious banter and a great deal of tension. It gives another layer to their interactions, as well as establishing another humanizing connection to the reader. In the process of bringing the story into a new medium, Chaiko keeps these relationships intact and maintains the characters as incredibly faithful interpretations, which helps to capture the spirit of the primary text.
What really sets this adaptation apart is Chaiko’s masterful artwork, especially when it comes to ambiance. The art style has a rougher, more traditional appearance, which perfectly puts the reader in the mood for a mythic epic. There is a recurring focus given to grand, natural elements such as cascading waterfalls, lofty mountains, and immersive open landscapes. Chaiko’s use of watercolors gives them a simple, yet elegant appearance, making each part of the journey visually distinct. Color is what ultimately enhances the storytelling, especially in terms of setting and tone. When in the earthly realm, the colors are fairly muted.
Rarely does the reader see anything brighter than the light blue of the sky, or orange of the setting sun. The hues are more reserved and modest, contrasting the bright pinks, purples, and golds that are constantly seen in the heavenly realm or in the presence of divinity. It gives the perfect sense of otherworldliness and reverence to the home of the immortals, inferring that a certain sort of beauty is only attainable when reaching a higher plane. In terms of tone, Chaiko utilizes color to instill certain emotions in a scene. During battles with foes, the panels turn ominous with dark greys and blues, highlighting the intensity and dynamic posing of characters, whereas lighter colors follow more emotional or light-hearted moments. As a result, each scenario gets its desired effect, whether that be raised tensions as a fierce face-off in a dark sky rages on, or a cold feeling of sorrow during a parting of ways in a bright and bare snowy forest.
As to its status as an adaptation, Chaiko does an admirable job of adapting and condensing 100 chapters worth of material into a graphic novel accessible to a modern, international audience. If I were to have one gripe, it would be that the marketing and synopsis describes it as being the complete story of Sun Wukong, When really it does not follow his journey with Sanzang, Bajie, and Sha to its conclusion. The story ends quite suddenly after a climactic moment, only hinting at the rest of the journey they still must undergo. It was somewhat frustrating not to be able to see them to their journey’s end, but it did not bring down the story as a whole.
Though cutting off a bit short, the graphic novel still holds all the intrigue, charm, and feel of the original that has been drawing people in for centuries. If anything, it leaves readers with the chance to discover more of the story themselves, whether that is through consulting with the text or seeking out another adaptation. For those wanting a more complete graphic novel version, I would recommend checking out Adventures from China: Monkey King by Wei Dong Chen, which takes a similar abridged approach in the span of twenty volumes.
The Monkey King: The Complete Odyssey will entertain readers partial to stories of mythic quests, legendary heroes, and beloved folk tales with a thrilling action element. Manga readers especially may be drawn to its art style, as well as through its ties to popular titles they may have already read. Due to its wonderful ability to balance drama, action, and humor with deeper themes and allegories, this title can be enjoyed by a wide age range, though publishers have given a specific recommended age of 13 and up. Librarians and educators looking for titles that may connect readers more easily to classical literature or see a high circulation of titles tied to myths and legends should consider purchasing this title.
The Monkey King: The Complete Odyssey By Chaiko Tsai Magnetic Press, 2023 ISBN: 9781951719760
NFNT Age Recommendation: Adult (18+), Older Teen (16-18), Teen (13-16) Creator Representation: Chinese, , Character Representation: Chinese, Buddhist ,
In this deceptively simple and colour-filled graphic novel, we are introduced to the author’s family history as seen through the eyes of five female members at fifteen. The book starts in 1908 with Weng Pixin’s great-grandmother Kuan in China. Her story is followed by the narratives of her grandmother Mei in 1947, her mother Bing in 1972, herself in 1998, and the imagined story of Pixin’s future daughter in 2032. The fact that we are shown, rather than are able to attend to their verbalizations, is an indication of the struggles this matrilineal family has, and continues to face, with silence as their paramount defense in all aspects of their lives. “She grew to quiet her voice, just so she could survive.”
While the stories are not completely based on her female family members due to the silence and lack of family stories, Pixin extrapolates the histories and uses her art to explore the concealed and stifled personal struggles that had traditionally been internalized, subdued, and hidden from others in her lineage. It is through her art and the telling of these stories that Pixin delves into the rationale behind the harrowing and negative relationship she had always had with her own mother. These stories are told in a series of vignettes, moving both forward and backwards in time, each exploring key and interrelated elements in the lives of the five characters. This arrangement effectively illuminates the inter-generational complexities of societal expectations, family dysfunction as well as successes, and reveals how they are transferred from one generation to another. The themes that resonate within these vignettes are the love of nature and animals, a sense of alienation from the adult world, the suppression of trauma, and the sanctuary of artistic expression to compensate for the silence that predominated each of their lives. The breaking of that silence and the understanding of the causes of the frustrations and anger that seems insurmountable is the valuable undertaking that Pixin and her imaginary daughter explore with the fragments of the family history that they can find. “I wonder also what it would be like to live in a world where you have no control over your life.”
Pixin’s illustrations, painted in bold and vibrant colours, are reminiscent of folk art, focusing primarily on domestic settings. Included in the panels are extreme close-ups, recurring images of crickets, and the daily chores of each of the teenagers within their time frames. The layout of the panels is not static, but, while fairly conventional, it is also reflective of an uncomplicated and straightforward narration that combines to engage the reader in unanticipated observation and mediation. This is not a book that should be read quickly, but savoured. The ambiguity of the stories being told adds to the appreciation of the book as a whole. The occasional full-page panels add to the awareness of this being a work of art and passion. The occasional dialogue offers additional snippets of information about each of the characters, their motivations, and their challenges, but it is not the driving force for this graphic novel. It is the images, and the silences within the panels and illustrations, that ultimately carry the story.
Recommended for high school library collections, public library collections, and collections on memoir, family histories, and Chinese creators and history.
Let’s Not Talk Anymore By Weng Pixin Drawn & Quarterly, 2021 ISBN: 9781770464629 Publisher Age Rating: 16 and up
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: Chinese Character Representation: Chinese
Stone Fruit, the debut graphic novel by comics artist Lee Lai, is a heartfelt story about two young women navigating the end of a relationship and the tension points between biological and chosen family. Lai does a marvelous job adapting the structure of young adult coming-of-age stories to the tumultuous years of our twenties, when many of us are still working out what kind of adults we hope to become.
This book centers on Ray, a young woman who’s part-time caretaker to her rambunctious young niece Nessie, and Bron, Ray’s fiercely imaginative, mentally ill girlfriend. Ray and Bron have decided to forge a life together, but their fresh start is complicated by existing family ties. For Ray, family means a strained relationship with her sister, Nessie’s mom, who is wary of Bron’s mental illness and perhaps her trans identity. Bron has her own complicated family of origin: religious conservative parents who have never fully accepted her as a trans woman, but also a younger sister who feels like Bron left her behind. When Bron decides to leave Ray and return home to her parents, both women find themselves reevaluating their familial relationships, unearthing trauma but also testing for the possibility of connection.
Stone Fruit feels like a novel that has the potential to be someone’s favorite book, appearing at the right moment for a reader facing any of the challenges that animate Ray and Bron’s lives: mental illness, a strained relationship with a sibling, an unexpected breakup, a first taste of aunthood. Though Stone Fruit is a breakup story, its melancholy is tempered by moments of joy and insight. Lai has a particular talent for capturing the mundane: life-altering conversations in nondescript restaurants; awkward breakups that end with running out into the street in your underwear; bad babysitting sessions powered by episodes of Peppa Pig. The understated storytelling meant that it took me a while to feel immersed in the story, but once I found my footing, I was deeply moved by this sharply observed snapshot of the human experience.
Lai’s art is terrific and will please fans of traditional media, with fluid brushwork and dreamy blue gouache. Simple four-panel pages put the emphasis on characters and text; the artwork is accomplished but never gets in the way of the narrative. Lai’s one bold artistic choice is her depiction of Ray, Bron, and Nessie during their babysitting romps—the three become monsters with reptilian skin and wicked teeth, a witchy image of female power that serves as a symbol for the kind of female-centered family that Ray and Bron want to create.
Stone Fruit is a strong choice for adult comics collections. I’d particularly recommend it to new adult readers looking for a narrative that speaks to their experiences; however, older adult readers will find just as much to enjoy here. Those purchasing for a young adult audience should be aware of the inclusion of nudity and a brief sex scene.
This title also delivers welcome representation of queer, trans, and Chinese diaspora experiences, adding breadth and inclusivity to graphic novel collections that have historically tended to exclude marginalized voices. Lai is a new voice to look out for, and her debut is well worth picking up.
Stone Fruit By Lee Lai Fantagraphics, 2021 ISBN: 9781683964261
NFNT Age Recommendation: Adult (18+) Creator Representation: Australian, Canadian, East Asian, Trans Character Representation: Chinese, Queer, Trans, Ambiguous Mental Illness
Everything is Beautiful and I’m Not Afraid: A Baopu Collection explores the identity, imagination, and struggle of cartoonist Yao Xiao. Baopu is a monthly, serialized comic published in Autostraddle, a online community dedicated to publishing independent, progressively feminist, queer media. Thus, Everything is Beautiful and I’m Not Afraid: A Baopu Collection allows us to enter the universe of a bisexual, Chinese-American emigrant woman, an identity not often, if ever, shown in popular media. The collection includes both never before seen comics and fan favorites.
Baopu is a Taoist word used to illuminate the importance of simplicity and the ideal of living in a simpler state. Xiao clearly exemplifies this ideal through her work. The artwork is understated and the writing is accessible. The use of simplicity in Xiao’s artwork conveys a feeling of intimacy. Every comic in this compilation seems like it could have easily come directly from Xiao’s diary. And, frankly, this makes her comics likeable. Regardless of your identity, Xiao’s artwork is relatable. Xiao portrays herself in pseudo-minimalist drawings throughout each comic. In fact, her line work is so uncomplicated that her character is often only identifiable by a triangular hat differentiating her from the characters around her. While some readers may find the lack of detailing in her work frustrating, others will find it endearing.
As for the actual writing in this collection, once again readers may find themselves divided. Some of Xiao’s writing, such as one comic highlighting her frustration to pick a—literal—box, may read as cliched and a bit saccharine. However, other comics, such as those highlighting her loneliness as an immigrant, are quite poignant. One notable comic, titled “Quiet Night Thoughts” illustrates a poem by famed 7th century Chinese poet Li Bia. Xiao beautifully applies a poem written during the Tang Dynasty to her experience as a Chinese-American in the 21st century.
Given the independent nature of this publication, no particular age group is ascribed to the book. However, this book will mostly likely be appreciated by teens and emerging adults. Another issue with the independent publishing of this book is availability. This title most likely will not be available to libraries unless purchased from the publisher, Andrews McMeel Publishing, or Amazon. And, ultimately, may not be worth the investment.
Everything is Beautiful and I’m Not Afraid: A Baopu Collection is a sweet, engaging book. However, for a comic collection, the book is short at 128 pages. The collection feels incomplete. As a reader, I found myself wanting more. Xiao is clearly a young, very promising comic artist. I would love to read a more comprehensive volume of work from her. While I cannot recommend that this particular book be added to your library’s graphic novel collection, I would highly recommend that prospective readers take a look at Xiao’s professional Instagram account (@yaoxiaoart) and published work on Autostraddle. Xiao is a competent artist and cartoonist. More is certainly to come.
Everything is Beautiful and I’m Not Afraid: A Baopu Collection By Yao Xiao ISBN: 9781524852450 Andrews McMeel Publishing, 2020 Publisher Age Rating: (16+)
Browse for more like this title NFNT Age Recommendation: Older Teen (16-18), Adult (18+) Character Traits: Chinese American Bisexual, Queer Creator Highlights: Own Voices, BIPOC Creator, LGBTQIA+ Creator
We all know Janet van Dyne, The Wasp, but Nadia, The Unstoppable Wasp, is a whole other experience. She’s smart, she knows it, and she’s here to shake things up, starting with the scientific patriarchy. Oh, and take down the organization that kidnapped and raised her. And make friends, even with villains. And finish her dad’s projects. And maybe take the bomb out of her friend’s head. Who needs sleep?
Every once in a while, there’s a comic that has a very sound concept, but has trouble with follow-through. Unstoppable Wasp is such a case; volume one is interesting enough at first, though a bit unbearably cheerful and manic, before descending into just kind of silly to the point of feeling pandering. Volume two picks up at the end of volume one, ties them together, and adds in another level of depth and interest.
My primary problem with the Unstoppable Wasp comics is the writing; the first volume especially feels like one long advertisement for diversity in science, especially with the significant number of pages at the end dedicated to interviews with real women in science. Of course, they’re not just women in science, but women in science who also have social media handles and/or are involved in TV or YouTube.
That’s great, and sure, we should talk more about it, but within the story it comes across as the White Savior bringing together her plucky team of disadvantaged girls of color. Because, of course, the rest of the team are girls of color, each from a slightly different background. It doesn’t help that after forming the Agents of G.I.R.L. (an unfortunate acronym that matches the phrase Nadia ascribes to it), the plot never comes back to them for the rest of the first volume. Thankfully, the second volume circles back and gives more detail to each girl beyond just say, Black, into pop culture, quirky dresser, and engineer. Overall though, there’s a weirdly strong emphasis on whether they’re interested in fashion or not, adding to a Barbie feel.
The art is also variable; the first volume is very smooth, but the girls all look strangely the same in body shape, facial features, and coloring. The exception is Lashayla, who is actually a darker-skinned Black girl, an unusual sight in comics. The second volume gives much greater visual variety, though Lashayla is strangely much lighter in skin tone, which is disappointing. The one consistent complaint I have with the art is that the girls all have overfull lips in both volumes. It’s a little disconcerting, but also something of a nod to older comics. Otherwise, the art does a good job of conveying the frenetic energy of Nadia and handling this very dialogue-heavy comic.
The most distinguishing feature of Unstoppable Wasp is that it discusses mental illness in teenagers. We’ve seen discussion of mental health in comics before, even in Marvel (consider the Mariko Tamaki run of She-Hulk), but as far as I know, almost never with youth. And the most remarkable part of it is that they don’t do a bad job of it. There’s discussion of likely genetic links, therapy sessions, and medication. There’s supportive family and friends, encouraging her to take care of herself. Mixed in with that is talk of having to separate the public, heroic image of a person and the personal image that can be more troubled. This means a brief discussion of domestic abuse; I wish that had been expanded a little more because it feels like that particular topic is brought up and quickly set aside, though not done poorly.
I can’t strongly recommend this series because the first volume is so rocky, but if you’re looking to add to your collection with more diverse superheroes and something tailored towards teens, Unstoppable Wasp is a solid choice. It would be a great suggestion as further reading for lovers of comics like Unbeatable Squirrel Girl,Ms. Marvel, or Patsy Walker, AKA Hellcat.
The Unstoppable Wasp, vols. 1-2 By Jeremy Whitley Art by Elsa Charretier, Alti Firmansyah & Gurihiru ISBN:
Volume
ISBN
1
9781302906467
2
9781302906474
Marvel, 2017 Publisher Age Rating: T+ Series Reading Order: https://www.goodreads.com/series/208648-the-unstoppable-wasp-2017 (Wikipedia or Goodreads)
Browse for more like this title NFNT Age Recommendation: Tween (10-13), Teen (13-16), Older Teen (16-18) Character Traits: Characters with Disability East Asian, Black, Latinx Queer, Creator Highlights: Related to…:
Brazen: Rebel Ladies Who Rocked the World is a pitch perfect historical graphic novel for anyone who wants to learn about brazen rebel ladies throughout history. Pénélope Bagieu started with a list of 50 women whose stories she wanted to tell and narrowed it down to about 30 for the book. In interviews, Bagieu is quoted as saying that one of the hardest choices was deciding “whose stories I could tell a 200 times without getting bored of.” She especially wanted to showcase that not all brazen rebel ladies are western, white, educated, cisgender, straight women. At the end of the book, Bagieu does include the rest of her list of fabulous women for further reading.
Spanning nearly 2500 years of history, Brazen gives life to women such as Agnodice, one of the first women gynecologists who lived in 350 BCE Athens, to Sonita Alizadeh, an Afghanistan rapper born in 1996. Bagieu covers doctors, scientists, artists, explorers, entertainers: just about anyone from anywhere through time. Some of the women I knew, such as Nellie Bly, Josephine Baker, Hedy Lemarr, and Temple Gradin, are listed but others such as Nzinga, warrior queen of Ndongo and Matamba, Cheryl Bridges, athlete, and Giorgina Reid, lighthouse keeper, are entirely new to me. I found myself especially delighted Bagieu made sure Mae Jamison was included, the first black woman in space who happens to be a sci-fi and comics nerd.
Typically in anthologies or in music, the placement of the stories or songs are arranged by the artist just so, with a theme or an overarching story told via that placement. I could not find such a theme here and this is not to say that the work is haphazard—rather the thoughtfulness of the placement of the brazen rebel’s lives are listed such that you could read about a rebel from 2500 years ago and the next story is of a brazen rebel from the 18th century. The book does not need to be read in chronological order, but I will warn you that when you sit down with the book you’ll likely finish it one sitting, just as I did.
Bagieu wrote, illustrated, and colored the art marking her as a force to reckon with. In another interview, Bagieu selected a “very simple palette of four colors for each story, chosen carefully regarding the era, the country, the global feeling of the story.” In between each story is a two page highly detailed and colored spread of the brazen rebel in action, whether she is warrior queen or Temple Gradin and her cows.
Pénélope Bagieu is known for her attention to detail and the wit of her subjects. Here she gives these ladies all the attention and voice that they deserve. Each brazen rebel is finely drawn and brought to life, their stories may be told over a few pages but each story is in-depth enough to whet a history lover’s appetite. Brazen is listed as age appropriate for older teens, 16+, and up, but it could easily become the favorite of middle grades and up, especially as a reference book for further study. Highly recommended for any collection especially for history lists as well as lists for LGTBQ+ peoples.
Brazen: Rebel Ladies Who Rocked the World By Pénélope Bagieu Art by Pénélope Bagieu ISBN: 978-1626728691 1626728690 First Second, 2018 Publisher Age Rating: Older Teen (16+)
Browse for more like this title Character Traits: Japanese, Chinese, Black, Latinx, Middle Eastern, Lesbian, Bisexual, Queer, Pansexual, Trans
Discover the wonders of everyday life with four stories set in Beijing, China. In My Beijing: Four Stories of Everyday Wonder, Nie Jun explores life through the eyes of a young girl named Yu’er and her grandfather.
Yu’er is disabled, and relies on her grandfather for transportation. She dreams of swimming in the Special Olympics, but the family does not have access to a pool. So her grandfather fashions a harness to a tree that allows Yu’er to practice swimming. The message of the story is if you believe in yourself, anything is possible.
In another story, Yu’er finds some neighborhood kids tormenting a butterfly. She tries to stop them, but they push her to the side. A young boy, Duobao, comes to the rescue. He whisks Yu’er away to what he calls Bug Paradise. Duobao shows her the visual and sensory pleasures that can be found there. From the sounds of crickets chirping, to the buzz of the bee, Yu’er imagines a symphony all around her. The scene captures the marvel and magic that surrounds us, that we are too busy to notice.
Yu’er has rosy cheeks and wears an orange and white cap with a tuft of her bangs hanging out. Her grandfather is a rotund fellow, who is always in a jovial mood. The artwork is done in the style of watercolor. The main colors used are orange, yellow, green, and blue. The courtyard residences that make up the hutong are naturally grey, but the author infuses them with orange and green window trimmings to give it a vibrancy. It makes the images pop out, and you want to absorb every little detail.
My Beijing: Four Stories of Everyday Wonder captures what life is like living in a hutong. These types of structures are normally found in the northern parts of Beijing. A hutong is an alleyway that connects rows of siheyuan. Siheyuans are residences that are built to form squares or rectangles to create a courtyard. These types of spaces began during the Yuan dynasty circa 1271-1368. When initially people think about Beijing, they might think of the Summer Olympics. A visual of huge crowds, historic buildings, and a place where tradition and the present combine. The hutongs as depicted in the graphic novel give us a sense of interconnectedness of the community. By being connected physically, communities become closer and cooperation is necessary for peace and harmony.
I found My Beijing: Four Stories of Everyday Wonder to be a visual feast for the eyes and like a warm cup of soup for the soul. You can’t help but feel your spirit glowing. The story radiates happiness, and an appreciation for the simple things around us. Children will enjoy the visuals, and the character of Yu’er. The theme of the importance of dreams, and not letting your limitations define you will resonate with the young and old.
My Beijing: Four Stories of Everyday Wonder by Nie Jun ISBN: 9781512445909 Graphic Universe, 2016 Publisher Age Rating: 7-11
As is unsurprising for such a substantial collected edition (over 500 pages), Soulwind is a winding and expansive tale. At its heart, this is a story of a boy who becomes a hero, in a very Joseph Campbell hero’s journey kind of way. In typical hero fashion, he saves the world. Also there’s some questioning the fact of the creation of the world. But that’s not where we start. At first, this seems to be a story of a young monk in training with his master. The story shifts suddenly to another perspective, throwing the reader into a bizarre conversation between talking animals and what look like the stereotypical Roswell style aliens. Soulwind covers such an extensive scope in time, including Arthurian legends, hopping between stories and perspectives frequently. It is most definitely an epic story, in several senses of the word. This makes it hard to keep your footing when reading it at first, since there are so many subjects and characters to juggle.
Overall though, the whole comic feels deceptively simple. It has clean art, primarily young main characters, and easy dialogue, while covering complex and sometimes controversial topics. Those include things such as the existence of God or gods, death, suicide, and abortion. One section features a young gay couple, whose relationship is tangential to the story itself and is never used as a plot point or to perpetuate stereotypes. The art is exquisite, shifting all the way from formal Chinese ink brush style to scribbly, childish art, and styles in-between. The art adapts with the current perspective of the story and makes excellent use of negative space. Even in sections of more complex art, the important moments of the scenes aren’t lost in detail.
I wouldn’t recommend Soulwind for children, primarily because the comic is so complex. Much of the higher meaning of the comic would escape them, and it could be frustrating to try and keep up with all the shifts in mood and style. Soulwind does have high adventure, elements of fantasy and fairies, and something of a theme of self-discovery, so I could see it appealing to middle school and high school age kids. Ultimately though, it would be best shelved with the adult graphic novels. ONI Press rates Soulwind as Mature, which is understandable considering some of the topics discussed, but I feel there are definitely teens who would feel drawn to the comic if not for the art alone then for the subject matter. There’s no gore or sex, and even the violence is generally drawn in broad, sweeping strokes so nothing comes across as distinct. Much of the story requires the reader to put pieces together, so I could see a lack of appeal for some readers who prefer a more obvious progression of plot.
This is an older comic, originally published in 1997 and 1998, but the collected edition was recently re-printed in hardcover by ONI Press, coinciding with the comic’s 20th anniversary. A hardcover collected edition is a nice way to add a new graphic novel to a library collection, because the whole story is collected. (Plus, as most librarians know, hardbound copies fare better over time than softbound.) The first four issues of the initial release were nominated for Eisner Awards, and Soulwind is a classic worth keeping in a library collection for its beautiful and unusual story and style.
Soulwind by Scott Morse ISBN: 9781620104644 ONI Press, 2017 Publisher Age Rating: Mature
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As is unsurprising for such a substantial collected edition (over 500 pages), Soulwind is a winding and expansive tale. At its heart, this is a story of a boy who becomes a hero, in a very Joseph Campbell hero’s journey kind of way. In typical hero fashion, he saves the world. Also there’s some questioning the fact of the creation of the world. But that’s not where we start. At first, this seems to be a story of a young monk in training with his master. The story shifts suddenly to another perspective, throwing the reader into a bizarre conversation between talking animals and what look like the stereotypical Roswell style aliens. Soulwind covers such an extensive scope in time, including Arthurian legends, hopping between stories and perspectives frequently. It is most definitely an epic story, in several senses of the word. This makes it hard to keep your footing when reading it at first, since there are so many subjects and characters to juggle.
