| Number | Call Number | Branch | Status | Volume |
| 1 |
YAGN F Satrapi Marjane |
CP |
In at CP (Corporate Parkway) |
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| 2 |
YAGN F Satrapi Marjane |
KL |
In at KL (Kathryn Linnemann) |
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| 3 |
YAGN F Satrapi Marjane |
MK |
Out: Due Jun 2 2013 |
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| 4 |
YAGN F Satrapi Marjane |
SP |
Out: Due Jun 3 2013 |
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| Satrapi's great-grandfather was Iran's last emperor, the one overthrown by the father of the shah overthrown in the 1979 Islamic revolution. Doubtless their pedigree of former greatness somewhat shielded her leftist family from the Ayatollah Khomeini's authoritarian regime, and her extraordinary autobiography in comics, which reflects her perspective from ages 10 to 14, probably understates the violence that swirled around her, cresting in the outbreak of the Iran-Iraq war. At first, the revolution freed an uncle who idolized her and some of her parents' friends from prison, but soon the tide turned, and the former prisoners had to flee (at least one was killed before he could). Her father and uncle explained modern Iran's past to her, all but dispelling her childish religiosity, and she joined her parents at political demonstrations. When an Iraqi missile destroyed Jewish neighbors, however, her parents determined to use their upper-middle-class means to get out. Satrapi's cursive, geometrical drawing style, reminiscent of the great children's author-artist Wanda Gag's, eloquently conveys her ingenuousness and fervor as a child. ((Reviewed May 1, 2003)) Copyright 2003 Booklist Reviews | | | |
| Graphic novels aren't just kid stuff anymore Comics get a bad rap. They're generally seen as kid stuffand admittedly, some are. But these days, publishers are producing graphic novels of maturity, complexity and beauty that appeal to a wider audience. Whether they're original illustrated novels, adaptations of classic literature or collections of single-issue comics, graphic novels tend to have a heft and seriousness that mean grown-ups don't have to be embarrassed about reading them. They're also becoming more mainstream, thanks in part to the attention garnered by film versions of major works (Hayao Miyazaki's Oscar-winning Spirited Away and the Tom Hanks vehicle Road to Perdition, for example). And there's a growing respect for artists such as Art Spiegelman and Joe Sacco, who use graphic novels to tell stories as powerful and profound as any literary fiction. We've selected a handful of new titles worthy of attention even from those who don't see themselves as comic book obsessives. Transcending the genre Persepolis: The Story of a Childhood, by Marjane Satrapi, is a graphic memoir about growing up in 1970s Iran as the daughter of revolutionaries and the granddaughter of a prince-turned-communist. Satrapi's position at the crux of her country's political struggles adds a sharp, urgent edge to what would otherwise be the charming story of a precocious little girl full of dreams and questions. The author's cute, deceptively simple black-and-white drawings and warm sense of humor belie the outrage and tragedy that came with growing up amid a revolution. Widely praised in France where it was originally published, Persepolis is destined to become a classic alongside Spiegelman's Maus or Sacco's Palestine. It's vital reading, particularly given our current interest in the Middle East. Equally moving and ambitious, but completely different in style, is beloved Japanese filmmaker Hayao Miyazaki's Spirited Away (Viz, 5 volumes, $9.95 each, volume one ISBN 156931795X). This five-volume set, adapted from the Oscar-winning animated film, is designed to be read right-to-left in the Japanese manner; at the end of each book there's a key to the manga-style sound effects embedded in the story panels. For a less authentic (and more kid-friendly) but still gorgeous version of the epic tale of a little girl trying to rescue her parents in a strange, mystical realm, check out the Spirited Away Picture Book (Viz Communications, $19.95, 169 pages, ISBN 1569317968), which interweaves Miyazaki's luscious, painterly artwork with explanatory text. Representing yet another type of illustrationthe ukiyo-e style, or images of the floating worldis Patrick Atangan's brilliant debut, The Yellow Jar (NBM Publishing, $12.95, 48 pages, ISBN 1561633313). This slim, elegant volume features two traditional Japanese morality tales brought vividly to life by the artist's pristine lines and rich use of color. In the first story, a fisherman marries the mysterious woman he finds floating in a beautiful yellow jar, only to lose her to a demon; in the second, two weeds that invade a monk's garden turn out to be lovely flowers, but only one is treasured, the other neglected. There's an introduction by comic-world heavyweight P. Craig Russell, famous for his herculean adaptation of The Ring of the Nibelung and the fairy tales of Oscar Wilde. Russell discovered and coached the young Atangan. Escapism, far and near In Orbiter (Vertigo/DC, $24.95, 104 pages, ISBN 1401200567), the latest from Transmetropolitan writer Warren Ellis and Colleen Doran (A Distant Soil), a space shuttle that vanished 10 years ago suddenly swoops back to earthpiloted by the one remaining member of its crew and covered in what seems to be a living skin. As a team of NASA scientists tries to figure out where the ship has been, a long-out-of-work astronaut shrink is called in to explore the broken mind of the pilot. The book is smart, suspenseful and well written, and its tremendously detailed, realistic artwork is perfectly suited to the more-science-than-fiction plot. Road to Perdition: Oasis (DC/Paradox Press, $7.95, 96 pages, ISBN 1401200680) is a fantastic hard-boiled crime graphic novel by Max Allan Collins with art by Jose Luis Garcia-Lopez and Josef Rubinstein. A sort of eddy in the main RTP story arcas seen in the Paul Newman/Tom Hanks film last yearOasis finds the gangster "Angel of Death" Michael O'Sullivan and his son hiding out in a farmhouse from a pair of ruthless bounty hunters while Michael Jr. recovers from scarlet fever. The artwork is lighter and much less gloomy than in the original book (or the movie), but the gangsters look so alive it's hard not to start predicting the cast of the next film. Isolation & Illusion (Dark Horse, $14.95, 118 pages, ISBN 1569718385) collects a batch of short stories spanning two decades by master illustrator P. Craig Russell. This new collection includes adaptations of stories by O.Henry and H.P. Lovecraft; a loopy, brightly illustrated fantasia by Cyrano de Bergerac; the hauntingly dark and surreal "Insomniac"; and the oddly silent, beautifully drawn title story, reminiscent of classical Italian sketches. For escapism that's slightly closer to home, there's the star-crossed romance of Cheat (Oni, $5.95, 72 pages, ISBN 1929998473) by Christine Norrie (Hopeless Savages). The book, from indie publisher Oni Press, follows two young couples who start to fall apart when love fails to conquer all. The cover is an utterly gorgeous, swirling vision you'll want to hang on your wall, and the rest of the book lives up to its promise with black-and-white illustrations that blend simplicity and realism. Also recommended Batman: Deathblow, by Brian Azzarello and Lee Bermejo, a visually awesome, dark, inventive story starring our grumpiest superhero (DC, $12.95, 160 pages, ISBN 1401200346). Skinwalker, a cool sci-fi crime foray into Native American culture (Oni, $11.95, 120 pages, ISBN 1929998457). Becky Ohlsen has been a comics geek since she plundered her brother's X-Men collection at age 7. Copyright 2003 BookPage Reviews | | | |
| Satrapi uses black-and-white comic strips to evoke her Iranian childhood. "We've never seen such buzz," affirms the publicist happily. Copyright 2003 Reed Business Information. | | | |
| This extraordinary autobiography tells the story of Satrapi's early life as a girl in late 1970s and early 1980s Iran. Through her young eyes, the reader sees the overthrow of the Shah, the Islamic fundamentalist rise to power, and the war with Iraq. Satrapi was a religious girl who grew up in a progressive family and went to a French school; but after the Islamic revolution, she was forced to wear the veil and ended up rejecting God. Under increasing threat from Iraqi bombings and an oppressive government, Satrapi and her family still managed to enjoy forbidden parties, games, and music (such as Iron Maiden). This fueled Satrapi's own adolescent rebellion, which eventually got her into trouble. Satrapi's simple, cartoony, even cute black-and-white art allows for easy identification with the characters and expertly reflects their varying emotions. When first published in France, where Satrapi now lives, this book won several European comics awards-and it's a prime candidate for American award nominations as well. A remarkable, revealing, and sometimes startling account, this is sure to be one of the most important graphic novels of the year. Highly recommended for older teens and adults. [Previewed in Prepub Alert, LJ 2/15/03.] Copyright 2003 Reed Business Information. | | | |
| Satrapi's autobiography is a timely and timeless story of a young girl's life under the Islamic Revolution. Descended from the last Emperor of Iran, Satrapi is nine when fundamentalist rebels overthrow the Shah. While Satrapi's radical parents and their community initially welcome the ouster, they soon learn a new brand of totalitarianism is taking over. Satrapi's art is minimal and stark yet often charming and humorous as it depicts the madness around her. She idolizes those who were imprisoned by the Shah, fascinated by their tales of torture, and bonds with her Uncle Anoosh, only to see the new regime imprison and eventually kill him. Thanks to the Iran-Iraq war, neighbors' homes are bombed, playmates are killed and parties are forbidden. Satrapi's parents, who once lived in luxury despite their politics, struggle to educate their daughter. Her father briefly considers fleeing to America, only to realize the price would be too great. "I can become a taxi driver and you a cleaning lady?" he asks his wife. Iron Maiden, Nikes and Michael Jackson become precious symbols of freedom, and eventually Satrapi's rebellious streak puts her in danger, as even educated women are threatened with beatings for improper attire. Despite the grimness, Satrapi never lapses into sensationalism or sentimentality. Skillfully presenting a child's view of war and her own shifting ideals, she also shows quotidian life in Tehran and her family's pride and love for their country despite the tumultuous times. Powerfully understated, this work joins other memoirs-Spiegelman's Maus and Sacco's Safe Area Goradze-that use comics to make the unthinkable familiar. (Aug.) Copyright 2003 Reed Business Information. | | | |
| Adult/High School-Marji tells of her life in Iran from the age of 10, when the Islamic revolution of 1979 reintroduced a religious state, through the age of 14 when the Iran-Iraq war forced her parents to send her to Europe for safety. This story, told in graphic format with simple, but expressive, black-and-white illustrations, combines the normal rebelliousness of an intelligent adolescent with the horrors of war and totalitarianism. Marji's parents, especially her freethinking mother, modeled a strong belief in freedom and equality, while her French education gave her a strong faith in God. Her Marxist-inclined family initially favored the overthrow of the Shah, but soon realized that the new regime was more restrictive and unfair than the last. The girl's independence, which made her parents both proud and fearful, caused them to send her to Austria. With bold lines and deceptively uncomplicated scenes, Satrapi conveys her story. From it, teens will learn much of the history of this important area and will identify with young Marji and her friends. This is a graphic novel of immense power and importance for Westerners of all ages. It will speak to the same audience as Art Spiegelman's Maus (Pantheon, 1993).-Susan H. Woodcock, Fairfax County Public Library, Chantilly, VA Copyright 2003 Reed Business Information. | | | |
| Through stark but emotion-packed black-and-white drawings, Satrapi transports readers to her childhood-a time spent growing up in Iran during the time of the Islamic Revolution. Granddaughter of one of the last Iranian emperors and daughter of twstaunch Marxists, Satrapi survives the perils of the overthrow of the Shah's regime, the triumphant outcome of the Islamic Revolution, and the suffering and fear associated with war with Iraq. This little girl's account is shown through her wideexpressive black eyes, but the story is not sugar-coated in any way. The family's struggle, secrets, suffering, and survival are all documented with a matter-of-fact air that contributes to American readers' true understanding of Iran at that time. Originally published in France, this autobiography in graphic format has been compared to Art Spiegelman's Maus and shares the same intensity and personal qualities. Although the artwork at first glance might seem crude, after close inspection anafter reading the text, readers will come to realize the complexity and emotion contained within these pages. The black and white contrasts, sometimes showing Satrapi and her family in negative exposure, bring to life the violence and anguish of thtimes. This exceptional work should find a place in both school and public libraries. Fans of historical graphic novels as well as students who are new to the graphic format will be drawn to Satrapi's story.-Kimberly Paone Illus. 4Q 2P J S A/YA G Copyright 2004 Voya Reviews. | | |
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