Logicomix is an impressive (graphic) novel, as much in scope as visually and structurally, and as a reader with some background in mathematics and phiLogicomix is an impressive (graphic) novel, as much in scope as visually and structurally, and as a reader with some background in mathematics and philosophy, I'm very glad that at least this kind of fiction is written. After some contemplation, I also came to agree that its subtitle, 'An Epic Search Truth', wasn't disappointed either. I fluctuated between the present one star short rating and the full during the course of my read, mulling over this point a fair bit and this is what I hope to remark on here.
This is a fictionalised biographical account of Bertrand Russell with a backdrop of escalating war on the one hand, and a story about telling a story on the other (self-referential, if you will- reflecting the central paradoxes of Russell's and the 20th century academic establishment's quest for a solid basis on which to operate). The choice of Russell struck me as somehow both inspired and obvious- in succession let's say, to avoid paradox. Through Russell, himself a dominating figure in philosophy and logic during its most productive period, we encounter the giants on whose shoulders our certainties, and more significantly uncertainties, today rest. These are odd, eccentric sorts we meet, and the narrative doesn't shy from the the frank suggestion that insanity and logic are intertwined in some way. The problem is that many of the depictions are exaggerated (it recalled to me E T Bell's Men of Mathematics) to keep the plot focused and pertinent. However, the meta-fiction aspect came to the rescue here, and through the account of a disagreement between the book's author and consultant, this claim doesn't go entirely unchallenged even if it affects the tone of the work. The truly frightening quality of insanity isn't the possibility that some germ of it is within you, as Russell is made to mull over, but that it's a continuous spectrum which reaches sanity through ambiguous mists. The problem is often about settling on what's enough to label someone mad rather than a distinct insane vs sane divide. Logicomix provides no discussion on this, but it offers a metaphor, following a confused journey through modern Athens in search of a rehearsal, that reality is mapped in men's minds and madness is when it's confused with its impression. This segues nicely into Wittgenstein's solution in the main storyline.
The characters feel very real in that the reader's interest is sustained while their sympathies are made to vary, but they only broadly align with their historical selves. Certain details are preserved and recalled well where these are relevant, but the strength of Logicomix is that the finer points of logic interweave but never interrupt the drama of human failings and personal tragedy and the glimmer through all of it, of hope (for Russell, the quest is as much for this balance as for the truth that might liberate him from his foundational anxieties). As such when it comes to their field of study (which it often does!), characters tend to become mouthpieces for entire traditions of thought, some they founded, some they were the most famous part of, and thus exaggerated. This is a good way, combined with some of the other narrative techniques which allow for clarifications (like pausing for the questions and reflections at the studio and having the authors and staff voice the likely thoughts going through the reader's mind), to broadly do the concepts mentioned some justice, but it inflicts too much of the personal from time to time, if with the good intention of showing to the layman how some people can be so excited about such a seemingly dry subject (look at how the delegates from the International Congress of Mathematics at the turn of the century where Hilbert presented his famous problems come to embody collective reactions or the way Wittgenstein is shown to be 'intense' to the point of zeal). More serious is the problem that many of these personalities are put together a little incongruously, and compared to Russell lack context for some of their thought and ways, that the logic from madness or madness from logic theme theme might be unconsciously invoked without it being warranted. There is a note justifying some of the historical inventions and distortions at the end of the book which reasserts some of the historical, dare we say, artifice, and a detailed glossary and a bibliography follow, so to some extent this allowance is mitigated.
The art (a fresh, somehow very European style) and lettering (for an admirably clean, clear English suited to a book touching on logic, which nevertheless evokes Russell's period from time to time) reinforce the twofold nature of the ambitions chronicled, in that they strive for progress at great cost but also seem circular, and the nested stories are very smoothly brought back in line after digressions. I especially enjoyed the recurring and illuminating scenes from Aeschylus's Oresteia by way of the aforementioned drama rehearsal and how Wittgenstein's experiences in the war were portrayed.
A fantastic read in all, remarkable for its dexterity and character portraits (or at times suppositions, rather) as it shifts back and forth through a live history surrounding the 'foundational quest'. It's not a graphic-boosted textbook on logic or even particularly serious about logic at all, but an observation on the human condition through the frustrated efforts of some of mankind's greatest thinkers at establishing truth in the hopes of being free once and for all of continually shifting ground underfoot.
Patchy, but kudos to Morrison for trying this. The story doesn't seem too ambitious at first with the 'guests being picked off on an island mansion' pPatchy, but kudos to Morrison for trying this. The story doesn't seem too ambitious at first with the 'guests being picked off on an island mansion' plot which, while at first charming for the obscure cameos and references, concludes in a decidedly lacklustre way, even allowing for continuation. The second part back in Gotham is an improvement, bolder still with the references woven into a hallucination sequence which is one of the strong points of the book, but the way things are tied together, while comprehensible, felt rushed and imbalanced. Now on to Batman R.I.P....more
This is not an adaptation of a single fairy tale as purported, though elements of the Japanese mythic tradition remain strong if not always exactly peThis is not an adaptation of a single fairy tale as purported, though elements of the Japanese mythic tradition remain strong if not always exactly perfected. In particular, Gaiman captures the elusive spirit of the fox (or 'kitsune', which are as mysterious and versatile as they are pervasive in Japanese myth) exceedingly well, weaving about it a tale of fear against contentment and love against sacrifice morphed (forgive the pun) to fit seamlessly with the established Sandman canon.
Yoshitaka Amano's illustrations truly make this novel however, and the flow and substance of the prose owe much to the art's ability to bring appropriate elements to the fore and add emphasis. This kind of demarcated 'graphic novel', with prose and art switching in their turn, would be difficult without each reinforcing the other (with the art taking a supporting role, but ultimately affecting the feel of the story to the greater extent). But this is here duly overcome to make The Dream Hunters a worthy side story to the excellent Sandman series....more
On Classical Comics as a concept, I must say this an excellent format with which to bring classic works across the divide and gain them a new and enthOn Classical Comics as a concept, I must say this an excellent format with which to bring classic works across the divide and gain them a new and enthusiastic audience, and ought to be embraced by parents and teachers alike where reticence towards sticking with the original works becomes an issue.
In this particular adaptation of Mary Shelley's Frankenstein, the execution certainly does not leave much to be desired. The artwork (including the colouring) on the whole is top notch, and the lettering, though dense due to extracting text from the original novel, is also without fault and not as distracting as one might expect.
As such, the availability of a 'Quick Text' edition doesn't make much sense to me in this particular case, though I can see how a sense for the story can be instilled before coming to the archaic speech in something like a Shakespearean play (of course, part of the experience with Shakespeare is the language, and as such this isn't a replacement for the original so much as an aid to grasping its meaning; but here we go somewhat far afield), aiding the pace that comes easily to the graphic novel format at the hands of a talented artist and adapter (or in the case of the Original Text versions, an editor). In the capacity of an aid, a list of dramatis personae at the beginning and a neat biography of the author along with some notes on the enduring impact of the work at the end are provided.
The book itself is a quality product, printed on thick paper and sturdily bound. The cover of the edition I borrowed at the library seemed all black at first and the lightly shaded figure was not readily apparent. This may however be due to the thin plastic cover they had overlaid, and the website above now shows a less uniform cover.
Of Shelley's Frankenstein I have little to add that might not be found in a review below or of the original novel here or elsewhere. It is a poignant tragedy which veers from the seeming cautionary tale due a newly unshackled age (hinted early in my opinion, by the casual mention of Agrippa, Paracelsus and Albert Magnus- men held in high estimation by young Victor Frankenstein) and becomes an exploration of what remains of a man when the fires of obsession kindled in confident method (which is why the work is important as a progenitor of the science fiction genre) have consumed him and borne fruit, and how the man sees always his hand reflected in that work of toil he comes to find hideous, having been risen to passion by the toil and the goal, but not the eventual achievement (a twist on the Promethean parallel, though I think Victor embodies both the Titan and Zeus himself). The loss of purpose too, passes from the maker to the creation, prompting the reader to look upon a truer 'monster' within Victor and apprehend him through the eyes of Victor's creation (the Miltonian parallel). The tone of the story is much distorted in modern depictions, which leave much of this sophisticated interplay out in order to pile on cheaper horror elements (horror as a mainstream genre, perhaps due to the rise and prevalence of film, has much changed since Shelley's time; I would today more precisely call Frankenstein a 'psychological horror story' despite the long-exploited monster imagery), but the art is never so overt in this adaptation to overwhelm the sense the author presumably sought to convey....more
At its worst Neil Gaiman's Sandman series (for the whole of which this is a review) is sentimental, vague and too accepting of its own appeals to ambiAt its worst Neil Gaiman's Sandman series (for the whole of which this is a review) is sentimental, vague and too accepting of its own appeals to ambiguity, but at its best, the series is a sprawling tapestry of deeply human and never overstated tragedy which epitomises the genre, straining valiantly against its perceived limitations and succeeding at the charge. It rises above its faults each time partly in that the titular Sandman, or Morpheus, embodies, if often mutely, the rigid antithesis of this indifferent and fixture-less world despite ruling over what is at first glance its most ephemeral facet. His loss, realisation and struggle to change is the element which most strongly ties the various (and themselves often interconnected) tales and arcs, culminating in resignation at his inability.
The rich mythic patchwork encountered throughout the ever-shifting and transforming narrative as characters segue in and out of the realm of Morpheus, or Dream of the Endless (extensive enough that it calls for a decent annotated edition, which I believe is being released) is subtle, layered and at times ingenious, establishing Gaiman as a master of the allusive and mythopoeic, recalling, to his favour, the likes of Dunsany, Carroll and Milton.
This is as important a work in the medium as Alan Moore's Watchmen graphic novel, and like that work transcends medium to achieve a much deserved status as a truly remarkable storytelling endeavour.
Dave McKean's astonishing work on the covers and design helps a good deal in setting tone for the series and the artists involved are reasonably consistent. The Sandman library editions include some excellent introductions from some notable figures in the genre and are of very good quality. The Absolute editions look marvellous, but I'm not sure whether these introductions are included in them, and I will wait to see also what the Annotated edition is like before purchasing them....more
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