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In the Shadow of No Towers (Pantheon Graphic Novels), by Art Spiegelman
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For Art Spiegelman, the Pulitzer Prize-winning author of Maus, the terrorist attacks of September 11, 2001 were both highly personal and intensely political. In the Shadow of No Towers, his first new book of comics since the groundbreaking Maus, is a masterful and moving account of the events and aftermath of that tragic day.
Spiegelman and his family bore witness to the attacks in their lower Manhattan neighborhood: his teenage daughter had started school directly below the towers days earlier, and they had lived in the area for years. But the horrors they survived that morning were only the beginning for Spiegelman, as his anguish was quickly displaced by fury at the U.S. government, which shamelessly co-opted the events for its own preconceived agenda.
He responded in the way he knows best. In an oversized, two-page-spread format that echoes the scale of the earliest newspaper comics (which Spiegelman says brought him solace after the attacks), he relates his experience of the national tragedy in drawings and text that convey—with his singular artistry and his characteristic provocation, outrage, and wit—the unfathomable enormity of the event itself, the obvious and insidious effects it had on his life, and the extraordinary, often hidden changes that have been enacted in the name of post-9/11 national security and that have begun to undermine the very foundation of American democracy.
- Sales Rank: #86935 in Books
- Brand: Spiegelman, Art
- Model: FBA-|293049
- Published on: 2004-09-07
- Released on: 2004-09-07
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 14.50" h x .88" w x 10.10" l, 2.80 pounds
- Binding: Board book
- 40 pages
Amazon.com Review
Catastrophic, world-altering events like the September 11 attacks on the United States place the millions of us who experience them on the "fault line where World History and Personal History collide." Most of us, however, cannot document that intersection with the force, compression, and poignancy expressed in Art Spiegelman's In the Shadow of No Towers. As in his Pulitzer Prize-winning Maus, cartoonist Spiegelman presents a highly personalized, political, and confessional diary of his experience of September 11 and its aftermath. In 10 large-scale pages of original, hard hitting material (composed from September 11, 2001 to August 31, 2003), two essays, and 10 old comic strip reproductions from the early 20th century, Spiegelman expresses his feelings of dislocation, grief, anxiety, and outrage over the horror of the attacks---and the subsequent "hijacking" of the event by the Bush administration to serve what he believes is a misguided and immoral political agenda. Readers who agree with Spiegelman's point of view will marvel at the brilliance of his images and the wit and accuracy of his commentary. Others, no doubt, will be jolted by his candor and, perhaps, be challenged to reexamine their position.
The central image in the sequence of original broadsides, which returns as a leitmotif in each strip, is Spiegelman's Impressionistic "vision of disintegration," of the North Tower, its "glowing bones...just before it vaporized." (As downtown New Yorkers, Spiegelman and his family experienced the event firsthand.) But the images and styles in the book are as fragmentary and ever-shifting as Spiegelman's reflections and reactions. The author's closing comment that "The towers have come to loom far larger than life...but they seem to get smaller every day" reflects a larger and more chilling irony that permeates In the Shadow of No Towers. Despite the ephemeral nature of the comic strip form, the old comics at the back of the book have outlasted the seemingly indestructible towers. In the same way, Spiegelman's heartfelt impressions have immortalized the towers that, imponderably, have now vanished. --Silvana Tropea
From Publishers Weekly
Pulitzer Prize–winning cartoonist Spiegelman's new work is an inventive and vividly graphic work of nonfiction. It's an artful rant focused on the events of 9/11 and afterward by a world-class pessimist ("after all, disaster is my muse"). The artist, who lives in downtown Manhattan, believes the world really ended on Sept. 11, 2001—it's merely a technicality that some people continue to go about their daily lives. He provides a hair-raising and wry account of his family's frantic efforts to locate one another on September 11 as well as a morbidly funny survey of his trademark sense of existential doom. "I'm not even sure I'll live long enough," says a chain-smoking, post-9/11 cartoon-mouse Spiegelman, "for cigarettes to kill me." The book is a visceral tirade against the Bush administration ("brigands suffering from war fever") and, when least expected, an erudite meditation on the history of the American newspaper comic strip, born during the fierce circulation wars of the 1890s right near the World Trade Center site in lower Manhattan. This beautifully designed, oversized book (each page is heavy board stock) opens vertically to offer large, colorful pages with Spiegelman's contemporary lamentations along with wonderful reproductions of 19th-century broadsheet comic strips like Richard Outcault's Hogan's Alley and Rudolf Dirk's Katzenjammer Kids. Old comics, Spiegelman (Maus) writes, saved his sanity. "Unpretentious ephemera from the optimistic dawn of the 20th century... they were just right for an end-of-the world moment." This is a powerful and quirky work of visual storytelling by a master comics artist.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From School Library Journal
Grade 10 Up–Spiegelman summons his considerable talent to express exactly what the horrendous events of 9/11 meant to him and his family, both at the time and since that fateful day. The author lives and works in the immediate vicinity of ground zero, and his daughter was attending high school in the shadow of the towers. With wry insight he depicts the anxious efforts of his family to reach one another as the towers were burning. Spiegelman employs a multitude of narrative devices and graphic styles, numerous political and cultural references, and inspired motifs from late-19th- and early-20th-century comic strips. Through them he conveys his sense of hopelessness and doom, but also conveys his arduous cry against the Bush administration, those "brigands suffering from war fever." Some readers may take issue with his political viewpoint. No one could challenge, however, the genuineness of the book's primary visual motif. At the moment of the collapse of the north tower, an image was forever burned into the author's memory: the "tower's glowing bones just before it vaporized." Spiegelman's artistry and technical mastery are matched equally by his depth of feeling and intelligence of expression. Although the book is oversized and unusual in format (the pages are heavy cardboard stock), most libraries will want to find a place for this powerful work.–Robert Saunderson, Berkeley Public Library, CA
Most helpful customer reviews
0 of 0 people found the following review helpful.
Great
By EMCReviews
Great
20 of 25 people found the following review helpful.
Thin content by a master of the form
By inside the granfalloon
I can't complain about the quality of the content of this book, only that there's not enough of it!
The artwork is incredibly crafted, and the large-format reproduction is spectacular. It's not as much a direct narrative as an overlapping, fractured, paranoid, angst-ridden blend of narrative slices, observations, and Spiegelman's thoughts and feelings on 9/11 and its aftermath. His visual story-telling skills, aided by references to comic book history, are as powerful and clever as ever -- the "Cuddly Tower Twins" sub-panel, featuring the Katzenjammer kids and their crazy uncle, says more in a few frames than most insta-pundits can get across in 10 minutes of cable news rants or in long-winded op-eds.
But then, halfway through the book, you've read all of Spiegelman's new work. I was expecting more, but he makes clear in the foreward that it's painstakingly slow for him to produce. I'm guessing a rush to publish is a factor in how thin this collection is. I certainly hope he keeps working in this format -- for stuff this good, I can wait.
The rest of the book is still rewarding -- a monograph on the old comic strips that influenced his work is followed by brilliant color reproductions of that old work. (Speigelman is upstaged in his own book by a stunning "Little Nemo in Slumberland" strip that's worth the price of admission alone.) By providing this window into his world of references, Speigelman makes his own work a little richer.
WARNING: Not recommended for robots, tragedy fetishists, Bush lovers, or Britney Spears. But if you're even reading this you probably know that already.
22 of 23 people found the following review helpful.
A bit iffy...
By Vince Cabrera
Art Spiegelman (of Maus and Raw fame) explores his feelings during and after 9/11. He discusses the way flyover America has taken the destruction of the WTC to heart, often ignoring the feelings of bona fide New Yorkers, and the way the event has been hijacked by a super patriot propaganda machine. He despairs of the way the iraq war has failed to target Al Qaeda and feels a strong rage against the Bush administration.
There's some pretty good stuff here. It's after all, Spiegelman. He plays around with the various conventions of the comic strip, mixing Maus with Little Nemo, redrawing himself into various classic comics ("Bringing Up Father" becomes "Marital Blitz" and describes Spiegelman's household spats) the pages are printed on thick card (it feels like the pages of a pre-school book) and it's all in gorgeous colour.
NOW... the problem is that the book is pretty short, really. Spiegelman accepts this fact and is rather apologetic. He explains that comics take a long time to draw and that expected to die in a future terrorist attack so he didn't get a lot done. His anti bush tone and his questioning of the choreographed patriotism that followed 9/11 meant that his market was very much restricted and so he did not think to draw very much at all. He attempts to finish the book on an upbeat "the way we were" note and reprinting comic pages from the 1900s.
Nothing wrong with that, of course. And his reasoning about the shortness of the book makes perfect sense.
But if I feel like reading Little Nemo or Bringing Up Father, I can buy the appropriate book and don't really need Spiegelman for this. I feel vaguely ripped off. Not because the book is not good, but simply because there's so little of it. Four stars only.
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