From Acme Novelty Library #3
From Acme Novelty Library #3
I’ve read Roman Muradov’s debut graphic novella (In a Sense) Lost & Found a few times now and it’s great—hits the trifecta of strange, beautiful, and smart. It’s new from Nobrow Press. Here’s their blurb:
(In a Sense) Lost and Found, the first graphic novel by rising star Roman Muradov, explores the theme of innocence by treating it as a tangible object; something that can be used, lost, and mistreated. Muradov’s crisp, delicate style conjures a world of strange bookstores, absurd conspiracies, and charming wordplay. A surreal tale in the mold of the best American alternative comics, In a Sense retains its distinctly Eastern perspective.
Muradov lets the art tell this surreal story of a girl looking for something that the narrative refuses to reveal to us. There is no exposition, and readers looking for dialogue that explains everything to them will likely be perplexed. The book is gorgeous, rich, dark—I would include some panels here but the pages are so thick and dark that my iPhone simply can’t handle them. (The picture I took of the cover, above, does no justice to the book’s aesthetics). I’ll get some hi-res images for the full review I plan to post next week though. Great stuff.
Bob Schofield is a writer and artist. He first showed up on my radar when theNewerYork sent me a digital file of his book The Inevitable June, which I described as “the kind of thing that we need more of; not a gimmick or a hybrid, but something new.” I’m still not sure what the book is, but I dig it. Bob was kind enough to talk to me over a series of emails about his work. Read some of Bob’s work at his website. Read my review of The Inevitable June here. Read our discussion below.
Biblioklept: What is The Inevitable June?
Bob Schofield: The Inevitable June is a collection of 30 surreal short prose pieces, one for every day in June, intercut with black and white illustrations. The drawings don’t always correspond to the text, and there isn’t really much of a coherent “story” per se, but there is certainly momentum and direction. The book definitely goes somewhere, though I’m not sure where exactly that “somewhere” is.
I kind of just wanted to build a little world that mirrored my imagination. A kind of scale-model. So I wanted it to be a little cold and sad and spooky and, hopefully, also fun. Like some kind of weird, floppy theme park made of bound paper squares.
Biblioklept: How did you compose that “scale-model”? Did you have an outline from the outset?
Schofield: There were a few structural “rules” I came up with, and the rest I sort of made up as I went. Like I knew I’d have thirty pieces total, and they’d all be titled for successive days in June. It’s funny, a lot of the momentum in the book just comes from that progression of calendar days. I guess we’re just culturally wired to feel like we’re going somewhere when we see those days slide by. But in the book it’s all relatively arbitrary, and if you were to take the days away as titles, things would feel a lot more meandering.
My other big structural decision was to start every piece with “This morning,” which would become a kind of refrain throughout the book. I kind of thought of it a bit like a dinner bell, indicating one course of the meal was over, and we were moving on to the next.
Then as I was writing all the individual pieces, I’d cherry pick certain images and phrases I liked, and then be sure to repeat them later on. That way the reader’s brain would kind of light up as they recognized parts of a pattern, even though the pattern wasn’t really saying anything specific. I think that kind of thing is important when you don’t have a more familiar storytelling structure to rely on. You need to give the reader something to hold on to.
And for myself as writer, all these patterns and rules gave me just as much of an anchor. It meant I wasn’t just spinning off into some sort of insane, incomprehensible word soup. I’d always be aware that I’d have to wrap things up at some point, and move on to the next “day.”
Biblioklept: Your book The Last Days of Tokyo shares some of the anchoring features you mention—beginning each page with the phrase “On the last day of Tokyo,” for example, and the image of a salaryman fleeing in horror, his face an echo of Munch’s The Scream.
Got a bound black and white proof of Sugar Skull, the final book in Charles Burns’s Tintin-punk-rock-Interzone trilogy. Out from the good people of Pantheon this September.
Back cover image:
A tender moment: