Charles Burns Enriches His Wonderfully Weird Trilogy with The Hive

Art, Artists, Book Reviews, Books, Comics, Reviews

20121104-183159.jpg

In X’ed Out, Charles Burns created a rich and strangely layered world focusing on Doug, a confused and injured young man. In his parents’ suburban basement, Doug parcels out the last of his late father’s painkillers, slipping from haunted memories of his relationship with Sarah into fevered nightmares of abject horror and then into a wholly other world, a realm that recalls William Burroughs’s Interzone. In this alien world, Doug takes on the features of Nitnit (an inversion of Tintin), the alter-ego he adopts when performing spoken word cut-ups as the opening act for local punk rock bands. What made X’ed Out so compelling (apart from Burns’s thick, precise illustration, of course), was the sense that this Interzone was a reality equal to Doug’s own “real world” — that it was somehow more real than Doug’s dreams.

20121104-165518.jpg

The Hive (part two of the proposed trilogy) deepens the richness and complexity of the world Burns has imagined. The title refers to a location in Interzone. Doug (or Nitnit) has found employment in The Hive as a kind of mail clerk or janitor. His primary role though is secret librarian, catering to the reading needs of the breeders of The Hive. One breeder seems to be a version of Doug’s ex-girlfriend; the other is a double of Sarah, who asks Doug/Nitnit to bring her romance comics—which he does—only he skips a few issues. These missing issues stand in for the information Doug (and Burns) withholds from the reader, the missing fragments that have been x’ed out.

20121104-165548.jpg

Burns uses romance comics as a framing or organizing device, a motif linking the disparate worlds of his narrative. In the “real world” — which is to say the world of Doug’s memory — we learn that he buys a stack of old romance comics for Sarah on their first date.

20121104-165537.jpg

Throughout the narrative, Burns plays his characters against the extreme, often hysterical dramas of 1950s and ’60s romance comics; his strong lines and heavy inks readily recall the early works of Simon and Kirby, but more precise and careful—something closer to Roy Lichtenstein, only more sincere, more emotional.

In The Hive, we learn more about Doug’s troubled relationship with Sarah, who has problems out the proverbial yingyang (not the least of which is a violent psychopathic ex-boyfriend).

20121104-165554.jpg

Burns weaves the story of Sarah and Doug’s relationship into the fallout of Doug’s father’s death—a death Doug was completely shuttered to, we realize. Doug’s drug-dreams dramatize the missing pieces of these narratives, and the Interzone set-pieces propel the mystery aspects of the narrative forward, as Doug’s alter-ego plumbs the detritus of his psychic fallout. Through the metatextual motif of reading-comic-books-as-detective-works, Burns explores themes of trauma, abjection, and distance. Images of pigs and cats, freaks and punks, portals and holes litter The Hive.

20121104-165603.jpg

Burns has always been a perfectionist of dark lines and strange visions, and his last full graphic novel Black Hole was a triumph of atmosphere and mood. With the first two entries of his trilogy, however, Burns has showed a significant maturation in storytelling, characterization, and dialogue. I often thought parts of Black Hole seemed forced or rushed (no doubt because Burns faced daunting production troubles during the decade he worked on the novel—including his original publisher Kitchen Sink folding). With X’ed Out and now The Hive we can see a more patient artist, working out an emotionally complex and compelling story in rich, symbolic layers.

I reread X’ed Out and then read The Hive in one greedy sitting; then I went through The Hive again, more slowly, more attendant to its details and nuances. We had to wait two years between X’ed Out and The Hive—and it was worth the two year wait. So if we must wait another two years—or more—for the final entry, Sugar Skull, so be it.

About these ads

“Hagar & Ishmael” — An Excerpt from an Unfinished Joseph Heller Novel

Books, Literature, Writers

“Hagar & Ishmael” is an excerpt from an unfinished Joseph Heller novel (and yes, we know it’s not new to the internet. It was published by some magazine called The Paris Review a few years ago)–

It wasn’t my idea. Sarah thought of it first. But I was excited from the time she said so, and I began to wash myself everywhere every day, and to keep myself clean after noontime too. I was happy as a lark and chirped and flitted everywhere like a cute little bird, singing to myself merrily and winking to my friends and giggling behind my hands, after Sarah raised the question and Abraham moved me into his quarters to be near him, where I could be watched. Of course I would not have said no even if I could have, and of course I was excited by this chance. I was the envy of almost all of the other women, even of those with husbands.

For a week or more he would not touch me, until it was clear I was not already pregnant with another man’s child, and then for another week also after that, until I was free of the curse and he knew I was not unclean. These people are funny that way, he and Sarah, and Lot and his wife too, before they moved off with their daughters and all their household to dwell away from us in Sodom. Once I lay with Abraham and bore him his son, no other man in the camp came near me again, or seemed to want to, even long after. By the end of one month I was with child. Abraham sent me back and did not use me that way again, although I made eyes at him a lot to show that I wanted him to.

I cannot say truthfully which one of the two of us started the trouble, whether it was Sarah with her envy or me with my vanity and disrespect that kindled the enmity between us and destroyed the feelings of friendship between mistress and slave that had been in all ways favorable since they bought me with money and took me up out of Egypt with them. Probably, it was both. I was Egyptian and a servant, she was his blood relation, a half sister. But she was aged and barren, and I was younger and carrying her husband’s child, the son or daughter of her master that she herself had not been able to bear, and they had been married long.

I could not contain my happiness and my pride in myself and certainly did not wish to hide them. My conceit grew with my belly, expanding without shame. Soon everyone knew I had Abraham’s child. I made sure of that.