Stephen Collins’s début graphic novel The Gigantic Beard That Was Evil tells the story of Dave, an especially average (forgive the oxymoron) guy in the neat-and-tidy island of Here, a place where conformity rules and difference is unthinkable. Dave fits like a cog into his tidy world until a beard erupts from his face, severing him from society.
Despite its neat and tidy contours, an omnipresent dread of otherness gestates in the egg-shaped isle of Here. That dread manifests in the fabled land of There. Dave’s psyche is haunted by There; its very existence threatens both body and mind. Collins renders this anxiety in a remarkable series of panels that concretize Dave’s nightmare of otherness:
Dave’s nightmare highlights his subconscious realization that there cannot be a Here without a There. The realization leaves him abject, torn, and destabilized, even before his beard appears. When the first hairs do arrive, Dave’s interior existential crisis spills outward, his messy difference oozing out to disrupt and upset the tidy normalcy of Here.
The beard quickly becomes a national emergency requiring enormous resources. Police, military, the media, and eventually the entire society become entangled in the crisis. United against a common foe, the citizens of Here are nevertheless distracted, letting their grooming habits slip. Things become less tidy. In their battle against the beard, they overlook the greater war on weird.
The Gigantic Beard That Was Evil is an allegorical fable. Collins attacks conformity and fear of otherness, but also depicts just how complex and horrifying otherness can be. While the island of Here is clearly a stand-in for England, Collins’s satire of xenophobia and the dangers of groupthink will resonate pretty much everywhere. All kinds of 21st-century anxieties writhe under the text: fear of immigration, the collapse of cultural homogeneity, ecological devastation—the end of a particular way of life. The angry mob castigating poor Dave call him a terrorist, but they are the authors of their own terror.
In an unexpected and rewarding fourth act, Collins examines the aftermath of what comes to be known as “The Beard Event.” The Untidiness that happened while the citizens of Here were distracted dealing with Dave becomes the new normal. Fits of nonconformity inevitably become trends, then commodities.
The Beard Event eventually becomes “A story many times retold and resold,” complete with its own museum (enter through the gift shop). Collins offers a clear depiction of difference—how it’s first feared, then resisted and attacked, and eventually absorbed and recycled.
I’ve tried to offer enough of Collin’s words and art to convey a sense of his simple but refined style. His lines are often gentle and always precise, his subtle shading all the color this tale needs. The Gigantic Beard That Was Evil succeeds visually on the strength of Collins’s pacing and panel design. Collins seamlessly integrates his prose into the panels, moving the story along in a lilt of rhymes and non-rhymes evocative of Edward Gorey or Roald Dahl. Collins nimbly avoids the potential pitfalls of preachiness or meaningless absurdity here, leading to a confident and convincing début. I look forward to more. Great stuff.
The Gigantic Beard That Was Evil is now available in the United States in hardback and ebook from Picador.