Box Brown’s remarkable manga-influenced sequential art biography of the wrestling legend lies somewhere at the intersection of the graphic novel as pioneered by Art Spiegelman, the confessional comics of Harvey Pekar and the illustrated reportage of Joe Sacco. Okay, that sounds as grandiose as a wrestling promo, but there’s truth in it. What we have here is a larger-than-life story that could be told in text alone, but it’s a tale that really benefits from being seen sketched out on the page to be believed – even if much of it’s a work in the end.
More good stuff from Vaughan and Staples, who appear to have developed the perfect partnership of plot, imagery and dialogue with their jointly realised world. I’ll be picking up Volume Four as soon as I can find it.
Amy Poehler makes it clear from the start of this book that it’s not much of a memoir or autobiography, more a disjointed collection of essays, musings and reminiscences. And that’s exactly how Yes Please should be judged, especially as its later pages see her try to draw a portrait of herself beyond the comedic image that’s naturally earnest but, in my case, not much fun to read. It’s still worth a go anyway, because Poehler is an awesome person. And she doesn’t hold her cards as close to her chest as Tina Fey.
My first Discworld novel, and a jolly good one it is too, affectionately satirising print journalism amid a noir-ish whodunnit plot. I’ll even forgive Terry Pratchett for refusing to pick an ending (he strings four or five of them together here) because the writing is so charming. Thanks for the tip, Bee.
They said it was as good as the show, and they were right. It’s a comic aimed at kids, for sure, but nothing’s watered down, the humour’s just as surreal, with that same vein of pathos running deep throughout. Fantastic stuff.
David Shoemaker’s book-length adaptation of his ‘Dead Wrestler of the Week’ column for Deadspin could do with another pass by a copy editor more familiar with the subject matter (I wasn’t even looking out for them but there are at least two glaring timeline botches in the text). It also leans a little too heavily on the Barthes quotes to square a generally low-brow pursuit with a high-brown mindset. Still, as an intro aimed at the curious to explain why long-time fans like me still carry the torch, it does the job. In other words, you don’t need to be into wrestling to read it; in fact, it’s probably better if you aren’t.
"An editor may be butcher, but they are also a midwife, a parent, a nanny, a matron, a therapist, a conspirator and a friend. But don't forget that, in the end, only a butcher can turn a live, stamping, snorting, animal into something you can stomach. So perhaps it's time we heard it for the butchers." #link
Kate Bishop’s west coast adventures are a little too sunny, a little too wacky to fit comfortably in the same series as Clint Barton’s relatively serious situation in Brooklyn. Annie Wu’s more conventional art style is fairly jarring compared to David Aja’s stylised look, too. The Kate issues work better separated out in this volume, though it’s far from perfect, with the story arc resolving itself awfully neatly. Still, the writing is witty enough to paper over those cracks for the most part.
Stewart Lee’s autobiography of sorts is part memoir (only a fraction, really, more a summary than an in-depth examination of his life and career), part director’s commentary on three of his own extended stand-up sets (making up the bulk of this tome, and what really makes it worth reading). How you like it of course depends upon how you like his comedy, but I’ve been a fan of his (and of Richard Herring) since the TMWRNJ days so I’ve been primed for more than 15 years.
I feel it’s premature to judge this on its own with two more parts of the trilogy (really one book split in three, since they’ve been published so close together) still to go. But I will say that it’s been a long time since I’ve read anything like this, and I look forward to seeing where Jeff VanderMeer takes the story.
Seriously, this isn't about pedantry: it's about written language meaning something. With a tongue as homophone-filled and context-dependant as English, these basic rules are necessary. No excuses! #link
More a collection of columns loosely connected by Kermode’s overall thesis that film criticism (if not high-calibre criticism in general) is still necessary in this age of media democratisation. I mean I’m obviously sympathetic to that, being a writer on music and film myself and a blogger (on and off) of some 13 years’ standing. I think you have to be on board with that notion to get what he’s doing. Moreover, his structure allows him to meander around and away from the topic at hand to sometimes completely irrelevant places. But his style is fluid and fun for the most part, and some of his apparently scattershot musings do make more sense at the end.
"Despite the best efforts of Samuel Johnson, Jonathan Swift, et al., there has never been a governing body that approves “correct” English. Unlike French, say, or Japanese, English is an open-source language. Anyone is free to suggest new words or phrases. The only criterion for their success is that users adopt them." And that's why I persist in using 'alright' instead of 'all right'. Alright? #link
He might be happy, but I'm not. What he sees as a utility premium I see as stuff that should be taken as a given when it comes to digital media. Believing you're getting better value in paying more for something you 'don't have to carry around' is exactly what publishers want you to think. At the end of the day you're still paying over the odds straight into the company's profits since they don't have to spend as much on printing, shipping, etc. And what's more, writers' royalty agreements certainly don't give them a bigger share of that profit pie (at least not yet). #link
Jennifer Egan's latest was serialised on Twitter, and I'm not sure what to make of it. Prose that doesn't invite replies doesn't really engage with the medium in any way that hasn't been aleady overdone. #link
Thankfully an article about the sensible use of commas; that Oxford comma rubbish is for people who can't be bothered rewriting their sentences to remove potential ambiguities. They're usually the same kind who are prejudiced against the semi-colon. But I digress. #link
Specifically, a rebuttal of Anne Trubek's assertion that we should do away with spelling rules altogether. I've long argued about this, being both a subeditor and one who condones conversational grammar: we need to learn the rules before we can break them. #link
On the future of marginalia in the age of the e-reader. I'm of the opinion that e-books make things easier, especially for people like me who can't/won't write in their books. I'd never highlight passages or scribble notes in a physical copy, but I'd happy do it all day with an e-book (I did it a lot while reading Moneyball). #link
"The Noun Project collects, organizes and adds to the highly recognizable symbols that form the world's visual language, so we may share them in a fun and meaningful way." See also: Iconic, "a minimal set of icons consisting of 136 marks in raster, vector and font formats -- free for public use." #link