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.
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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 TropeaFrom the Back Cover:
"Art Spiegelman...to the comics world is a Michelangelo and a Medici both, an influential artist who is also an impresario and an enabler of others...[ Maus's] great innovation - unmatched and possibly unmatchable - was in its combination of style and subject....It would be almost impossible to overstate the influence of Maus among other artists."
- New York Times Magazine
"Spiegelman has become one of The New Yorker's most sensational artists, in recent years drawing illustrations for covers that are meant not just to be plainly understood but also to reach up and tattoo your eyeballs with images....From his Holocaust saga [ Maus] in which Jewish mice are exterminated by Nazi cats, to the The New Yorker covers guaranteed to offend, to a wild party that ends in murder: Art Spiegelman's cartoons don't fool around."
- Los Angeles Times
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Book Description Pantheon, 2004. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: "Art Spiegelman.to the comics world is a Michelangelo and a Medici both, an influential artist who is also an impresario and an enabler of others.[Maus's] great innovationunmatched and possibly unmatchablewas in its combination of style and subject.It would be almost impossible to overstate the influence ofMausamong other artists." New York Times Magazine "Spiegelman has become one ofThe New Yorker's most sensational artists, in recent years drawing illustrations for covers that are meant not just to be plainly understood but also to reach up and tattoo your eyeballs with images.From his Holocaust saga [Maus] in which Jewish mice are exterminated by Nazi cats, to theThe New Yorkercovers guaranteed to offend, to a wild party that ends in murder: Art Spiegelman's cartoons don't fool around." Los Angeles Times "A startling and provocative work." -Newsday "For one moment on an otherwise perfect fall day in Manhattan, time stood absolutely still, and since then history has rushed past too quickly for any artist to keep up. This disjunction between experience and understanding givesIn the Shadow of No Towerssomething so much more than a linear narrative: It is a love letter to a city that this artist, no matter his fears, could not bring himself to leave." -Paper Magazine "Like Maus, Spiegelman's Pulitzer-winning graphic novel about the Holocaust, Shadow brilliantly captures incendiary history through a personal story in this case, of the artist affirming his choice to be a "rooted" cosmopolitan." -GQ "A posttraumatic masterpiece." -O Magazine "This is a powerful and quirky work of visual storytelling by a master comics artist." -Publisher's Weekly(starred review) "You don't have to be a comics aficionado to see that Spiegelman has done a superb job of capturing the tragic absurdity of life in New York City on 9/11 and for months thereafter." -Newsweek From the Hardcover edition. Bookseller Inventory # ABE_book_new_0375423079
Book Description Penguin Random House. Book Condition: New. Brand New. Bookseller Inventory # 0375423079
Book Description Pantheon. BOARD BOOK. Book Condition: New. 0375423079 *BRAND NEW* Ships Same Day or Next!. Bookseller Inventory # SWATI2122072263
Book Description Pantheon, 2004. Board book. Book Condition: New. First Edition. Bookseller Inventory # DADAX0375423079
Book Description Pantheon, 2004. Board book. Book Condition: New. book. Bookseller Inventory # 0375423079
Book Description Pantheon, 2004. Board book. Book Condition: New. Bookseller Inventory # 0375423079
Book Description Random House. Hardcover. Book Condition: New. Hardcover. 42 pages. Dimensions: 0.0in. x 0.0in. x 0.0in.Signed by Spielgelman with illustrations in his unique comic book style. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Hardcover. Bookseller Inventory # 9780375423079
Book Description Pantheon, 2004. Board book. Book Condition: New. Bookseller Inventory # BKTY9780375423079
Book Description Pantheon, 2004. Board book. Book Condition: New. Bookseller Inventory # INGM9780375423079
Book Description Hardcover. Book Condition: New. 254mm x 23mm x 366mm. Hardcover. 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 Shado.Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 42 pages. 1.270. Bookseller Inventory # 9780375423079