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| Title | : | George Sprott, 1894-1975 |
| Author | : | Seth |
| Book Format | : | Hardcover |
| Book Edition | : | Anniversary Edition |
| Pages | : | Pages: 96 pages |
| Published | : | May 26th 2009 by Drawn and Quarterly (first published January 1st 2009) |
| Categories | : | Sequential Art. Comics. Graphic Novels. Graphic Novels Comics. Fiction |
Seth
Hardcover | Pages: 96 pages Rating: 4.08 | 876 Users | 73 Reviews
Narration Conducive To Books George Sprott, 1894-1975
First serialized in The New York Times Magazine “Funny Pages”
The celebrated cartoonist and New Yorker illustrator Seth weaves the fictional tale of George Sprott, the host of a long-running television program. The events forming the patchwork of George’s life are pieced together from the tenuous memories of several informants, who often have contradictory impressions. His estranged daughter describes the man as an unforgivable lout, whereas his niece remembers him fondly. His former assistant recalls a trip to the Arctic during which George abandoned him for two months, while George himself remembers that trip as the time he began writing letters to a former love, from whom he never received replies.
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| Original Title: | George Sprott (1894-1975) |
| ISBN: | 1897299516 (ISBN13: 9781897299517) |
| Edition Language: | English |
Rating About Books George Sprott, 1894-1975
Ratings: 4.08 From 876 Users | 73 ReviewsWrite-Up About Books George Sprott, 1894-1975
Presented very much like Wimbledon Green. Lots of anecdotes and memories from different perspectives. I particularly enjoyed the fascination with the last three hours of George's life. Such mundane events seem meaningful only by retroactively analyzing them, and it's this morbid curiosity that we as humans naturally seem to have maybe because death is such an abstract part of life. I would have liked to see more of his first love Olive Mott's impact on George's life, and I would have liked toI think the conception of this is awesome. Having just read Building Stories by his close friend and mentor Chris Ware, I see a conversation across texts. Both are works that look to explode story representation, in various ways. We have this large book format from Seth (as with Ware and his box of variously formatted books and magazines and posters in Building Stories), as he tries to capture a mundane (not an exciting or famous or "important" life [as Ware does with his three women in Building
Man alive, I love Seth but what was this?! "It's A Good Life If You Won't Weaken" was brilliant as was "Clyde Fans", while "Wimbledon Green" was a small masterwork. In fact it's from "Wimbledon Green" that he bases most of his new book "George Sprott" on (there's even one panel which I'm sure was in the endpapers of "Wimbledon Green" reproduced here). It's a similar fictional biography told in part by the subject, part by an omniscient narrator and part by people who knew him. Here's the story
A beautiful, humane tale full of searing honesty and pathos.
If I was to provide a succint description vis a vis an analogy to a piece of pop culture to describe this absolutely fantastic work- I would most certainly declare Seth's George Sprott to be the Citzen Kane of graphic novels. Nope, I'm not mincing my words. Not at all. While Orson Well's Kane represents the rise and fall of not soley the eponymous character himself- but more grandiosly- the rise and fall of the very American Dream itself- George Sprott aims somewhat lower (He's Canadian you
An interesting book that is like a "This Was Your Life" documentary. Some of the drawings are just staggeringly awesome, especially the collection of George's early life and how it was laid out. But sometimes the narrative becomes too elliptical and dreamlike (especially in the gatefold) with the slightly smug narrator and this takes away from the overall book. Plus the pervading sense of the inevitability of death and how temporary and fleeting our time is is more than a little depressing.
This book should be on the shelf (if you can find one high engough) of anyone who loves this art form. The opening two page spread - in my view one of the most remarkable in comics history- are the floating bodies and egg shaped heads of Sprott the old man about to die and Sprott the baby about to be born- united visually, as only comics can, through Seth's luscious curved drawing style. And this sets the tone for the book: an exploration of mortality, memory, loss, and guilt. That all sounds a
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