From Publishers Weekly
Chankhamma's gorgeous manga-inspired art makes this book. She draws moody, evocative landscapes, densely twisting trees, ornate banisters and big-eyed characters all with the same skill and emotive touch. Unfortunately, Said's story isn't quite as original. The angsty tale takes place following the suicide of the main character, Clarence, who is searching for a kind of healing in death. An implicit romanticization of death and suicide is drawn out over an episodic narrative that relies much too heavily on atmosphere and offers little substance, as Clarence wanders an afterlife encountering various mysterious beings all on their own quests. While some gloom-loving readers may find comfort in the ruminations on emptiness, the self-conscious stylings are often flat and forced. An introduction by Hayden Scott-Baron does little to enhance understanding of the story. Wisely, however, the book concludes on a high note with a series of sketch studies. It's a pleasure to look into Chankhamma's lovely designs of scenes including the courtyard and the book tree and the Death flower shop.
(May) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
When Clarence comes to consciousness in his overflowing bathtub, the water has turned pink. Written on the mirror is the message, find me. So he sets off, without knowing who left the message. Very soon, however, he discovers that he has committed suicide and is chasing the mysterious note writer through the land of the dead. Being dead is no guarantee against dying again, and Clarence is threatened—and threatens some of those he meets—with additional bouts of dying. He encounters some witty interlocutors; a dangerous, pretty young woman; and his own better side. He notes a Lewis Carroll sensibility in some of his adventures but knows that they are darker and grimmer than Alice's. Chankhamma's art fits Said's story line nicely, with panels proportioned and positioned to emphasize and literally shape the narrative flow. People and places verge on the cartoony without losing their forbidding qualities. The story ends with a nice twist, and supplementary pages show how the originally conceived conclusion would have left the tale different in overall sensibility. Goldsmith, Francisca
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