Customer Reviews

Habibi

5 star:		(45)
4 star:		(10)
3 star:		(4)
2 star:		(3)
1 star:		(0)

 

 

Habibi is a fable of exploitation and the cruelty of the strong toward the weak. It is a love story, though the the kind of love it celebrates--maternal, platonic, erotic--remains elusive throughout. It is also a sermon complete with hell-fire and brimstone and strident pleading about the dangers of the sin of waste. Most of all it is prophecy dressed in poetry's clothing--an artful shriek announcing of the end of the world.

All of this lovely fable-telling and street-preaching comes packaged in a graphic novel. And what a novel! And how graphic! Author and artist Craig Thompson gives us pages filled with toil, tears, and blood--whether his own or someone else's is hard to say. The book is beautiful, yes. Every dot, every line tells of human longing and agony. Every panel draws your eye, delights, repulses, demands--requires your attention. Many of the pages, with their intricate arabesque patterns, must have taken endless hours for Thompson to craft. No wonder that nine years have passed since Thompson's last major work, Blankets. The drawings in Habibi are a gift, bought at a price, and it does seem a sin to refuse them.

The story, too, is masterfully crafted. It tells of two urchins, Dodola and Zam, who find each other in the mire of the Arab slave trade. Dodola survives by prostitution and wit, nurturing and protecting Zam until he, too, begins to yearn for her body. Their journey through the filth of a decaying world, through magic and old lore, and through their own damaged souls proves constantly engrossing.

Thompson is not always the most elegant of writers. Sometimes the voice of the preacher oppresses Dodola's more underspoken narration. "Zam was soothed by stories," she explains early in the book. "He didn't realize the precipitation was acid rain," the narrator continues in an apparent non-sequitur, and now Dodola's voice has been lost. Thompson's urge to make explicit the symbolism between his characters' world and our own sometimes gets the better of him. "When the world is on its last breath," Dodola opines, "the masses will need something to distract them from the destruction--and my body will still be a commodity." Are these really the thoughts of an isolated sex-slave hidden away in an almost medieval modern Arabia? These narrative oversteps betray a lack of faith in either the story or the reader to draw the connections without commentary.

Fortunately these oversteps are few, and the tale is always compelling even at those moments when the text is not. Thompson has given us the finest graphic novel of the past decade, and I will not be surprised, fifty years from now, to see it well-established in the literary harem of university English courses. (I don't think it will be studied in high schools--hardly a page passes without nudity or brutality.) Whether or not this book helps move the world to conviction and repentance, it will endure as a work of art. Habibi is that rare thing--that most literary of things--a pleasure that is also good for you.

Craig Thompson's Blankets is one of my all time favorite novels, so it is not surprising that I was waiting in anticipation for this book, and it does not disappoint.

If Blankets was a comforting quilt constructed from unrequited love and childhood innocence then Habibi is a tapestry; exotic, richly decorated and replete with signs and symbols easily understood but not always fully comprehended. It is also immense, even though it is only 100 pages or so lengthier than blankets the entire size and scope of the story seems exponentially larger.

It is a MATURE graphic novel in that it deals with themes, which would be difficult to grapple in any medium, such as abandonment, sexual slavery, prejudice etc but always with a sensitivity and understanding which belies the notion that graphic novels are simply long-form comics. The usual poor reviews on account of the sex, violence and nudity are, I'm sure, inevitable. There is sex, violence and nudity but it is not gratuitous, it is employed to advance the story or develop the characters- still if you have overtly susceptible sensibilities then perhaps this book should be avoided.

The plot is complex and meandering and not succinctly summarized, in tone it has much in common with the magical-realism form of writing- it is compelling and it is likely that, despite the length of the story, most readers will finish the book in only a few days.

It also makes a great argument for the printed form; when you hold it in your hands you feel like you are holding an extraordinary tome, it is beautifully bound with tasteful gold lettering and the tactile sensation of turning these ornately decorated pages is not something which could be easily approximated in the digital format

I just finished Habibi and I am awestruck by the amazing work put into it. However, I'm not coming away from it with the same kind of feelings I had with Blankets. Blankets caught me at a special time in my life and brought about much nostalgia for being a teen in the 90s. As an artist who did leave art school to be a pastor, I connected with Craig's character and had an emotional connection. I wanted that again and have waited 4 years for Blankets. I know I'm not the only one.

BUT, that said, Habibi was the amazing experience I was hoping for, though not what I expected. Habibi is much darker and much more brutal than Blankets, with a lot more nudity and sex. The sex scenes sometimes involve children, which can be tough to stomach. But this is what good art does: it creates an emotional reaction and leaves you to think what you just witnessed. I cannot stop thinking about Habibi, and the messages that are as densely layered as the artwork. Just when I felt I was reaching my limit of endless pages of sexploitation, the story took off in a beautiful direction, making some sense of the difficult content.

Of course as an artist and a lover of art, one of Habibi's biggest payoffs is the 672 pages of meticulous artwork, inspired by arabic writings and middle eastern geometric shapes. His work is much more dense and detailed than Blankets, all drawn with a brush and bottles of ink. There is no digital enhancement in the work whatsoever, and the results are spellbinding. The borders on one page alone took him at least 12 hours to do!

It is a reminder of why we should not be so quick to sell out to ebooks, as even the binding is a treasure to behold.

Buy Habibi and enjoy its remarkably beautiful story. Keep it as a work of art.

Craig Thompson, best known for his graphic novel memoir Blankets, has created yet another epic masterpiece that spans across time and space. Set in the Middle East and drawing inspiration from Islamic history and the Qur'an, we follow the epic story of Dodola and Zam, two orphans that escape the Arab slave trade. Their story begins together in a boat abandoned in the middle of the desert set in between a town in poverty and an opulent city where the Sultan dwells, where stories are told and dreams are born. Over nine years Zam and Dodola grow up together on the boat (Zam is 3 in the beginning and Dodola as 12) till the day things come crashing down...and Dodola is kidnapped into the harem of the Sultan. And Zam is left to fend for himself and gets lost amongst the city. Their stories separate, each under going their own trials and tribulations, yet each crying out for each other in the darkness of the night. Each broken and molded in new ways and yet, when their paths cross again each is happy to claim the other yet again. And the story continues on, in a new boat, and in a new sea.

First of all this is just an absolutely beautifully designed book. I just keep getting lost in looking at the design of it, even before I open the pages. The letter are embossed in gold lettering into the cover; with white insets, one on the front cover, the back cover, and one on the spine, depicting the characters at three different points in their lives; and the design around the insets and over the cover are like calligraphy from a lost scroll. It just feels and looks like something that you would find only in the most opulent library in the world, and yet you get a chance to hold it in your own hands. And while the end pages when you open the book may not look like much, you soon come to realize just how important they are to the story.

This is an epic love story told over time, and the type of love changes as the story moves forward--from brother/sister, to maternal, to love between two people. We know that Thompson worked on this story for a long time and its clearly evident that it's a labor of love to him. What isn't evident at first is how all of the pieces of the story fit together. When I first started reading this it felt like the story didn't flow smoothly together, at least not as smoothly as Blankets did, because Thompson is constantly blending in the past and the present and feeding us different bits of information--such as how Arabic script is drawn. But I should have known that Thompson had a plan and as you move further into the story all of the parts weave together to form one epic tale. And by the end you'll be blown away by how well the story is woven and told.

Not only was the writing a labor of love for Craig, but it's clear the artwork is as well. Everything single detail is hand drawn, nothing copied. And while that might sound trivial, as you open the book and get into the story you begin to notice just how much Arabic script and pattern are put into the story. And you can begin to imagine just how long it took to get just the right stroke of the brush to produce them. Thompson's artwork has improved since his time with Blankets, especially in capturing the human figure. The expressions on the characters faces, the way that the bodies move, is absolutely fantastic and makes the characters almost leap off the page. The line quality in figures in some ways reminds me of Will Eisner's work, and just his ability to capture the human figure with ease. But it still retains Craig's style and you can see elements of Chunky Rice and Blankets in the way the sands of the desert are drawn and the look in the characters eyes. All together the artwork is fantastic.

There's a quote from Neil Gaiman on the band around the book, where he says that this book should be held in the same regard as Chris Ware's Jimmy Corrigan: The Smartest Kid on Earth. And yet...I holder it in even higher regard as Thompson has created a story where everything works in absolute perfect harmony and is a book that everyone should pick up and read at least once...and ponder on the story and the meaning behind this fantastic work.

If you plan to read Habibi, I insist you to read all the way through--even if the horrible things that happen to the characters cause you to close the book--because the meaning of the story continues to stay in my thoughts. The characters who commit sins are left to poison the Earth and many other characters are forced to have horrible experiences when they deserve better. The only joyful part of the ending is when the two protagonists reunite and then begin to stray from their crumbling society. I am not a follower of religion, though I find it interesting, and Thompson seems to point out the flaws in religion and humanity. This is a one of a kind book.

All of the reviews here are glowing about the artwork in the book, and I fully second this commendation, especially for those who are not familiar with Arabic calligraphy. Thompson has clearly studied his calligraphy thoroughly and he weaves a beautifully-illustrated tale that doesn't falter in quality when moving from barren landscape to medieval middle east to sprawling urban. He also has clearly done his homework when it comes to Islam and Arab culture making allusion to appropriate Islamic cognates of Jewish or Christian stories or historical events. Unfortunately, I'm not entirely sure what the point was, other than to show off his newly accumulated knowledge. Many of the stories are referenced at haphazard times, and seem forced as story-movers and context-givers. Indeed, their very reference seems a contrived attempt to indulge the stereotype of the oral tradition in the Middle East and enhance the ethnic flavor of the book. Thompson also makes copious use of Arabian Night-sensuality to move the story forward, a feature that isn't presented in any novel fashion and feels more than a little trite. The love story between Dodola and Zam, the two main characters, is well-done and touching, even if spruced up too gaudily with Arab/Islamic dressing. I was excited when I initially heard of this book, hoping it to be a great modern retelling of some Arabian Night stories. However, in the end, I think Thompson tries to do too much, melding religious mythology, various middle-east history, a sweeping love story, and a reflection on industry in one story and the result ends up being a drawn-out mixed bag.

A few years ago, Time Magazine ranked its 100 best novels of the last century, and included Alan Moore's The Watchmen on the list, a decision that seemed controversial at the time for those not familiar with the importance of Moore's work. I can't add to all that's been said by the other reviewers except to say that if Time made the list again today and didn't include Habibi on it, I would think the list would be incomplete. I too am reminded of Milton, Shakespeare, Rami, and Baudelaire (and let's throw in Hugo, for good measure, and why not William Gibson). I'm also reminded of my love for Al-Ghazali, Ibn Rushd/Averroės, and the transcendent school of theosophy. This is a graphic novel that aspires to literature and succeeds easily and breathtakingly (yes, there are actual pages that took my breath away).

a beautiful book in both form and content. i love the intricate drawings, the masterful arabic calligraphy, and a tale of love and loss with quranic stories woven in .. it is like a handwoven persian rug where the beauty stems from the details. thompson's description of the arabic alphabet shed a new light on a language that i've spoken and read all my life.. he made the letters spring to life .. a life of their own. i can't imagine the amount of research it took to create such a huge project, but it couldn't have been done without love and a true appreciation of the language and surrounding culture (both traditional and modern -- i couldn't help but laugh at his creative use of arabic swear words).

hats off and alf shukran.

Habibi is the story of a girl named Dodola and a boy named Zam, set amidst a middle eastern backdrop. It's a gorgeous book, with faux leather binding and 672 pages of Craig Thompson's blood, sweat, and tears. Habibi is an allegorical story of love, laid upon the allegories of the Koran, Talmud, and Bible. Habibi is an Arabic word meaning `my beloved'.

Every note of this story is played upon the musical calligraphy of the Arabic language. I can't even imagine the research Thompson must have done to create this book - not just to recreate a dreamlike vision of the middle east, not just to frame the story within the stories of the holy books, but to gain an understanding of the symbology and graphical forms to tell stories with every curve of a letter, and every edge of a shape. Throughout the book, there is an feeling of risk as a cartoonist tells a story about a faith that walks a line between reveling in the beauty of imagery and viewing it as idolotry.

The beauty of the art is juxtaposed with the horrors of the story. We meet Dodola as she is being sold as a child bride. We see her become a slave. As a slave she meets a younger child named Zam that is also a slave. She and Zam escape and for a while live in the desert. Dodola makes huge and disturbing sacrifices to care for Zam, but eventually they are ripped apart. While apart, each undergoes a series of horrors as they mature into adults. Eventually they reunite.

The story plays loose with time. Although the characters age slowly, vast amounts of time appear to pass in the background. Portions of the story appear to take place during the Islamic Golden Age of One Thousand and One Nights, but as the story unveils, the backdrop becomes more modern, until it is clear that the story is taking place in our old time, or maybe even a dystopic future. Throughout the story are small anachronisms that betray the time period, such as Bedouin wearing sunglasses and plastic six pack yokes in piles of litter. As the story becomes more modern, I started to wonder if Thompson meant for Dodola to represent the plight of women and Zam to represent the plight of black people.

The only other work by Thompson, that I've read, is Blankets (New Hardcover Edition), which is an autobiographical story. In that story he deals with the conflict between his religious upbringing and his first love. Both stories look at how religious upbringing governs actions and attitudes.

For those that appreciate the artistry of the graphic novel - this book is a must have.

I have to admit, I am not a hardcore reader. I'm sporadic and picky. I bought this book solely on the fact that it was created by Craig Thompson, who invented one of my favorite graphic novels: Blankets. Back when I read Blankets I was blown away by how amazing Craig Thompson's narrative style was. His artistic talent is amazing, but his pacing is second to none. To me, blankets is one of the greatest works I have ever read. So for over half a decade I have been eagerly awaiting his next work, and It finally arrived in the form of Habibi. It is not an autobiography like Blankets, but it has the same emotional and personal intensity. The subject matter contains the same, if not more troubling nature of those found in blankets, presented in a powerful way. Craig's artistic style has reached new levels with this work, and it is obvious how much of his soul he put into each and every image and word. I recommend this to anyone who loved blankets, and anyone who has ever struggled with sexual identity and the concepts of personal sin. As a slight warning, some of the ways in which religious concepts are presented might (emphasis on might) upset less tolerant people. But, despite that, I think this is a book that has already earned a place amongst the greatest graphic novels of all time.