Therapeutic stories are legion, but Hurd and Steininger give theirs freshness by rendering it in comics form and further stylizing it as theater. The first panel views a proscenium arch, curtain down, from the back of the auditorium. The second panel closes in on the curtain, which rises on a therapist's office, with the practitioner seated and a young man standing, on one side of the stage. The other side is where all scenes outside the doctor-patient setting occur, and while cinema-style close-ups are common thereafter, and whole-stage panels less so, theatrical settings never give way to naturalistic ones; all action stays visibly on a stage. This is the presentational procedure made famous by
Death of a Salesman, and if Steininger's angular-figured, dramatically shaded artwork recalls theatrical designer Jo Mielziner's sketches, perhaps that isn't coincidental. The theatrical conceit is, in any event, perfect for dramatizing the patient's process of defusing his anguish and rage over his helplessness to prevent and his family's unwillingness to acknowledge his sister's sexual abuse long ago.
Ray OlsonCopyright © American Library Association. All rights reserved