White Like She [Paperback]

Bob Fingerman (Author)

Product Details

• Paperback: 96 pages
• Publisher: Fantagraphics Books (January 1999)
• Language: English
• ISBN-10: 1560973412
• ISBN-13: 978-1560973416
• Product Dimensions: 9.4 x 6.9 x 0.3 inches
• Shipping Weight: 7.8 ounces (View shipping rates and policies)
• Average Customer Review: 1.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #3,685,524 in Books (See Top 100 in Books)

More About the Author

Bob Fingerman authors both graphic as well as straight prose novels. His books include the critically acclaimed graphic novels BEG THE QUESTION (a reworked collection of the comic series MINIMUM WAGE) and WHITE LIKE SHE (both Fantagraphics). Other books include YOU DESERVED IT and RECESS PIECES (both Dark Horse Books), and the illustrated novella, CONNECTIVE TISSUE (Fantagraphics).

His debut prose novel, BOTTOMFEEDER, was published in 2007. From Fangoria's Book of the Month review: "If, like me, you've been looking for the balls that have been torn from the modern vampire, you need to pick up this book."

His newest graphic novel FROM THE ASHES (IDW), a satirical "speculative memoir" set in the post-apocalyptic ruins of NYC will be released in March 2010. Bob's next novel, PARIAH, will be released by Tor in July 2010.

He lives in NYC with his wife, Michele.

Customer Reviews

Most Helpful Customer Reviews

3 of 6 people found the following review helpful:

1.0 out of 5 stars "Unreadable" would be unwarranted praise, January 17, 2008

By 

Neal Stanifer (Bakersfield, CA USA) - See all my reviews
(REAL NAME)   

This review is from: White Like She (Paperback)

I bought this little slice of experimental comics with few expectations. I'd heard about it, and I have had good experiences with independent comics before, so I thought I would give it a look. I cannot recommend wasting time or money on this book.

Fingerman's art is at least consistent, and at times even evocative, but it isn't enough to salvage the project, which is dragged down by writing so preachy, so self-conscious and self-referential that I found myself wondering what kind of audience Fingerman had in mind when he put this together. Let me see if I can be more specific...

The basic premise is simple. In a surreal world, an African-American man is the victim of an industrial accident that might have been prevented if not for the greed and stupidity of corporate villains. His body all but destroyed, he seeks help from a lunatic doctor, only to find himself arriving at the doctor's lab at the same time as a young white woman -- a political radical bent on killing the same doctor. A heavily-contrived set of circumstances results in the black man's brain being transplanted into the young white woman's body.

Now, if you're someone who believes it's tough to get along in America as an African-American man, and that it's also tough to get along in America as a young white woman, then GOSH, wait until you see how tough it is to get along in America as an African-American man in the body of a young white woman. Or...not. See, the book doesn't really want to explore anything outside of the timeworn cliches of identity politics. In fact, I've seen Mel Brooks movies with more subtle satire than this.

Reading this book, I got the strong feeling that Fingerman set out to write the kind of rantish political piece that might issue forth from a particularly naive sixteen-year-old who had just been introduced to politics for the first time. But somewhere along the line, he just gave up.

The book seems to engage not in a satire of society so much as a parody of the very possibility of addressing social concerns in a comic -- or at all. Cliche corruption is everywhere, and the only characters who seem to care are also in love with their own shallow, narcissistic voices. In short, any message this book might offer is quickly swallowed up in the same old art-school postmodern self-reflection.

This is most evident in the agonizing dialogue (though in most instances, "monologue" would be a better word). Everyone makes speeches in this book, even people who have no audience but themselves. The book begins with the main character (Luther) telling himself his own life story in the worst tradition of hack exposition. We then get a glimpse into the mind and life of Louella, our other protagonist, whose thinking-out-loud establishes her quickly and cheaply as a rather violent radical from a seriously (and ludicrously) dysfunctional middle-class family.

But even when the characters aren't climbing up on a mental soapbox to testify, the dialogue is terrible. Perhaps Fingerman thought it would be clever or ironic to adorn the book with writing too godawful for a Golden-Age crime comic, but I just found it insulting and juvenile. I'll just cite a few quick examples from a single scene, and you can judge for yourself.

During the scene in Dr. Flounder's brain-transplant lab, an exchange of gunfire takes place that sets the real story (such as it is) in motion. Louella tries to kill Dr. Flounder, shouting, "Eat leaden death, capitalist gore-monger." She misses, hitting Luther. Flounder returns fire, wounding Louella, who then returns fire, saying, "I didn't come here to die... I came here to kill you! So, here...have some death!" This is bad enough, but as Luther realizes he is dying, he regales us with "I can't believe it. What did I do to deserve this? Not pay enough taxes? That warrants this? I wish I believed in god, so I could blame him." Yeah, that's about what you can expect throughout the whole book.

If your response to social problems is to reduce everything to a cliche and then turn it into the stalest, most obvious joke you can think of, then this book is for you. But if that doesn't sound like your style, I suggest you give this one a miss.