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Palestine Paperback – December 17, 2001
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“Sacco uses the comic book format to its fullest extent, creating bold perspectives that any photojournalist would envy.” (Utne Reader)
“Sacco is a pioneer.” (Journal of Palestinian Studies)
“Based on his research, interviews, and personal experiences in Palastinian Occupied Territories in 1991 and 92, [Palestine] takes you there and gives you a first-hand account of the atrocities and suffering in the conflict with Israel. He gives you a close up visual rendering of the physical and emotional conditions of the people, who struggle daily for survival... Sacco has rendered the terrible conditions of life into a compelling and sympathetic artistic documentary. It is sad, but most good stories are sad... What’s better, his drawing is detailed and realistic, very approachable and interesting.” (American in Auckland)
About the Author
Joe Sacco lives in Portland, Oregon. He is the author of many acclaimed graphic novels, including Palestine, Safe Area Gorazde, But I Like It, Notes from a Defeatist, The Fixer, War's End, and Footnotes in Gaza.
Edward W. Said was University Professor of English and Comparative Literature at Columbia. A member of the American Academy of Arts and Sciences, the Royal Society of Literature and of Kings College Cambridge, his celebrated works include Orientalism, The End of the Peace Process, Power, Politics and Culture, and the memoir Out of Place. He is also the editor, with Christopher Hitchens, of Blaming the Victims, published by Verso. He died in September 2003.
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Top Customer Reviews
The " boy in the rain", when this book originally was published in 2001, has now, in 2014, become the Hamas man firing rockets into Israel.
When will they ever learn?
Accompanied by a totally superfluous introduction by the apologist of Islamic fundamentalism Edward Said, who apart from having it frequently wrong with the politics of Islam, also never learned the distinction between "comics" and European style "graphic novels". To him they both go into the garbage after reading.
The book has to work against a perpetual weight of monotony, which Sacco describes as one of the most depressing qualities of life in the camps. As a spectator who can go in and out, he is aware of his special status, but in both text and drawing he comes forth as a modest guy who just happens to draw exceedingly well, and who, lucky for us, has the courage to put himself in places most of us would dread to enter.
Sacco is especially good at drawing scenes. He is master of his medium, using panels of varying sizes to keep the eye moving, or to arrest it with a telling detail or complex panorama. But even better than that, he is marvelous at making human connections, and presenting them with a matter-of-factness that persuades as deeply as any drama can. The book pulsates with all kinds of feeling: fear, hope, anger, suspicion, sorrow, friendship, and more than a little love.
A welcome feature of this edition is its description of Sacco's working methods, particularly his use of photographs.