The Graphic Classroom & The Bard in Two Parts
This week, Chris Wilson's and my reviews come together at The Graphic Classroom as "The Bard in Two Parts," where we make a sizable dent reviewing Shakespeare adaptations.
Shakespeare has weathered countless adaptations into prose, comics, new-theater, and films - and most of the time with mixed reviews. Generally, these efforts come of rash underlining and focus on just one of a multi-thematic reading, and consequently forget that -let’s say - the boy Hamlet’s rage conveniently dissects the royal-line from Denmark, or that Fortinbras had crossed the border with an army. While a little less popular, THE MERCHANT OF VENICE has been hammered into film history (at least six by my count!) and multiple retellings (like Arnold Wesker’s play THE MERCHANT), and - like here - into its second graphic novel.
Part of my collection-development plan here in Bradford is to punctuate a wicked-awesome graphic novel section with classic adaptations; while I don’t foster any illusions about making unaware youngins fans of The Bard, I do think it’s important to make available certain canonized works in fresher mediums - if available. I did the same with Beowulf, as it - like Shakespeare - is almost always force-fed through a dated edition to sophomores who couldn’t give a damn. Archaic language does of a student an enemy make, anon. I am, however, skeptical of adaptations, but because I had already just a solid experience with Gareth Hinds, I jumped on THE MERCHANT OF VENICE.
I wasn't disappointed.
You can read the rest here. What's cool is that Gareth Hinds responded, saying: "Thanks! That's a great review -- very positive and also very thoughtful and well-written. Please pass along my thanks to Michael." Received and lauded, o' great one. Candlewick Press will be publishing his King Lear in '09 and The Odyssey in '10.
Shakespeare has weathered countless adaptations into prose, comics, new-theater, and films - and most of the time with mixed reviews. Generally, these efforts come of rash underlining and focus on just one of a multi-thematic reading, and consequently forget that -let’s say - the boy Hamlet’s rage conveniently dissects the royal-line from Denmark, or that Fortinbras had crossed the border with an army. While a little less popular, THE MERCHANT OF VENICE has been hammered into film history (at least six by my count!) and multiple retellings (like Arnold Wesker’s play THE MERCHANT), and - like here - into its second graphic novel.
Part of my collection-development plan here in Bradford is to punctuate a wicked-awesome graphic novel section with classic adaptations; while I don’t foster any illusions about making unaware youngins fans of The Bard, I do think it’s important to make available certain canonized works in fresher mediums - if available. I did the same with Beowulf, as it - like Shakespeare - is almost always force-fed through a dated edition to sophomores who couldn’t give a damn. Archaic language does of a student an enemy make, anon. I am, however, skeptical of adaptations, but because I had already just a solid experience with Gareth Hinds, I jumped on THE MERCHANT OF VENICE.
I wasn't disappointed.
You can read the rest here. What's cool is that Gareth Hinds responded, saying: "Thanks! That's a great review -- very positive and also very thoughtful and well-written. Please pass along my thanks to Michael." Received and lauded, o' great one. Candlewick Press will be publishing his King Lear in '09 and The Odyssey in '10.