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George Sprott: 1894-1975

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George Sprott: 1894-1975 Cover

 

Synopses & Reviews

Publisher Comments:

First serialized in The New York Times Magazine's “Funny Pages”

The celebrated cartoonist and New Yorker illustrator Seth weaves the fictional tale of George Sprott, the host of a long-running television program. The events forming the patchwork of Georges life are pieced together from the tenuous memories of several informants, who often have contradictory impressions. His estranged daughter describes the man as an unforgivable lout, whereas his niece remembers him fondly. His former assistant recalls a trip to the Arctic during which George abandoned him for two months, while George himself remembers that trip as the time he began writing letters to a former love, from whom he never received replies.

Invoking a sense of both memory and its loss, George Sprott is heavy with the charming, melancholic nostalgia that distinguishes Seths work. Characters lamenting societal progression in general share the pages with images of antiquated objectsproof of events and individuals rarely documented and barely remembered. Likewise, Georges own opinions are embedded with regret and a sense of the injustice of aging in this bleak reminder of the inevitable slipping away of lives, along with the fading culture of their days.

Review:

"First serialized in the New York Times Magazine, this exquisite extended version of the life of fictional Canadian TV personality George Sprott only adds to Seth's place as one of the form's masters. In the hours and moments before Sprott's death in 1975, the omniscient — and nameless — narrator flashes both backward to key moments in the TV man's life and forward to interviews conducted after Sprott's passing. After spending four years in seminary school, Sprott sets out to be, as he dubs himself, a 'gentleman adventurer,' taking numerous trips to the Canadian Arctic and filming his exploits. After he lands his own television program, Northern Hi-Lights, in the '50s, Sprott spends the next 20-plus years (1,132 episodes) telling and retelling stories of his adventures with the Inuits. Along the way, we meet his long-suffering wife, Helen; employees of the Radio Hotel (where Sprott lived for the last 10 years of his life); and members of the Coronet Club (where he delivered regular and increasingly boring lectures). Musings by the man himself — on everything from modern life to food to loneliness — help to round out this portrait of a man who never seemed truly satisfied but somehow made do. Seth (Palookaville) manages to make what is essentially the story of one man's slow death into an often humorous rumination on the power of media, memory and loss." Publishers Weekly (Starred Review) (Copyright Reed Business Information, Inc.)

Review:

"Through a Citizen Kane-style mélange of interviews with those who knew him, the emerging portrait has the messiness of reality....Much of Sprott was serialized in The New York Times Magazine, but this enormous (14'' x 12'') book makes him feel larger than, well, life. (Grade: A)" Entertainment Weekly

Review:

"[Seth] is exceptionally gifted at evoking the passing of time and the stasis of space." The Washington Post

Synopsis:

First serialized in The New York Times Magazine “Funny Pages”

The celebrated cartoonist and New Yorker illustrator Seth weaves the fictional tale of George Sprott, the host of a long-running television program. The events forming the patchwork of Georges life are pieced together from the tenuous memories of several informants, who often have contradictory impressions. His estranged daughter describes the man as an unforgivable lout, whereas his niece remembers him fondly. His former assistant recalls a trip to the Arctic during which George abandoned him for two months, while George himself remembers that trip as the time he began writing letters to a former love, from whom he never received replies.Invoking a sense of both memory and its loss, George Sprott is heavy with the charming, melancholic nostalgia that distinguishes Seths work. Characters lamenting societal progression in general share the pages with images of antiquated objects—proof of events and individuals rarely documented and barely remembered. Likewise, Georges own opinions are embedded with regret and a sense of the injustice of aging in this bleak reminder of the inevitable slipping away of lives, along with the fading culture of their days.

About the Author

Seth is the cartoonist of Clyde Fans; It's a Good Life, If You Don't Weaken; Wimbledon Green; Bannock, Beans, and Black Tea; and Vernacular Drawings; the designer of the New York Times-bestselling Peanuts collections; and a New Yorker illustrator. He lives in Guelph, Ontario.

Product Details

ISBN:
9781897299517
Author:
Seth
Publisher:
Drawn & Quarterly
Subject:
CGN002000
Subject:
General
Subject:
Graphic Novels - General
Copyright:
Edition Description:
Hardcover
Publication Date:
20090531
Binding:
HARDCOVER
Grade Level:
General/trade
Language:
English
Illustrations:
Full-Color Illustrations Throughout
Pages:
96
Dimensions:
12.00 x 9.00 in

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Related Subjects

Fiction and Poetry » Graphic Novels » General
Fiction and Poetry » Graphic Novels » Literary
Fiction and Poetry » Graphic Novels » Oversized Books

George Sprott: 1894-1975 New Hardcover
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$24.95 In Stock
Product details 96 pages Drawn & Quarterly - English 9781897299517 Reviews:
"Publishers Weekly Review" by , "First serialized in the New York Times Magazine, this exquisite extended version of the life of fictional Canadian TV personality George Sprott only adds to Seth's place as one of the form's masters. In the hours and moments before Sprott's death in 1975, the omniscient — and nameless — narrator flashes both backward to key moments in the TV man's life and forward to interviews conducted after Sprott's passing. After spending four years in seminary school, Sprott sets out to be, as he dubs himself, a 'gentleman adventurer,' taking numerous trips to the Canadian Arctic and filming his exploits. After he lands his own television program, Northern Hi-Lights, in the '50s, Sprott spends the next 20-plus years (1,132 episodes) telling and retelling stories of his adventures with the Inuits. Along the way, we meet his long-suffering wife, Helen; employees of the Radio Hotel (where Sprott lived for the last 10 years of his life); and members of the Coronet Club (where he delivered regular and increasingly boring lectures). Musings by the man himself — on everything from modern life to food to loneliness — help to round out this portrait of a man who never seemed truly satisfied but somehow made do. Seth (Palookaville) manages to make what is essentially the story of one man's slow death into an often humorous rumination on the power of media, memory and loss." Publishers Weekly (Starred Review) (Copyright Reed Business Information, Inc.)
"Review" by , "Through a Citizen Kane-style mélange of interviews with those who knew him, the emerging portrait has the messiness of reality....Much of Sprott was serialized in The New York Times Magazine, but this enormous (14'' x 12'') book makes him feel larger than, well, life. (Grade: A)"
"Review" by , "[Seth] is exceptionally gifted at evoking the passing of time and the stasis of space."
"Synopsis" by ,

First serialized in The New York Times Magazine “Funny Pages”

The celebrated cartoonist and New Yorker illustrator Seth weaves the fictional tale of George Sprott, the host of a long-running television program. The events forming the patchwork of Georges life are pieced together from the tenuous memories of several informants, who often have contradictory impressions. His estranged daughter describes the man as an unforgivable lout, whereas his niece remembers him fondly. His former assistant recalls a trip to the Arctic during which George abandoned him for two months, while George himself remembers that trip as the time he began writing letters to a former love, from whom he never received replies.Invoking a sense of both memory and its loss, George Sprott is heavy with the charming, melancholic nostalgia that distinguishes Seths work. Characters lamenting societal progression in general share the pages with images of antiquated objects—proof of events and individuals rarely documented and barely remembered. Likewise, Georges own opinions are embedded with regret and a sense of the injustice of aging in this bleak reminder of the inevitable slipping away of lives, along with the fading culture of their days.

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