Winner of the Eisner, Harvey, and Ignatz Awards
Synopses & Reviews
and#160; Itand#8217;s a perfect beach day, or so thought the family, young couple, a few tourists, and a refugee who all end up in the same secluded, idyllic cove filled with rock pools and sandy shore, encircled by green, densely vegetated cliffs.
But this utopia hides a dark secret.
First there is the dead body of a woman found floating in the crystal-clear water.
Then there is the odd fact that all the children are aging rapidly. Soon everybody is growing olderand#151;every half hourand#151;and there doesnand#8217;t seem to be any way out of the cove. Levyand#8217;s dramatic storytelling works seamlessly with Peetersand#8217;s sinister art to create a profoundly disturbing and fantastical mystery.
Praise for Sandcastle:
and#147;Begins like a murder mystery, continues like an episode of The Twilight Zone, and finishes with a kind of existentialism that wouldnand#8217;t be out of place in a Von Trier film.and#8221; and#151;Publishers Weekly, starred review
and#147;Sandcastle is a fast 112-page read you won't be able to put down.and#8221;and#160; and#151;Cleveland.com
and#147;Peeters and Land#233;vy convey some profound, if profoundly unsubtle, truths about the human condition. Weighty stuff, expertly told.and#8221; and#151;The Comics Bulletin
"The prodigiously talented Burns hit the comics scene in the '80s via Raw magazine, wielding razor-sharp, ironic-retro graphics. Over the years his work has developed a horrific subtext perpetually lurking beneath the mundane suburban surface. In the dense, unnerving Black Hole,Burns combines realism never a concern for him before and an almost convulsive surrealism. The setting is Seattle during the early '70s. A sexually transmitted disease, the 'bug,' is spreading among teenagers. Those who get it develop bizarre mutations sometimes subtle, like a tiny mouth at the base of one boy's neck, and sometimes obvious and grotesque. The most visibly deformed victims end up living as homeless campers in the woods, venturing into the streets only when they have to, shunned by normal society. The story follows two teens, Keith and Chris, as they get the bug. Their dreams and hallucinations made of deeply disturbing symbolism merging sexuality and sickness are a key part of the tale. The AIDS metaphor is obvious, but the bug also amplifies already existing teen emotions and the wrenching changes of puberty. Burns's art is inhumanly precise, and he makes ordinary scenes as creepy as his nightmare visions of a world where intimacy means a life worse than death." Publishers Weekly (Starred Review) (Copyright Reed Business Information, Inc.)
"This accomplished graphic novel is a serious work of artistic and literary merit and is essential for any collection..." School Library Journal
"As always, Burns' gorgeous high-contrast art deepens the atmospheric darkness, and this time he really gets under the skin." Booklist (Starred Review)
"What [Burns] does so memorably...is blend the erotic and the frightening to create a black hole the reader will want to visit again and again." Boston Globe
"In Black Hole, Burns's careers in the comics subculture and the wider world of pop culture merge for the most deeply felt work of his career." Washington Post
"In Black Hole, [Burns's] work takes on a new hyperrealism, which paradoxically only makes the story more frightening." San Antonio Express-News
Suburban Seattle, the mid-1970s. We learn from the out-set that a strange plague has descended upon the area's teenagers, transmitted by sexual contact. The disease is manifested in any number of ways from the hideously grotesque to the subtle (and concealable) but once you've got it, that's it. There's no turning back.
As we inhabit the heads of several key characters some kids who have it, some who don't, some who are about to get it what unfolds isn't the expected battle to fight the plague, or bring heightened awareness to it, or even to treat it. What we become witness to instead is a fascinating and eerie portrait of the nature of high school alienation itself the savagery, the cruelty, the relentless anxiety and ennui, the longing for escape.
And then the murders start.
As hypnotically beautiful as it is horrifying, Black Hole transcends its genre by deftly exploring a specific American cultural moment in flux and the kids who are caught in it back when it wasnt exactly cool to be a hippie anymore, but Bowie was still just a little too weird.
To say nothing of sprouting horns and molting your skin...
From one of the most fiercely admired graphic artists at work today comes a gothic masterpiece of existential fear and loathing, more than a decade in the making and already being hailed as a classic. Set in suburban Seattle in the mid-1970s, it is a horror tale unlike any other.
A strange plague has descended upon Seattles teenagers, transmitted by sexual contact. The disease is manifested in any number of ways from the hideously grotesque to the subtle. Black Hole explores a specific American cultural moment in flux and the kids who are caught in it.
What are the causes and consequences of climate change? When the scale is so big, can an individual make any difference? Documentary, diary, and masterwork graphic novel, this up-to-date look at our planet and how we live on it explains what global warming is all about. With the most complicated concepts made clear in a feat of investigative journalism by artist Philippe Squarzoni, Climate Changed
weaves together scientific research, extensive interviews with experts, and a call for action. Weighing the potential of some solutions and the false promises of others, this groundbreaking work provides a realistic, balanced view of the magnitude of the crisis that An Inconvenient Truth
only touched on.
Climate Changed is printed on FSC-certified paper from responsibly-managed, environmentally-sound sources.
About the Author
Charles Burns grew up in Seattle in the 1970s. Hs work rose to prominence in Art Spiegelman's Raw magazine in the mid-1980s and took off from there, for an extraordinary range of comics and projects, from Iggy Pop album covers to the latest ad campaign for Altoids. In 1992 he designed the set for Mark Morris's delightful restaging of The Nutcracker (renamed The Hard Nut) at BAM. He's illustrated covers for Time, the New Yorker, and the New York Times Magazine. He was also tapped as the official cover artist for the Believer magazine at its inception in 2003. Burns lives in Philadelphia with his wife and two daughters.