OS POSITIVOS

o Bob escreveu e vcs deviam ler

This work depicted aberrational behavior of the sexual, violent, and bodily function persuasions. It opposed fascism and expressed depression. You did not have to have read many alternative comics to be familiar with these concerns.
in "From Croatia With Love" 8 jun 2020

Está no nosso claim. Como a crítica-da-crítica-da-crítica, e às vezes até obrigados a reconhecer mérito à dita. Hoje tiramos chapéu a um desses casos.

Quando recordámos atrás que todos os livros são a reescrita dos livros dos outros? If anything, nOS POSITIVOS não dispensamos contar uma boa história, se com outras histórias em substrato e os cómicos de metáfora a sentidos da vida. E se por duas ou três vezes tomámos pulso ao zeitgeist e adiantámo-nos ao próprio TCJ em tópicos (*) E tivéssemos a paciência, encontrávamos as páginas onde ostentamos a coisa com aquela petulância que nos esperam, sabemos quando nos servem o rabinho numa bandeja.

Vimos ontem, só hoje lemos de alto a baixo, talvez a melhor resenha do ano até agora: por Bob Levin a propósito de Komikaze 18 2019, a colecção croata que venceu o "Alternative Comics Award" do Festival de Angouleme, com exposição à editora motriz desta, Ivania Armanini, entrelaçando neste pequeno conto literário à laia de uma review os hábitos de Meisel, um "wise man whose counsel was revered" entre os seus pares imaginários.

O quem-como-porquê da bd o que menos importa, é mesmo o formato que nos convence: uma novela disfarçada de crítica ou uma crítica disfarçada de novela? Senhores cronistas locais investidos à crítica da bonecada, têm aqui modelo à reescrita que vos mexe a caneta - err, dedinho ao teclado.

Começamos do Meisel, personagem que desconhecemos por completo e de quem apenas sabemos que nada sabe de comix e menos ainda de onde páram as modas:

When Meisel had begun writing about comics, there were those who objected he knew nothing about them. This objection was not entirely unfounded; and while he had filled in some gaps in his knowledge, another generation or two of cartoonists had come along with whom he had not kept up, so, proportionately, 30-years down the road, he probably knew less.
in "From Croatia With Love" 8 jun 2020

Algum diggin’ around e similitudes entre Meisel a Levin parecem flutuar, mas essas encontram-se sempre desde que saibamos o que procurar e não as quisemos descobrir além do enunciado para manter as interpretações no peculiar. Hell, também lhe achámos semelhanças nos reflexos que vemos na janela:

Every week brought magazine articles he felt no need to read.

Each morning he sat in a café, facing a window beyond which people passed, performers in a play whose plot he would never divine, and added words to his current creation. Besides the gratifying chemicals each perfected sentence triggered in his brain, he enjoyed the surprises his writing, fate and – in this case – international postal services brought him.
in "From Croatia With Love" 8 jun 2020

Familiar? Mas voltando ao que os postal services nos trazem dos américas que lhes chegou da Croácia que comeu galardão na França: a antologia e a heroína dessa historia, Armanini.

She sought the experimental, playful, humorous, not the craft-oriented, academic, or mannered.

While hanging at Zagreb’s only punk club, she explored ways to deliver “anarcho-cultural” messaging through comics. In 2002, Armanini founded Komikaze, an organization which would produce, promote and distribute comics that expressed “universal human values,” without being limited to “a narrative form in a realistic mode of expression.” She wanted comics infused with elements of street art, action painting, expressionism, abstraction, aspects of film, literature, and music.
in "From Croatia With Love" 8 jun 2020

Com pontos por tanta arte-revolucionária não se excusar à máxima eficácia de comunicação: aquilo do digital como santa trindade.

Komikaze hosted a web site where creators displayed their work and exchanged information and ideas. It published this work on the internet, in ‘zines and an in-print anthology.
in "From Croatia With Love" 8 jun 2020

Apresentado o enredo sugerimos que sigam por lá, e fechamos de exemplo prático a contrariar futalidades de recensões desanimadas a cumprir horário sem pretensões à leitura por vivalma:

What did it mean for art to be based on “social functionality”? (It didn’t sound good.)

Meisel had sensed comics aspiring to become museum-worthy objects d’arte, no more verbal than Etruscan vases. He admired this movement. Why should it matter if a vision was rendered on paper instead of canvas? If measured in square inches, not square feet? If broken into panels on pages, not frames across walls? But wasn’t this contrary to the comic spirit? (Something in him still thought they ought to cost a dime.) Weren’t comics supposed to be accessible to the masses? Armanini’s minis might reward those willing to linger over them and ponder, but that seemed suited for an intellectual elite, not the all-in-color mob. He ran an index finger around the rim of his cup. Then again, must a story have "meaning"? He recalled the reply of the Language Poet whose work had caused him similar puzzlement, "What does ‘meaning’ even mean?"
in "From Croatia With Love" 8 jun 2020

Small print nos derivados: neste zine de poucas cousas (causas + coisas) nacionais talvez devêssemos à etiqueta uma menção da participação do autor pt na dita. But we-meanie!

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