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"A stunning graphic memoir of a childhood in Cuba, coming to America on the Mariel boatlift, and a defense of democracy, here and there Hailed for his iconic art on the cover of Time and on jumbotrons around the world, Edel Rodriguez is among the most prominent political artists of our age. Now for the first time, he draws his own life, revisiting his childhood in Cuba and his family's passage on the infamous Mariel boatlift. When Edel was nine, Fidel Castro announced his surprising decision to let 125,000 traitors of the revolution, or "worms," leave the country. The faltering economy and Edel's family's vocal discomfort with government surveillance had made their daily lives on a farm outside Havana precarious, and they secretly planned to leave. But before that happened, a dozen soldiers confiscated their home and property and imprisoned them in a detention center near the port of Mariel, where they were held with dissidents and criminals before being marched to a flotilla that miraculously deposited them, overnight, in Florida. Through vivid, stirring art, Worm tells a story of a boyhood in the midst of the Cold War, a family's displacement in exile, and their tenacious longing for those they left behind. It also recounts the coming-of-age of an artist and activist, who, witnessing American's turn from democracy to extremism, struggles to differentiate his adoptive country from the dictatorship he fled. Confronting questions of patriotism and the liminal nature of belonging, Edel Rodriguez ultimatelycelebrates the immigrants, maligned and overlooked, who guard and invigorate American freedom"--… (plus d'informations)
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An engaging memoir of Edel Rodriguez's childhood under Fidel Castro's dictatorship in Cuba and his parents' decision to risk everything by fleeing to the United States as part of the Mariel boatlift in 1980 when he was nine years old.
The closing chapters of the book pivot to Rodriguez's editorial cartooning and activism against the increasingly autocratic Donald Trump, a man who reminds him too much of Castro with all the scapegoating, hate-mongering, and big lies.
It's a bit wordy for a graphic novel, but Rodriguez's striking art easily offsets any overlarge blocks of text.
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"A stunning graphic memoir of a childhood in Cuba, coming to America on the Mariel boatlift, and a defense of democracy, here and there Hailed for his iconic art on the cover of Time and on jumbotrons around the world, Edel Rodriguez is among the most prominent political artists of our age. Now for the first time, he draws his own life, revisiting his childhood in Cuba and his family's passage on the infamous Mariel boatlift. When Edel was nine, Fidel Castro announced his surprising decision to let 125,000 traitors of the revolution, or "worms," leave the country. The faltering economy and Edel's family's vocal discomfort with government surveillance had made their daily lives on a farm outside Havana precarious, and they secretly planned to leave. But before that happened, a dozen soldiers confiscated their home and property and imprisoned them in a detention center near the port of Mariel, where they were held with dissidents and criminals before being marched to a flotilla that miraculously deposited them, overnight, in Florida. Through vivid, stirring art, Worm tells a story of a boyhood in the midst of the Cold War, a family's displacement in exile, and their tenacious longing for those they left behind. It also recounts the coming-of-age of an artist and activist, who, witnessing American's turn from democracy to extremism, struggles to differentiate his adoptive country from the dictatorship he fled. Confronting questions of patriotism and the liminal nature of belonging, Edel Rodriguez ultimatelycelebrates the immigrants, maligned and overlooked, who guard and invigorate American freedom"--
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(4.75)
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The closing chapters of the book pivot to Rodriguez's editorial cartooning and activism against the increasingly autocratic Donald Trump, a man who reminds him too much of Castro with all the scapegoating, hate-mongering, and big lies.
It's a bit wordy for a graphic novel, but Rodriguez's striking art easily offsets any overlarge blocks of text.
(Best of 2023 Project: I'm reading all the graphic novels that made it onto NPR's Books We Love 2023: Favorite Comics and Graphic Novels and the Publishers Weekly 2023 Graphic Novel Critics Poll lists. This book made it onto both.) (