World Famous Comics: The Contract with God Trilogy: Life on Dropsie Avenue (A Contract With God, A Life Force, Dropsie Avenue)
The Contract with God Trilogy: Life on Dropsie Avenue (A Contract With God, A Life Force, Dropsie Avenue)
By: Will Eisner Publisher: W. W. Norton Average Rating: Binding: Hardcover Label: W. W. Norton Number of Items: 1 Number of Pages: 544 Publication Date: November 21, 2005
Product Description: The legendary graphic novel and the sequels that launched an art form.
With graphic narrative that "was closer to the writing of Bernard Malamud or Isaac Bashevis Singer than any comic art which had preceded it" (The Economist), A Contract with God, originally published in 1978, was the first graphic novel: the prototype—along with A Life Force and Dropsie Avenue—for such seminal works as Maus and Persepolis. Set during the Great Depression, this literary trilogy, assembled in one volume for the first time, presents a treasure house of now near-mythic stories that fictionally illustrate the bittersweet tenement life of Eisner's youth. With nearly one dozen new illustrations and a revealing brand-new foreword, this book ultimately tells the epic story of life, death, and resurrection while exploring man's fractious relationship with an all-too-vengeful God. This mesmerizing, fictional chronicle of the universal American immigrant experience is Eisner's most poignant and enduring legacy.
A great showcase of Eisner's genius So many reviews have been written on the actual stories collected in THE CONTRACT WITH GOD TRILOGY: LIFE ON DROPSIE AVENUE that I'll focus instead on the edition itself. I initially had all three of these graphic novels in softcover format, but seeing them in this edition, I pulled a switcheroo. All stories are set around an approximate 100-year time span on Eisner's Dropsie Avenue, and this is the perfect way to own them. At 544 pages for $29.95, and in hardcover, it's an excellent deal. The pages are thick and feature the same sepia tones that give Eisner's art its signature look. As a bonus, this edition includes quite a few new illustrations by Eisner, completed just before his death in 2005. More of his works are collected in this format, under the titles NEW YORK: LIFE IN THE BIG CITY and LIFE, IN PICTURES: AUTOBIOGRAPHICAL STORIES. I now have them all on my bookshelf, and they look superb. Will, your greatness lives on!
A genius at work I'm a relatively new reader of the genre, so admittedly there are probably many other writers who may be acclaimed as the founder. But for my money, Eisner is the master of the graphic novel. This trilogy is a must.
High praise: Reads like a book I'm a relative latecomer to the world of the graphic novel, though I did read my share of comic books as a kid. But a year or so ago, I read Will Eisner's "The Protocols of the Elders of Zion" and have been talking about it ever since. Time, I thought, to see what else Eisner might have written.
"What else Eisner might have written" is answered in part by this wonderful reminiscence of the Bronx of days gone by. The tales revolve around the history and residents of a tenement block on 55 Dropsie Avenue in the Bronx. To Eisner, it was always a neighborhood - greater than the sum of its parts and capable of moving callous men to teary nostalgia.
The book starts of with "A Contract with God," a relatively short and focused story about Frimm Hersch, a young Jewish boy who escapes Russian anti-Semitic pogroms, makes a contract with a just God, and loses his faith when his beloved daughter dies. Eisner tells us in the introduction that this story is one of the ways he dealt with his own daughter's death, a blow so severe that he plunged it deep into his psyche. What is so intriguing about Eisner's tale is that the reader never quite finds out what was in the contract. But one finds out a little about God and a bit about humanity's willingness to continue to struggle with this Witness to human misery and loneliness. "A Contract with God" continues with other New York tales drawn from Eisner's memory - a tale about a lonely former opera diva who befriends a penniless street singer; a bitter tenement "super" infatuated with a young girl; a summer "cookalein" or cook-your-own boarding house at an upstate farm where city moms take their kids for a summer in the out-of-doors. Eisner is at his most frank here, not shying away from the pressures and temptations that entice people living in such close proximity to each other. The tales are sexy, brash, violent and always real.
The second story, "A Life Force," is a meditation on the unseen drive of all living things to remain alive and to reproduce. An out-of-work Depression-era carpenter finds a lesson in a cockroach's struggle to survive. His path crosses that of an ancient "rebbe" needs a room built for whose wife, who suffers from dementia. Soon, the story draws in a ne'er-do-well former playboy boy, young socialists, Sicilians gangsters and a woman from Nazi Germany (an old acquaintance of the carpenter) trying to extract her family from the growing turmoil back home. Eisner's depiction of the ever-triumphant "life force" comes alive in a myriad ways that look surprisingly like ordinary living.
The final section deals with the history of the parcel that became Dropsie Avenue. Eisner takes us on a kaleidoscopic tour from its days as Dutch farmland through its many incarnations as a residential neighborhood, vibrant gathering place for immigrant families, rat hole and locale for single-family homes. His tale is populated with crooked real estate developers, local politicians, druggies, thieves, ethnic priests, ineffectual cops and a variety of local characters. Eisner is at his best as he shows how greed and bad housing laws can strip the poor of housing, enrich the unscrupulous and reduce once-proud neighborhoods to rubble. I learned more about the roots of urban blight from Eisner's pictures than from any "serious" book.
Eisner's work is not disposable, like the comics of my youth. His stories have a depth of humanity that makes them fascinating and re-readable. His art exaggerates enough to telegraph his characters' inner feelings, but subtle enough to keep them rooted in reality. A wonderful experience.
Una obra maestra sin lugar a dudas!!! Esta novela gráfica es simplemente sublime, las historias son maravillosas así como la presentación del libro que es de una calidad tan alta, pocas veces vista pero que definitivamente un trabajo tan bien logrado se merece. Cualquier otra cosa que te pueda decir, estaría de mas, si no conoces la maravillosa narrativa, dibujo e inventiva del maestro Will Eisner, este es un claro ejemplo de su maravillosa calidad como artista, ahora que si eres un seguidor, es un libro que debes tener en tu colección. Pero ya sea una razón o la otra, es una compra de la cual definitivamente no te vas a arrepentir.
Forging a path of respect for future artists Comic and cartoon artists are finally getting the respect they have deserved since the Yellow Kid wore his one piece pajama. Artists like Charles Burns and Frank Miller; Seth and Tony Millionaire, all work in a medium whose fan base is basically adult, literate and mainstream. In reading current book reviews of works like "Jimmy Corrigan, The Smartest Kid On Earth" by Chris Ware or "Blankets" by Craig Thompson, it is clear that the Graphic Novel as an art form no longer requires an asterisk.
All these artists and cartoonists owe this new environment of respect in no small part to the work of Will Eisner, specifically the work contained in this volume. While Eisner was not the first artist to tell a story with pictures, he without question hammered out a stylistic language that others could learn and understand. I don't think it is an exaggeration to say that he brought the concept of the graphic novel home and gave it a firm structure and a future. Also important was Eisner's unyielding believe in the graphic novel as a form of fine art, as legitimate a tool for storytelling as any of the traditional oral or written forms. All current artists working in comics owe Eisner in the same way that all Afro-American ballplayers owe a debt of gratitude to Jackie Robinson. Like Robinson, Eisner completely believed in what he was doing and refused to accept anything less than respect for his work, all done in a day when respect didn't come easily or automatically for them.
Now, about the work itself - what can one say? No one will ever replace or improve on Eisner's innate ability to tell a story with pictures. His work was absolutely gorgeous and fluid, the line and brushwork immaculate and dense without every looking fussy. He forged a unique and instantly recognizable style that is the true mark of a virtuoso in any artistic medium, and he was a very gifted storyteller into the bargain. There are certain panels in his best work, like "A Life Force" or "Droopsie Avenue," that are just jaw dropping in their beauty and absolutely unforgettable.
To this day his work is unmatched in its depth and sophistication of theme. Norton deserves much praise for reissueing these trailblazing works in a well bound and attractive hardcover. Recommended highly. -Mykal Banta
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