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Good-Bye por Yoshihiro Tatsumi
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Good-Bye (edição 2008)

por Yoshihiro Tatsumi, Adrian Tomine (Editor)

MembrosCríticasPopularidadeAvaliação médiaMenções
230587,615 (3.7)8
"Prepare to be disturbed and blown away. The stuff is remarkable, amazing."--Los Angeles Times Good-Bye is the third in a series of collected short stories from Drawn & Quarterly by the legendary Japanese cartoonist Yoshihiro Tatsumi, whose previous work has been selected for several annual "top 10" lists, including those compiled by Amazon and Time.com. Drawn in 1971 and 1972, these stories expand the prolific artist's vocabulary for characters contextualized by themes of depravity and disorientation in twentieth-century Japan. Some of the tales focus on the devastation the country felt directly as a result of World War II: a prostitute loses all hope when American GIs go home to their wives; a man devotes twenty years of his life to preserving the memory of those killed at Hiroshima, only to discover a horrible misconception at the heart of his tribute. Yet, while American influence does play a role in the disturbing and bizarre stories contained within this volume, it is hardly the overriding theme. A philanthropic foot fetishist, a rash-ridden retiree, and a lonely public onanist are but a few of the characters etching out darkly nuanced lives in the midst of isolated despair and fleeting pleasure.… (mais)
Membro:4701FL
Título:Good-Bye
Autores:Yoshihiro Tatsumi
Outros autores:Adrian Tomine (Editor)
Informação:Drawn and Quarterly (2008), Edition: 1st Hardcover Ed, Hardcover, 208 pages
Colecções:A sua biblioteca
Avaliação:
Etiquetas:Brian, School Books, Graphic Novels, Japan

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Good-Bye por Yoshihiro Tatsumi

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Mostrando 5 de 5
There is a line that runs through our lives. It is where we would like our lives to go. We straddle it as best we can. Some gifts of birth make it easier, some make it virtually impossible. Then life intervenes. Somewhere along the way most of us fall off that line to the one side or the other--by events we couldn't foresee or the myriad choices we are forced to make. Some stray so far from that line that they forget it may have ever existed. That describes many of the characters in Yoshihiro Tatsumi's GOOD-BYE. A ground-breaking writer/artist who re-imagined what comic books could be in Japan the way western writers did by differentiating Graphic Novels from Comic Books. The writing is sparse, the images seem simple but as they flow one to the next the stifling frustration and angst, desperate grasping for hope beyond their reach....seeps into the reader. It is sad but beautiful in it's honesty. A fine collection of stories...my favorite being the first entitled HELL set right after the atomic bombing of Japan but they all are marvelous. There is hope here....but it costs...and it's worth it. ( )
  KurtWombat | Sep 15, 2019 |
Good, but I've now lost interest in Tatsumi. ( )
  morbusiff | Sep 20, 2018 |
This is the second volume by Yoshiro Tatsumi that I've read, in the same series as 'Abandon the Old in Tokyo'. There are similarities and differences between the two collections. Both books deal with everyday Japanese people coping with urban life in postwar Tokyo. They show how Japanese social conventions created crippling existential prisons for people. Tatsumi's protaganists struggle against (and often as not, give in to) an indifferent world. They sweat and suffer guilt, worry and a sense of futility, always alone among crowds. The stories have a backdrop of a slummy, rapidly developing Tokyo. However, this collection of short graphic stories has less of a horror component than its predecessor (with the possible exception of 'Sky Burial'), which in several stories crossed the line from existential horror to actual horror. The mood of Good-Bye' is melancholy while 'Abandon the Old in Tokyo' is downright disturbing. As with the first volume, Adrian Tomine's postscript interview with the author is very interesting. ( )
  questbird | Jun 22, 2014 |
These stories are set in postwar Japan. Tatsumi's style is almost woodcut: stark, heavy, black&white, and bleak. And yet he never looks away, even while the reader at times can hardly bear to look. In "Hell" a nuclear shadow depicts a secret past that is very different from the past it seems at first to represent. And in "Good-Bye" the post-war world, squalid and nightmarishly small, seems to depict a country that has become unmoored, brutally severed from its connections to its own history, unbearable but still without any livable alternative it can embrace. ( )
  macha | May 6, 2009 |
I would imagine, that when these stories were first published in 1971 and 1972 in Japan then the readers would have drawn much more relevance, from Tatsumi’s work, than a modern day Westerner could, that’s not to say one can’t take quite a bit from it, far from it, but like any political/social commentary, knowledge of the subject helps, but experience is everything.

Saying that, I do highly recommend that if you get the opportunity to look through a copy, then I heartily recommend do so.

Read my full review at:
http://www.bartsbookshelf.co.uk/2008/07/30/good-bye-yoshihiro-tatsumi/ ( )
  bart154ce | Aug 6, 2008 |
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"Prepare to be disturbed and blown away. The stuff is remarkable, amazing."--Los Angeles Times Good-Bye is the third in a series of collected short stories from Drawn & Quarterly by the legendary Japanese cartoonist Yoshihiro Tatsumi, whose previous work has been selected for several annual "top 10" lists, including those compiled by Amazon and Time.com. Drawn in 1971 and 1972, these stories expand the prolific artist's vocabulary for characters contextualized by themes of depravity and disorientation in twentieth-century Japan. Some of the tales focus on the devastation the country felt directly as a result of World War II: a prostitute loses all hope when American GIs go home to their wives; a man devotes twenty years of his life to preserving the memory of those killed at Hiroshima, only to discover a horrible misconception at the heart of his tribute. Yet, while American influence does play a role in the disturbing and bizarre stories contained within this volume, it is hardly the overriding theme. A philanthropic foot fetishist, a rash-ridden retiree, and a lonely public onanist are but a few of the characters etching out darkly nuanced lives in the midst of isolated despair and fleeting pleasure.

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