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A l'Ombre des Tours Mortes por Art…
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A l'Ombre des Tours Mortes (original 2004; edição 2004)

por Art Spiegelman (Auteur)

Séries: 9-11 Comics

MembrosCríticasPopularidadeAvaliação médiaMenções
1,1112313,371 (3.62)21
For Art Spiegelman, the Pulitzer Prize-winning author of Maus, the terrorist attacks of September 11, 2001 were both highly personal and intensely political. In the Shadow of No Towers, his first new book of comics since the groundbreaking Maus, is a masterful and moving account of the events and aftermath of that tragic day. Spiegelman and his family bore witness to the attacks in their lower Manhattan neighborhood: his teenage daughter had started school directly below the towers days earlier, and they had lived in the area for years. But the horrors they survived that morning were only the beginning for Spiegelman, as his anguish was quickly displaced by fury at the U.S. government, which shamelessly co-opted the events for its own preconceived agenda. He responded in the way he knows best. In an oversized, two-page-spread format that echoes the scale of the earliest newspaper comics (which Spiegelman says brought him solace after the attacks), he relates his experience of the national tragedy in drawings and text that convey--with his singular artistry and his characteristic provocation, outrage, and wit--the unfathomable enormity of the event itself, the obvious and insidious effects it had on his life, and the extraordinary, often hidden changes that have been enacted in the name of post-9/11 national security and that have begun to undermine the very foundation of American democracy.… (mais)
Membro:gguigui
Título:A l'Ombre des Tours Mortes
Autores:Art Spiegelman (Auteur)
Informação:Casterman (2004), 38 pages
Colecções:A sua biblioteca
Avaliação:
Etiquetas:Nenhum(a)

Pormenores da obra

In the Shadow of No Towers por Art Spiegelman (2004)

  1. 10
    Premediation por Richard Grusin (LitPeejster)
    LitPeejster: Grusin establishes his media theory of premediation in part through a "close reading" of this collection of comic panels Spiegelman created in the first few years after 9/11.
  2. 01
    Parallel Lines por Nina Davenport (marieke54)
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Mostrando 1-5 de 23 (seguinte | mostrar todos)
So supremely my kind of book. In The Shadow of No Towers is one of the best explorations of Post-9/11 America I've ever seen, partially because it communicates via pop culture, something I love.

Clearly, after his home city was attacked, Art Spiegelman (the master artist behind Maus) buried himself in familiar media. As a result, this graphic novel is coated in references to comics, including his own, and popular cultural symbols in general.

The biggest downside is that I found the constant art style changes to be a bit exhausting after 20 or so pages. The style is incredibly unpredictable, by choice, and not all of the choices felt as intentional as the others.

It's aged fairly well, with a lot of the concerns raised being even more relevant today. However, it also makes the book seem a bit less clever than it probably was at the time. I doubt railing against George W Bush was as commonplace back then, especially in mainstream literature.

Nowhere near the level of importance as Maus, but the mastery is still there. It's a gigantic book and so expensive, so try and rent or just take a peek at it. It's really worth it. ( )
  MaxAndBradley | May 27, 2020 |
Graphic novel about twin towers. I found it confusing and would not read again
  simbaandjessie | Nov 28, 2019 |
Read for the 2015 reading challenge. ( )
  Hellen0 | Jun 22, 2016 |
"In the Shadow of No Towers" finds acclaimed comic artist Spiegelman venting, processing and reflecting on the events of September 11, 2001, which he witnessed first-hand as a long-time New York City resident.

In this book, Spiegelman returns to his roots as an active figure in the underground comix scene of the 60s and 70s; the stories in "In the Shadow of No Towers" are far more experimental and unconventional than those of his better known works. ( )
  jasonli | Nov 10, 2014 |
Art Spielgelman was living in New York near the twin towers on Setember 11 2001. His daughter was attending school right next to them when they fell. This small collection of double-paged full-colour comics documents Spielgelman's response to the shock of the event, and to political events in the USA subsequent to it. It provides some insights into the feelings of New Yorkers at the time. Spiegelman himself writes that he was shocked back into writing comics and smoking, The attack filled him with fear and paranoia. He was angered by the politics of terrorism. He also realised that he loved his city and wouldn't leave it. I found this to be an interesting but strange book, each double spread physically huge but the book itself not long enough for the topic. ( )
  questbird | Oct 20, 2012 |
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Nome do autorPapelTipo de autorObra?Estado
Spiegelman, Artautor principaltodas as ediçõesconfirmado
SOARES, ANTONIO DE MACEDOTradutorautor secundárioalgumas ediçõesconfirmado

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Doomed! Doomed to drag this damned albatross around my neck, and compulsively retell the calamities of September 11th to anyone who'll still listen!
They passed some guy on Canal Street painting the towers. Glancing south, they could only see the billowing toxic smoke . . . the damned model had moved.
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For Art Spiegelman, the Pulitzer Prize-winning author of Maus, the terrorist attacks of September 11, 2001 were both highly personal and intensely political. In the Shadow of No Towers, his first new book of comics since the groundbreaking Maus, is a masterful and moving account of the events and aftermath of that tragic day. Spiegelman and his family bore witness to the attacks in their lower Manhattan neighborhood: his teenage daughter had started school directly below the towers days earlier, and they had lived in the area for years. But the horrors they survived that morning were only the beginning for Spiegelman, as his anguish was quickly displaced by fury at the U.S. government, which shamelessly co-opted the events for its own preconceived agenda. He responded in the way he knows best. In an oversized, two-page-spread format that echoes the scale of the earliest newspaper comics (which Spiegelman says brought him solace after the attacks), he relates his experience of the national tragedy in drawings and text that convey--with his singular artistry and his characteristic provocation, outrage, and wit--the unfathomable enormity of the event itself, the obvious and insidious effects it had on his life, and the extraordinary, often hidden changes that have been enacted in the name of post-9/11 national security and that have begun to undermine the very foundation of American democracy.

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