Bantock, Nick. Alexandria: In Which the Extraordinary Correspondence of Griffin & Sabine Unfolds. San Francisco: Chronicle Books, 2002.
Reason: What a wicked game to play to make me feel this way. – Chris Isaac.
You all know the star couple of the early 1990s, Griffin Moss and Sabine Strohem, but do you know Matthew Sedon and his lovely paramour, Isabella de Reims? Matthew and Isabella are caught in that can’t-connect world Griffin and Sabine know all too well. Separated by continents, absence is making the heart turn passionate. Matthew struggles to keep his mind on archaeology dig in Egypt while Isabella attempts to study in France. Both encounter evil signs of nemesis Viktor Frolatti who seems bound and determined to keep them apart.
As always, Bantock’s art is stunning. Bold colors, violent insinuations, and passionate designs decorate every postcard, letter, envelope and stamp exchanged. As always, the voyeuristic thrill of opening someone’s mail cannot be ignored.
Bantock, Nick. Gryphon: in which the extraordinary correspondence of Griffin and Sabine is rediscovered. San Francisco: Chronicle Books, 2001.
Reason read: I have flung myself so far down the rabbit hole I can’t find my way home. Maybe I’ve lost sight of what home means. I don’t know. After revisiting Griffin & Sabine and Sabine’s Notebook I realized I couldn’t stop with The Golden Mean. I couldn’t stop. At all. I couldn’t stop. For nothing. I guess you could say it was all for nothing.
In Gryphon we move on from Griffin and Sabine to Matthew and Isabella, another pair of star-crossed lovers. Don’t worry, G & S are still there, just in a murkier role. Sabine needs help from archaeologist Matthew, but the meaning behind her request is all smoke and mirrors. As with all the other books in the series, the art is amazing, even if the story has gotten a little too cloaked in mystery.
Best line in a letter, “I’ve tried to escape from the realm of your skin, by concentrating on your voice, but that only leads to your mouth and then I’m back where I started” (Matthew to Isabella).
International Centre for the Picture Book in Society, ed. Migrations: Open Hearts, Open Borders. Somerville, MA: Candlewick Studio, 2019.
Reason read: This was an Early Review from LibraryThing that I didn’t receive. I was curious about it so after publication I borrowed it from the local public library.
Coming from a place of spoiled privilege, I need more books like Migrations in my life, despite its deceiving simplicity. Growing up, my parents were not wealthy, but they provided. I always had a roof over my head, a safe and comfortable place to call home. It is hard to think of what life would be like without a secure or reliable place to live. The reality is we live in a world where thousands and thousands of people are displaced every single day.
With it’s beautiful hand painted art, illustrators of children’s books from all over the world took part in contributing postcards to the project. The layout of Migrations reminded me so much of Nick Bantock’s Griffin and Sabine.
Bantock, Nick. The Morning Star: In Which the Extraordinary Correspondence of Griffin & Sabine is Illuminated. San Francisco: Chronicle Books, 2003.
Reason read: Friday, I’m in love. – the Cure.
Back to Griffin & Sabine. It always comes back to Griffin Moss & Sabine Strohem. Except not. This time, it is Matthew and Isabella. Matthew Sedon and Isabella de Reims are madly, hopelessly, truly in love. Except, like Griffin and Sabine before them, they cannot reach each other. He, in Alexandria, Egypt. She, in Paris, France. The archaeologist and the student worlds apart. Unable to connect, their romance depends on the guidance of the only other couple to experience such a divide. Through similar letters and postcards, Matthew & Isabella explore worlds beyond their imagination. Will they ever meet?
Book trivia: this was supposed to be the final book in the Griffin and Sabine saga. It is not.
Bantock, Nick. The Museum at Purgatory. New York: HarperCollins, 1999.
Reason read: I am on another one of my cat kicks. Meh. Can’t be helped. Can’t be stopped. I’m just going with it.
Meet Non, Curator of the Museum at Purgatory. First, pay attention to his name. Non, the absence of anything and everything. He facilitates the acquisition of collections in that place between heaven and hell. Wait for it. Non is dead, too. He curates the collections of other dead artists, archaeologists, and collectors while they all figure out where they are ultimately going to end up, Heaven or Hell.
If you are familiar with Bantock’s work, you know his books are always filled with explosive art and imaginative words that only fuel curiosity to cult-like proportions. I am a fan of everything, and I mean everything, he does.
Favorite rooms: It’s a tie between the Gazio Room, with it’s shrines and navigational boxes, and the Delancet Room, full of lost post. As an ardent letter writer, I think Delancet has the slight edge over Gazio. Just saying.
Book trivia: I love the dedication for The Museum at Purgatory.
Field, Joanna. On Not Being Able to Paint. Los Angeles: Jeremy P. Tarcher, Inc., 1957.
Reason read: Field was born in the month of February. Her birthday is one day before mine. Read in her memory.
On Not Being Able to Paint is divided into five sections, the first four all relating to Free Drawing. The fifth and final section is focused on painting. Words like “psychic creativity” and “moral education” are thrown around, which makes me think I’m in for the psychobabble
ride reading of my life. I wasn’t disappointed. There is a fair amount of deep psychology in On not Being Able to Paint. Even though the slim volume is less than 200 pages, it took me forever to read. In the end, I questioned if the obstacles which prevent one from painting are not the exact same “blocks” writers sometimes complain of experiencing when unable to write. Sure enough, Field is connecting free drawings with the self conscious.
As an aside, the first edition of On Not Being Able to Paint was written for educators. The second edition (my version) includes an appendix and Anna Freud’s foreword. I appreciated that Field was able to recognize that emotional drawing is not completely devoid of influence and that she shouldn’t be so fixated on depicting beauty for beauty’s sake.
Confessional: I was a bit disappointed by Field’s “art.” The illustrations were childlike and well, for lack of a better word, weird. As Field explains, and I said earlier, they are “free drawings” that helped her connect to the self conscious. I hope she was successful.
Quote to quote, “And the result was a sense of false certainty, a compulsive and deceptive sanity, a tyrannical victory of the common sense view which always sees objects as objects, but at cost of something else that was seeking recognition, something more to do with imaginative than with common sense reality” (p 76). Put that in your pipe and smoke it. Whatever that means!
Author fact: Joanna Field was the pen name of Marion Milner.
Book trivia: Illustrations are by Joanna Field, aka Marion Milner. Forward by Anna Freud.
Nancy said: Pearl said On Not Being Able to Paint was a later favorite of hers.
BookLust Twist: from More Book Lust in the cheating chapter called “The Book Lust of Others” (p 33).
Happe, Amanda. Deeply Grateful and Entirely Unsatisfied: a Book for Anyone Wondering if Life is Giving You Magical Gifts or Just Messing with You. San Francisco: Chronicle Books, 2018.
Reason read: this is the March selection from the Early Review program of LibraryThing.
At first glance, you think Deeply Grateful should only take you ten minutes to read. At second glance, you reconsider. Maybe thirty minutes in order to give the illustrations a proper scrutiny. But. But! Once you get into Deeply Grateful and really read it (like reeeallllly read it) you realize you want to say to hell with time. It is simple and complex all at once. Yes, the illustrations are a little repetitious. You’ll see a lot of straight lines that look like rays of sunlight and curly lines that resemble snakes. Then there are the ribbons and pipes and boxes. Circles and science projects. Never mind all that. It’s really all about the words. Some will have you thinking more. Some will have you wishing you thought less. Even way, Deeply Grateful makes you think.
Author fact: Happe runs Three of Wands, “an independent creative practice.”
Book trivia: Deeply Grateful is Amanda Happe’s first book.