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Thirty-first Issue
Volume 13, No. 2
 

...letters

Re: Review Of the Riot That Never Was

Re: Review Of the Riot That Never Was, Response To James Jackson



features

Global Warring
By Michael Carbert

The Sentimentalists
By Claire Holden Rothman


fiction

Market Day
Reviewed by Lori Callaghan

Objects Of Worship
Reviewed by Vanessa Bonneau

The Jihadist
Reviewed by Correy Baldwin

Unwanted Hopeless Romantic Morons
Reviewed by Correy Baldwin

Wednesday Night At The End Of The World
Reviewed by Michael Varga


fiction at a glance

Josephine The Singer Or The Nation Of The Mice
Reviewed by Vanessa Bonneau


non-fiction

Afghanistan And Canada
Reviewed by Franc Gagnon

Encounters On The Passage: Inuit Meet The Explorers
Reviewed by Raquel Rivera

Growing With Canada: The Émigré Tradition In Canadian Music
Reviewed by Brian McMillan

Italy Revisited: Conversations With My Mother
Reviewed by Gina Roitman

Montreal Confidential
Reviewed by Dimitri Nasrallah

My Beloved Wager
Reviewed by Anna Leventhal

Selling Out
Reviewed by Eric Boodman

The Empire Within: Postcolonial Thought And Political Activism In Sixties Montreal
Reviewed by Eric Shragge

The Riot That Never Was: The Military Shooting Of Three Montrealers In 1832 And The Official Cover-up
Reviewed by Kate Forrest

Wild Geese: Buddhism In Canada
Reviewed by Sarah Fletcher


non-fiction at a glance

Every Goodbye Ain`t Gone: A Photo Narrative Of Black Heritage On Salt Spring Island
Reviewed by Mélanie Grondin

Paths Of Opportunity
Reviewed by Aparna Sanyal



poetry

Bhagavad Goalie
Reviewed by Ian McGillis

Blue Poppy
Reviewed by Dr. Bert Almon

Cast From Bells
Reviewed by Dr. Bert Almon

Pause For Breath
Reviewed by Dr. Bert Almon

Taproot Iv: Poetry, Prose And Images From The Eastern Townships
Reviewed by Mélanie Grondin

The Certainty Dream
Reviewed by Dr. Bert Almon

The Crow's Vow
Reviewed by Dr. Bert Almon



young readers

Camp Fossil Eyes
Reviewed by Andrea Belcham

Chester`s Masterpiece
Reviewed by Andrea Belcham

Here Comes The Bride
Reviewed by Andrea Belcham

Human Nature
Reviewed by Andrea Belcham

Somewhere In Blue
Reviewed by Andrea Belcham

The Archeolojesters
Reviewed by Andrea Belcham

Topsy-turvy Town
Reviewed by Andrea Belcham

When Stella Was Very, Very Small
Reviewed by Andrea Belcham




Market Day
James Sturm
$23.95
cloth 96 pp.
Drawn and Quarterly ISBN 978-1-897299975

Graphic novel
fiction

Market Day
A Life Unravelling

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New Document Set in Eastern Europe in the early 1900s, James Sturm's new graphic novel Market Day is about a Jewish rug maker who struggles to survive in a world that will no longer support his way of life. Mendleman is an anxious man who worries about his ability to care for his family, which will soon include a baby. One day, he goes to the marketplace to sell his rugs only to discover that the man who used to buy them has retired.

The industrial revolution, which values plentiful goods at a cheap price over fine craftsmanship, has begun, and when Mendleman loses the one person who valued the quality of his rugs, he is thrust into an unwelcoming marketplace. Unprepared for such a change, he starts to sink deep into despair as his livelihood slips away, making him reconsider his vocation. After selling his goods for a fraction of their former value, he dejectedly starts the journey home and thinks: "Tomorrow I sell my loom."

Sturm - an Eisner-award-winning graphic novelist well known for his historical fiction, such as The Revival and The Golem's Mighty Swing, and for his superhero series Unstable Molecules - has crafted a story of heartbreak and misfortune out of an all too common situation. Unfortunately, Mendleman has difficulty negotiating the world around him, except through his rugs: "Even when my mother died. It wasn't sitting Shiva that comforted me. It was sitting at my loom making a rug." Abandoning his work means letting go of the one thing that allows him to cope.

The panels are illustrated in a simple and minimalist fashion. There are big spreads that look sparse and the human figures don't have many distinguishing features. The plain compositions give the pastoral settings a very open and airy look. Neither the art nor the narrative has to battle for prominence and the syncopation they achieve at certain points is very moving.

This austere style also accentuates Mendleman's mood. When he perceives the marketplace as an exciting and invigorating place, we see children playing and the abundance of goods. But when the market turns on him, the panels are filled with the ugly wretches and pitiless people who are also present. The stark drawings pull in the readers' focus so that they can share in the nuanced emotions of the protagonist. It allows readers to see how the narrative he articulates to himself compares with the things he envisions. What people are willing to commit to words doesn't always fully express what they actually imagine.

In the space of a day, Mendleman's world has been turned on its head. Ever fearful of his uncertain future, his anxiety is compounded by the loss of his patron and the pregnancy of his wife, who waits for him at home. What he decides in the end is left uncertain. This is not a story of triumph or resolve; it is a tale about adapting to a life that takes you away from the one you were meant to live.

During an interview with Comic Book Resources, Sturm said, "The book was intended in part as a cautionary tale for myself." But there are many who can empathize with the rug maker's dilemma. This beautifully simple graphic novel tells a sad story in a plain yet striking manner that sticks with readers.

Lori Callaghan is a visual arts critic for The Gazette and Rover Arts.



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