ACME Review Collage


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Works from which this came:

Article on Our Generation–The Generational, Spring 2012

Prospectus on Final Article–The Generational, Spring 2012

Final Article (Sylvia Plath)–The Generational, Spring 2012

Close Reading: Paul’s Case–American Lives, Changing Contexts, Spring 2011

Final Article (Paul’s Case)–American Lives, Changing Contexts, Spring 2011

Final Article (Gustave Flaubert)–The Craft of the Short Story, Fall 2011

Close Reading: Auden–The Generational, Spring 2012

Sylvia Plath Annotated Bibliography–The Generational, Spring 2012




Narrative account of Chris Ware’s ACME Novelty Library


The non-narrative./ Engagement is key to its/ blossoming./ The freedom to interact./Not a/ ‘showing’ of ideas but an ‘engaging’./ To/see our multiplicity of consciousness,/that without the limited, false,/ expectation-filled vision/ of the narrative./ so that/ I,/ the audience/reader,/ sincerely affect how/ it resolves./ I/solicit/and/sustain/the/ability of this art./Where/ the answer is harnessing/the/visual design to support/the/overall vision. Otherwise/to capture this hidden human experience, which can only be achieved through an art form that is sung, seen tasted, written./The awakening.

Essays Used:

*Criticism and Theory of Art Analysis Paper#1

* The Age of Modern Dance, 1920-To Present

* Interview and Narrative of Doctor Sarlin, Psychiatrist and Dream Analyst

Chris Ware Review in Collage Form

GEEZ/ I had grown accustomed / to/ complain and worry/ when/  I felt no recognition/ of authors that are/ question-begging/ and challenging/ like/ Cecil Day Lewis/ and/ Judith Butler. But the reader/ job takes a vast amount of courage/ here. When initially evaluating/ This work/ seems to/ Disconcertingly/ float in the abyss. I could not help but feel incredibly cautious around/ the work/ as I wiped the feverish sweat/ and sheltered/ face in my hands. his ability to cloud the reception and comprehension of an image/ interspersed with photographs/ rich and compelling/ sinister images/ of vanity, popular culture, sexuality, and false divinity for religious devotion/ shows/ no/ authorial limits.  He/ demystifies ignoble characteristics/ loose morals/ to illuminate the inherent baseness of characters/ in American society. His/ rhetorical decision/ make readers feel as though they are privy to the inner workings of/ creative process/ in order to lure in/ the reader/  is akin to/ wandering down a dark alley/ of/  a perfect idea that is just out of reach. I felt/ flustered and a sense of urgency overwhelms/ me. However/ it is especially ironic/ my/ inherent desperation/ to continue reading/ I learned to embrace/ the/ majestic cluster/ of information. the author maintains/ the reader/ with a feeling of empathy, precariously balanced between commiseration and guilt. The author/ discussed/ the tension that arises from/ sexual involvement/ daily monotony / life’s spiteful demands/ and these themes/ function as little devils/ in the work.


Works used: “Questioning Authenticity Through the Convergence of Photographs and Narrative in Aleksandar Hemon’s The Lazarus Project” ENG 370. “A Discussion of the Manifestation of Solidarity in Dearborn Preceding and Following the 9/11 Attacks.” SOC 230. “Nana After the Stroke” AMST 200. “The Absence of Religious Doctrine in Where Are You Going, Where Have You Been” ENG 101. “The Pervasion of Euphemism in Times of War” ENG 349. Villanelle Poem “Melancholia” ENG 218.

Ware Collage

This / book / is / an abstract / comic book / of / multi-faceted complexity / and ambiguity. / It is / different and sometimes /  its language is vulgar. / It would be easy to dismiss this book’s author as a complete lunatic, to point out the / extremely dense / , /complex and ambiguous nature of his / Works / is just / so upsetting / and / a hard thing to think about. / When a westerner first views / the book/ it is not unusual for them to be slightly confused. / this book / doesn’t follow the writing conventions that western audiences are used to. The Bible, the religious text that the western world is probably most familiar with, tends to move textually in a linear fashion. It follows a single train of thought, whether that is a story or a moral pronouncement, from start to finish. / this work / doesn’t do that. / In a single chapter of the / comic book / three or four topics may be covered at once, the narrative stream jumping back and forth between them as the chapter progresses. This makes total sense when one interprets / it as / a prophetically delivered collection of poetry. / Thus it / may be unpalatable for some readers / but there is so much / for curious outsiders / to see / in this rambunctious book. /

But if /the author / is to be considered a serious / writer and not just a crafter of popular fiction, what does he have to say? / He tries to / look at the life / the way that / it / really is / with all / its /existential / hardship / and alienation. / It is/ more/ honest / than other / comic book/ s /. It makes one / see the / these characters/ as/ real people, and not hypothetical farmers as a demographic but individual people. / He demonstrates that / comic book /s/ are not just / about / jeep chases, explosions, guns, beer, extra-marital sex, and conspiracy. They are not / only about/ a narrative that allows / men / to escape from the boundaries that society has placed on / them /.

Snippets from: Opening Locks and Slipping Restraints, Fatherhood and the Art of Being Manly, Jihad in Classical and Modern Contexts, A Shift in Power Relations, Trouble in Pastoral Paradise, Israeli Culture in Waltz with Bashir, A Guide to Good Living, Bruce’s Backyard Escape, Farm Reflection, Ecocriticism Research Paper, Chaucer and the Rise of the Churls, Suggestibility, Decision-making, A Strange Sort of Symbiosis, and Uncertainty in Diction Betrays Ambiguity of Identity

Collage Review of Ware’s Acme Novelty Library

I honestly don’t know what to make of this.


For starters/ I’ve read through this/ collection/ multiple times,/ and/ while/ characters are written well/ contrary to almost all of the other/ stories/ I/ hesitate/ to/ give an impression/that/ is clarified beyond all reasonable doubt./


While a large majority/ of/ the book speaks/ as though/ it/ has/ characters that the reader should not take very seriously/. The worlds and characters that had been set up in these comics/ are/ actively trying to force the reader to encounter/ an eclectic mix of comic stories/ to the / point/ of it /becoming/ unreadable/ pulp.




Papers Used: “Role Models for Children” for English 220, “Assignment #2” for First Year Seminar, “Critique of ‘Tress Gets Tangled” by Tori Eberle” for Creative Writing: Poetry and Fiction, “The Female Culture in Persepolis” for First Year Seminar, “The Reasons of Love: Husbands, Wives, and Lovers in the Lais of Marie de France” for English 350: Marie de France, “Justice as a Microcosm: How the Trials in Lanval, The Knight with the Lion, and The Romance of Tristan and Iseult Help Display the Lessons of Their Works” for English 350: Marie de France, “Sudden Silence” for First Year Seminar, “Critique of ‘Tiptoe Through the Tulips’ by Crystal Morter” for Creative Writing: Poetry and Fiction, “Script for Podcast” for 20th Century Art History of China, “Defending Choices” for First Year Seminar.

Chris Ware’s The Acme Novelty Library Final Report to Shareholders and Rainy Day Saturday Afternoon Fun Book: Collage Review

Wears/ stories/ are notable for/ their exceptional formal experimentation/ and the way in which/ they/ systematically revises each of these tropes and more./ There aren’t/ many/ morally upright characters for spectators to admire and applaud,/ and he/ resists aligning audiences with one clearly defined protagonist. However/ his/ characters are far more psychologically complex than the archetypal protagonist of Classical Hollywood cinema./

The absence of a romance and a happy ending and the way in which their narratives/ infuse / maximum entertainment and complexity./ endeavor to revitalize classic but formulaic stories with more complex characters and narratives/ with its use of space, depth, focus, and lighting./ It / got progressively more depressing as it went along./ Puisque la société ne prend pas au sérieux la comédie, le genre est capable d’analyser les sujets qui sont généralement trop controversés pour l’analyse directe./ Eli Roth classified it as “kosher porn.”

The story / does not contain one individual protagonist with whom the audience can empathize and follow a defined goal, but rather a network of well-developed characters that evoke convoluted emotions/ is an intense, dark depiction/ of comedy. We’re supposed to feel sympathy/ for the characters/ and he truly captures the enthusiastic buffoonery of the character;/ Wears/ story utilizes/ comedy and modernized it a bit, adding his own unique touches to it.  It was/ at times/ wild, intense, and dirty./ and/ hilarious in an oddball type way, reminiscent of early romantic comedy films. / The excessive context of a zombie apocalypse is used in order to of divert the attention away from the weak human survivors who are the real antagonists of the continuation of humanity./  It was/ Also/ laden with topics considered controversial during his time period such as transgenderism, feminism, and homoeroticism./ In using the pretense of a comedy,/ he makes/ a powerful statement on discrimination when the play/ with the/ façade of a comedy./ Les comédies transgressives et subversives s’efforcer d’ignorer les standards politiquement corrects pour explorer des tabous de la société.  Ils ont souvent des personnages stéréotypes et des situations exagérées pour le rire./

The genre has come to dominate popular culture in the last two decades/ and it/ presents the frivolous elements present in entertainment today/ such as/ the confident fool who makes up for what he lacks in intelligence with his entertainment value./  The narrative/ with/ Battlestar Galactica*/ perfectly encapsulates/ humor/ intensity and brilliance. /While we frequently see the intense scenes where an angry William Adama passionately fights for his ship and his crew, the scenes that resonate with the viewer are those where you see the sensitive side of Adama.  More than anything, he loves his ship, his son, and his crew, and he will do anything for them. / their ambitious attempts to add heroic and hopeful narratives/ integrate themes of survival and hope into the legacy./

It is/ about/ demonstrating a disconnected group of people of disparate race, class, and sex and the consequences of this dissension/ and shows/ human frailty, destruction, division in the face of zombie enemies./  There are/ themes of racial tension, female incompetence, the degeneration of family values, and consumerism, all of which will remain pertinent in the 1978 sequel Dawn of the Dead/

This deterioration of family culminates at the finale/ with the/ rebellious/ daughter./ She chooses to be a causality in her battle against society instead of a blindly obedient daughter to the society that deprives her of freedom./ She must deceive others in order satisfy her natural sexual desires./ The shopping mall setting underscores the frivolity of consumerism and the way in which both “the living and the dead are united by desire and memory” (Williams, 91)./ There is an / enormous disparity/ between/ the daughter/ and the generation above him./ The/God/ character/ demonstrates/ the moral progression that accompanies his transformation from a humble orphan boy to a gentleman./ Wear/ decides to present a moral reality representative of this era of American history rather than a moral fantasy in which all things/ have a / happy ending./ It was/ no/ Batman.


*Page 90

Taken from: The Division between Kay and Michael in Both Form and Content, Juliet’s Fate in Romeo and Juliet, Deviation from Classical Hollywood Cinema, From Moral Fantasy to Moral Reality in Sixties and Seventies American Cinema The Unidentified Assassins of George A. Romero’s Horror Trilogy, Margery Pinchwife: The Fusion of Rural Innocence and Urban Experience in The Country Wife, Stages of Imprisonment in Great Expectations, Re-Presenting the Holocaust on Film: Schindler’s List (1993) and Inglourious Basterds (2009), Film Review: Michael Hoffman’s Midsummer Night’s Dream, Film Review: Muriel’s Wedding, Film Review: Much Ado About Nothing, Film Review: The Merchant of Venice, Adapting Shakespeare to Film: Much Ado About Nothing, Les Comédies transgressives