One
thing I’ve always been impressed by is when a book can really depict
what it’s like to be a child. So often, authors write
children as nothing more than very short adults, using the same
mental patterns and words that the author would use as well. So while
that’s not the only thing that immediately struck me with
Jean Regnaud and Émile Bravo’s My Mommy is in America and She Met
Buffalo Bill, the fact that Regnaud (and translators Vanessa Champion
and Elizabeth Tierman) nailed it so perfect is alone reason
to celebrate.
Jean
is starting first grade, and he doesn’t know anyone. Even worse, the
first thing she did was ask
everyone what their parents did—and how do you explain that your
mother is traveling very far away and you’re not entirely sure where?
And if a new school and classmates isn’t enough, there’s his
younger brother Paul that drives Jean crazy, the girl next door who
he’s forbidden to play with, and a slightly cold father. It’s not easy
being a little kid in a big world, after
all.
As
I mentioned before, Regnaud completely nails the child mind set in My
Mommy is in America and She Met Buffalo Bill. Leaps of logic that
would escape an adult are absolutely present here, and in the reverse
there are things that would never even occur to Jean that
would no doubt immediately jump to mind as an adult in terms of how
to turn a situation to Jean’s advantage. Jean’s innocence is sweet but
not cloying or unrealistic, here; you can see him start
to learn about not only his family (and why his mother is traveling
all over the world), but also how to deal with things like school,
authority figures, and strangers. In other hands I can’t
help but think that this story would be annoying; there are
certainly similar books out there where I’ve just wanted to shake the
kids and yell, "Just how dumb are you?" (I’m sure everyone is
relieved that I currently have no children of my own.) With Regnaud,
though, there’s just the right mixture of what Jean understands and
what the reader understands that it never comes across as
unrealistic, or frustrating, or trite. Instead we are very much a
part of Jean’s world, from how he gets around the restrictions of
playing with Michele, to having to visit family friends that
scare him.
Bravo’s
art is beautiful, a graceful usage of minimal lines and coloring
to make his pages often feel like portraits of the characters at
specific moments throughout their lives. While many pages of the book do
use a traditional comic book grid method of storytelling,
Bravo is just as easily able to move off of the strict and
formalized, often dabbing little pictures across a borderless page. When
Bravo does that, your eye still moves across the page easily,
everything laid out in such a way that there’s never any confusion.
Bravo uses his colors to great effect here as well; each chapter has a
single color that’s used for all of the backgrounds, and
he matches the rest of the art to integrate with it quite well. It’s
a simple but strong technique, making each chapter feel unified, but
never gimmicky. It’s a beautiful final look for the book,
and it makes me want to see more of Bravo’s work.
My
Mommy is in America and She Met Buffalo Bill is a really charming
book, through and through. It’s not until I got to the afterward
that I suddenly realized that My Mommy is in America and She Met Buffalo
Bill is actually a non-fiction story of Regnaud’s own
childhood, and that moment made everything fall into place that much
more. It’s impressive how well Regnaud captured his own childhood, and
how gracefully it’s presented on the page. I love
getting the chance to read a book by two creators whom I’ve never
heard of before, but who absolutely grab me in a matter of seconds. I’d
definitely read more comics by either of these creators;
this is a really excellent book.
Source: Read about Comics
Auteur: Greg McElhatton
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