Publication
Knockabout (2012), Paperback, 80 pagina's
Physical description
80 p.; 25 cm
ISBN
0861661699 / 9780861661695
Language
Collection
Description
Hunt Emerson, the dazzlingly talented cartoonist, tackles the biggest literary name of them all: Dante. Emerson's Inferno delights on many levels: as an ingenious translation of classic verse; an effortlessly readable introduction to a complex poem; a delicious crib for anxious Dante students; and as a warm tribute from the master of one art form to the grand master of another. Hunt's cartoon is followed by Kevin Jackson's essay on Dante. Wildly clever and witty, but essentially reverent, it is a wonderful treat for anyone who already loves Dante.
User reviews
LibraryThing member Milesc
This is the first thing that have read by Hunt Emerson - but it won't be the last. Having never read Dante's inferno- I'm unable to say how faithful an adaptation this is. However it is a most enjoyable romp and I very much enjoyed reading it. Even though it is based on a poem from the 13th Century
The afterword by Kevin Jackson is most useful in that it gives a crib on some of the events and characters, but I must say that the comic itself actually doesn't need this and is enjoyable in its own right- even if the reader (like me) knows nothing of Dante or his times. Mr Jackson hopes that the reader will be encouraged to go and read the original. I certainly am.
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there are 21st century references -visual jokes for comic book lovers (Minnie the Minx is one of the Harpies) and Political jokes (Mrs. Thatcher appears as the Furies) and so on. I'm sure Dante would have approved. The afterword by Kevin Jackson is most useful in that it gives a crib on some of the events and characters, but I must say that the comic itself actually doesn't need this and is enjoyable in its own right- even if the reader (like me) knows nothing of Dante or his times. Mr Jackson hopes that the reader will be encouraged to go and read the original. I certainly am.
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LibraryThing member psutto
Very Good
Madcap retelling of the Italian classic
Hunt Emerson’s art is instantly recognisable and seems to fit with Dante’s vision very well. Here in pictorial form is the [Inferno]. Dante meets Vigil who takes him on a tour of Hell. Emerson highlights the farcical nature of the Hells and throws
Overall – Worth reading if your at all interested in Dante but can’t be bothered with his verse
Madcap retelling of the Italian classic
Hunt Emerson’s art is instantly recognisable and seems to fit with Dante’s vision very well. Here in pictorial form is the [Inferno]. Dante meets Vigil who takes him on a tour of Hell. Emerson highlights the farcical nature of the Hells and throws
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in a few sly metafictive pieces to us the modern audience. In the back is an afterword by Kevin Jackson which is worth buying the comic for anyway as it’s a great guide to Dante’s work.Overall – Worth reading if your at all interested in Dante but can’t be bothered with his verse
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LibraryThing member gothamajp
A highly enjoyable introduction to Dante's Inferno.
Hunt Emerson's artwork is always a joy to behold and rewards repeat viewing for the many small visual jokes and puns we manages to weave into his panels. I only have vague memories of reading a translation of Dante many years ago, but this
This amusing interpretation along with the excellent after notes from Kevin Jackson act as a perfect way to enjoy this epic poem, appreciate its history, and see hoe so much of it still applies to today's world.
Hunt Emerson's artwork is always a joy to behold and rewards repeat viewing for the many small visual jokes and puns we manages to weave into his panels. I only have vague memories of reading a translation of Dante many years ago, but this
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adaptation holds up well to my memory of it.This amusing interpretation along with the excellent after notes from Kevin Jackson act as a perfect way to enjoy this epic poem, appreciate its history, and see hoe so much of it still applies to today's world.
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LibraryThing member Death_By_Papercut
Hunt Emerson’s take on Dante’s Inferno is truly a divine COMEDY. The story is as good as ever with many an absurd, ribald twist. And while not all of the jokes had me rolling on the ground I did find my self thoroughly entertained throughout. Being a graphic novel the artwork has a fantastic
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cartoony quality fit for any issue of MAD or CRACKED. Emerson’s style is high on detail and sure to keep you looking far longer than the text balloons would require. Being black and white, it’s nice when the artist takes the time to flesh out the backgrounds. Be aware; this book does not shy away from minor nudity, but I don’t believe that anyone attracted to this book would be the type to get offended easily. As far as the physical book itself; the semi-rigid cover, printing and binding are all of surprisingly high quality. Show Less
LibraryThing member m_k_m
The latest in Hunt Emerson's cartoon retellings of classic works of literature, though the first I have read. Emerson professes his debt to MAD magazine in his author bio and the influence is obvious. His artistic style gifts the nightmare vision of Hell a suitably manic freneticism. On occasions,
Each set of panels could be a separate cartoon drawn straight from a magazine, though the gags are of varying quality. The depiction of the Harpies as a group of delusional Margaret Thatchers seems to yearn for a time of happier political certainties. The feeling of being dated in its style extends through the piece and it's hard not to feel that Emerson really misses the Eighties.
The narrative and parody never quite fuse, but as an accessible precise of the original it works. Those most familiar with the text will get the most out of the subversion, but for the uninitiated Kevin Jackson's commentary offers an excellent crib. If you know the Inferno, are studying it or just want enough knowledge to keep with the literary conversation, you'll find a couple of friends in Emerson and Jackson.
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as when Dante and Virgil descend into the Pit, it even achieves an impressive grandiosity.Each set of panels could be a separate cartoon drawn straight from a magazine, though the gags are of varying quality. The depiction of the Harpies as a group of delusional Margaret Thatchers seems to yearn for a time of happier political certainties. The feeling of being dated in its style extends through the piece and it's hard not to feel that Emerson really misses the Eighties.
The narrative and parody never quite fuse, but as an accessible precise of the original it works. Those most familiar with the text will get the most out of the subversion, but for the uninitiated Kevin Jackson's commentary offers an excellent crib. If you know the Inferno, are studying it or just want enough knowledge to keep with the literary conversation, you'll find a couple of friends in Emerson and Jackson.
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LibraryThing member clfisha
A fascinating and funny take on a classic.
Ever been intrigued by Dante's classic? A big fan already but want a clever, serious yet irreverent take on it? Then this graphic novel is for you.
Eye catching and funny, Emerson has style all of his own. Perfect for comedy (all those visual gags and bad
Highly recommended. Take it however you want, even ignoring the original it’s a great, classic tale that has had huge influence. Plus it's lots of fun.
Ever been intrigued by Dante's classic? A big fan already but want a clever, serious yet irreverent take on it? Then this graphic novel is for you.
Eye catching and funny, Emerson has style all of his own. Perfect for comedy (all those visual gags and bad
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puns) as well as capturing the gross hellish cycles with a deft modern, touch. He manages to stay faithful (ok ok I have only read 1/2 of Dante's Inferno), although some bits are chopped it's still a perfect intro into the text. There is a great commentary at the back by Kevin Jackson too, to give some much needed background and info on who who's.Highly recommended. Take it however you want, even ignoring the original it’s a great, classic tale that has had huge influence. Plus it's lots of fun.
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LibraryThing member pvincent
Having long been a fan of Hunt Emerson's work (especially his Phenomenomix for Fortean Times, and his parody of Lady Chatterley's Lover), I was delighted to read this, his interpretation of the first book of Dante's Commedia. Dante's poem give Emerson plenty of opportunities to indulge in
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grotesquery. The highly structured nature of Dante's Hell lends itself to each Canto, and each circle of Hell, being depicted in one or two pages. As Kevin Jackson's excellent endnotes make clear, there is no basis in Dante's original for the sub-"Carry On" way in which every reference to Beatrice is accompanied by Sid James-style lustful cries of "Phwoar!", so it's baffling why Emerson chose to persist in this "gag". One unfortunate technical blunder is that Jackson's notes cross-reference pages of the comic as though these were numbered starting at page 1. Alas, the comic begins at page 3 of the book, so all Jackson's page references are out by two. All in all, a very enjoyable exercise in "classics as comics" - here's hoping Emerson gets around to Books 2 and 3 sometime. Show Less
LibraryThing member SeaBill1
The first time through, I read Hunt Emerson's depiction of Dante's Inferno as if it were a graphic novel - that is, I read it like a continuing narrative. But I enjoyed the book more the second time when I read each canto individually, then paused. Reading the Inferno this way allows one to savor
I have to wonder how well some of the humor will hold up. The references to contemporary figures (Margaret Thatcher, say), and the references to contemporary touchpoints (in Canto XXXI, when the giant Nimrod shouts gibberish it comes out "A-Wop-Bop-A-Loo-Mop--A-Lop-Bam-Boo") might or might not hold up.
The influence of Mad Magazine's Basil Wolverton is stronger in this book than any other that I've read by Emerson.
I very much liked the departures from the text that Emerson makes throughout his telling. For example, In Canto XXXIV Virgil addresses the reader directly, and Dante asks him "Who are you talking to". Virgil tries to explain that "there's this person 650 years in the future, reading something called a comic book..." and then Dante has this great interaction with the page where he taps on the pane of the reading panel, and sticks his head outside the panel frame.
In the graphic novel The Incal, artist Moebius gets to draw God. In the Inferno, Emerson gets to draw the Devil. I think he should have aspired to something more artistic and less cartoony.
All-in-all the book is really quite fine. Emerson's retelling, especially when added to Kevin Jackson's essay and exegesis at the end of the book, really nailed it for me. I recommend this very highly.
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the humor (sometime ribald, sometimes satirical, sometimes sarcastic, sometimes caustic) that Emerson brings to his retelling.I have to wonder how well some of the humor will hold up. The references to contemporary figures (Margaret Thatcher, say), and the references to contemporary touchpoints (in Canto XXXI, when the giant Nimrod shouts gibberish it comes out "A-Wop-Bop-A-Loo-Mop--A-Lop-Bam-Boo") might or might not hold up.
The influence of Mad Magazine's Basil Wolverton is stronger in this book than any other that I've read by Emerson.
I very much liked the departures from the text that Emerson makes throughout his telling. For example, In Canto XXXIV Virgil addresses the reader directly, and Dante asks him "Who are you talking to". Virgil tries to explain that "there's this person 650 years in the future, reading something called a comic book..." and then Dante has this great interaction with the page where he taps on the pane of the reading panel, and sticks his head outside the panel frame.
In the graphic novel The Incal, artist Moebius gets to draw God. In the Inferno, Emerson gets to draw the Devil. I think he should have aspired to something more artistic and less cartoony.
All-in-all the book is really quite fine. Emerson's retelling, especially when added to Kevin Jackson's essay and exegesis at the end of the book, really nailed it for me. I recommend this very highly.
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LibraryThing member twiglet12
I haven’t read Dante’s Inferno, I am not well placed to comment on whether this is an accurate representation of the original but treating it as a graphic novel and a standalone tale I thoroughly enjoyed this sick, twisted and at time laugh out loud romp through Hell! I did try to read the
For someone who loves their comics I was extremely impressed with Hunt Emerson’s work and at the same time rather embarrassed that I had not encountered his work before now. The drawings are cartoons rather than what I would consider traditional comic art, there is no attempted realism in the drawing style and If I had to I would fit Hunt Emerson alongside Gilbert Shelton’s work (Fabulous Furry Freak Brothers etc) a fit that works in terms of the many detailed panels included in the book which warrant spending considerable time enjoying the incredibly detailed landscape and characters as there is nearly always some funny little character or amusing drawing to enrich the story unfolding in front of your eyes.
There really is so much to recommend this book and it has prompted me to read the book twice as well as search out more of Emerson’s work and some of the more cartoony works of graphic storytelling available. Just as I was thinking that I was starting to figure out what I did and didn’t like in the world of comics!
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notes at the end of the book, but started to find that I did not really care how accurate Hunt Emerson’s version was preferring to keep the comic fresh in my mind.For someone who loves their comics I was extremely impressed with Hunt Emerson’s work and at the same time rather embarrassed that I had not encountered his work before now. The drawings are cartoons rather than what I would consider traditional comic art, there is no attempted realism in the drawing style and If I had to I would fit Hunt Emerson alongside Gilbert Shelton’s work (Fabulous Furry Freak Brothers etc) a fit that works in terms of the many detailed panels included in the book which warrant spending considerable time enjoying the incredibly detailed landscape and characters as there is nearly always some funny little character or amusing drawing to enrich the story unfolding in front of your eyes.
There really is so much to recommend this book and it has prompted me to read the book twice as well as search out more of Emerson’s work and some of the more cartoony works of graphic storytelling available. Just as I was thinking that I was starting to figure out what I did and didn’t like in the world of comics!
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LibraryThing member irkthepurist
i've been putting off reviewing this because - well... there's only so much you can say when you're in actual awe of someone. i've been aware of hunt emerson in one way or another ever since childhood, mainly because i was a comic and cartoon fan and could recognise differences in style and
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approach from a VERY early age. as such i knew emerson was one of those, um, slightly freewheeling artists like leo baxendale - but like baxendale it's adulthood that has made me appreciate their art so much more. just as baxendale has written and drawn the odd mature work, emerson's "other" career has been his regular comics for the fortean times. as a long time reader of the magazine, his is sometimes the most engaging and initially easy to grasp of the magazine's dabbles into the wild world of forteana - a strip that not only shows his erudition, but his wit and humour... and his great grasp of graphic art. i'm a dabbler in the world of comics these days, and it's looking at books like this - an extended essay as much as it is an adaptation - that makes me not only realise how much there is for me still to go in my chosen field... but why i want to get there. i want to make something this wonderful and funny and creative. and yes, timeless... Show Less