Comics

Uncanny X-Men Annual, 2001: What I Remember

Like most other superhero stories, 2001's "Absolute Progeny" ends with the hero's fist planted firmly against the villain's jaw. But for X-Men team leader Angel, this punch signals a bitter defeat at the hands of the Vanisher, a D-list villain turned corporate rival.

The X-Men have tasted defeat before, but never of this kind. "Feared and hated", as their splash page introduction reminds readers, "by a world they have sworn to protect", X-Men count their victories by stemming the loss of life and preventing the outbreak of racial violence. Their steely resilience has always stood in sharp contrast to more glamorous teams like the Fantastic Four who regularly save the planet from galactic-level threats and enjoy the adulation of crowds. More an emergency rescue and intervention team facing the growing species tensions between human and mutant, the X-Men resolve simply to train and prepare for the worst.

In a surprise inversion of the conventional rescue-mission genre then, writer Joe Casey presents a tale ending with the X-Men being simply outclassed. Adding insult to injury, their most humiliating defeat comes at the hands of the Vanisher, a relatively inconsequential villain relegated to the dust-pile of X-Men lore.

In 2001's "Absolute Progeny", the Vanisher returns, only to be exposed as the head of an international drug cartel. By harvesting mutant genetic material (in the process killing 'donors') and marketing mutant 'designer genes' as the latest fad at teenage rave parties, the Vanisher has cornered the market on billion-dollar illicit industry.

In the closing pages of a story where the usual narrative conventions of the superhero rescue story are readily deployed, Angel leads a team to confront the Vanisher in his 'lair'.

But it is at this point that the conventional narrative is overturned. Instead of a hideout overrun by henchmen, the X-Men find a technologically sophisticated environment. Here is fully-developed corporate headquarters, complete with onsite genetics laboratory, located in a country with no extradition treaty. As the X-Men prepare to engage their target, the Vanisher pontificates. Stating simple facts, he points out the impossibility of physical conflict. Even with the dissolution of his corporation, even with his removal as figurehead, the designer drug and marketplace it spawned will continue to flourish. Yet removing the Vanisher as corporate officer will require lawyers not fists.

Shortly before his exit, the Vanisher himself momentarily yearns for the halcyon simplicity of physical confrontation. "You know, I remember your fist against my jaw", he confesses to Angel. The Vanisher's ostensible moment of weakness, although remaining unexpressed, is marked by artist Ashley Wood's homage to the original artwork from Uncanny X-Men #2, where Angel won a victory by striking down an adversary he ultimately dismissed as ineffectual.

To be a migrant worker in America is to relearn the basic skills of living. Imagine doing that in your 60s and 70s, when you thought you'd be retired.


Nomadland: Surviving America in the Twenty-First Century

Publisher: W. W. Norton
Author: Jessica Bruder
Publication date: 2017-09
Amazon

There's been much hand-wringing over the state of the American economy in recent years. After the 2008 financial crisis upended middle-class families, we now live with regular media reports of recovery and growth -- as well as rising inequality and decreased social mobility. We ponder what kind of future we're creating for our children, while generally failing to consider who has already fallen between the gaps.

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Very few of their peers surpass Eurythmics in terms of artistic vision, musicianship, songwriting, and creative audacity. This is the history of the seminal new wave group

The Rock and Roll Hall of Fame nominating committee's yearly announcement of the latest batch of potential inductees always generates the same reaction: a combination of sputtering outrage by fans of those deserving artists who've been shunned, and jubilation by fans of those who made the cut. The annual debate over the list of nominees is as inevitable as the announcement itself.

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Barry Lyndon suggests that all violence—wars, duels, boxing, and the like—is nothing more than subterfuge for masculine insecurities and romantic adolescent notions, which in many ways come down to one and the same thing.

2001: A Space Odyssey (1968) crystalizes a rather nocturnal view of heterosexual, white masculinity that pervades much of Stanley Kubrick's films: after slithering from the primordial slime, we jockey for position in ceaseless turf wars over land, money, and women. Those wielding the largest bone/weapon claim the spoils. Despite our self-delusions about transcending our simian stirrings through our advanced technology and knowledge, we remain mired in our ancestral origins of brute force and domination—brilliantly condensed by Kubrick in one of the most famous cuts in cinematic history: a twirling bone ascends into the air only to cut to a graphic match of a space station. Ancient and modern technology collapse into a common denominator of possession, violence, and war.

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This book offers a poignant and jarring reminder not just of the resilience of the human spirit, but also of its ability to seek solace in the materiality of one's present.

Marcelino Truong launched his autobiographical account of growing up in Saigon during the Vietnam War with the acclaimed graphic novel Such a Lovely Little War: Saigon 1961-63, originally published in French in 2012 and in English translation in 2016. That book concluded with his family's permanent relocation to London, England, as the chaos and bloodshed back home intensified.

Now Truong continues the tale with Saigon Calling: London 1963-75 (originally published in French in 2015), which follows the experiences of his family after they seek refuge in Europe. It offers a poignant illustration of what life was like for a family of refugees from the war, and from the perspective of young children (granted, Truong's family were a privileged and upper class set of refugees, well-connected with South Vietnamese and European elites). While relatives and friends struggle to survive amid the bombs and street warfare of Vietnam, the displaced narrator and his siblings find their attention consumed by the latest fashion and music trends in London. The book offers a poignant and jarring reminder not just of the resilience of the human spirit, but also of its ability to seek solace in the materiality of one's present.

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Canadian soul singer Elise LeGrow shines on her impressive interpretation of Fontella Bass' classic track "Rescue Me".

Canadian soul singer Elise LeGrow pays tribute to the classic Chicago label Chess Records on her new album Playing Chess, which was produced by Steve Greenberg, Mike Mangini, and the legendary Betty Wright. Unlike many covers records, LeGrow and her team of musicians aimed to make new artistic statements with these songs as they stripped down the arrangements to feature leaner and modern interpretations. The clean and unfussy sound allows LeGrow's superb voice to have more room to roam. Meanwhile, these classic tunes take on new life when shown through LeGrow's lens.

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