There is always an uptick in holds and checkouts when a book gets a live-action adaptation. Ava DuVernay’s upcoming big-screen translation of beloved children’s classic A Wrinkle In Time is no exception. Copies of the first book are flying off shelves, along with the less well-known sequels in Madeleine L’Engle’s Time Quintet.
Hello comic book fans! If you’re in the mood for something weird and wonderful, I have the perfect recommendation for you.
Doom Patrol, Vol. 1: Brick By Brick is the flagship comic from DC’s brand new Young Animal imprint. Written by Eisner winner and imprint curator Gerard Way, Brick By Brick is a reboot of the classic Doom Patrol comic from the 1960s. The team was originally created by Arnold Drake, then repopularized for later generations by Grant Morrison in the 1980s. Way’s incarnation is a kaleidescopic fever dream of singing telegrams, sentient robots, a space ambulance that leaves a rainbow jetstream in its wake, time travel, and a missing cat. The main protagonist is Casey Brinke, one of a handful of new characters written for the reboot, who meets up with the scattered members of the original team one by one as their enemies chase them across time, space, and reality.
For the first time since her original entry into the world of superhero comics in 1941, Wonder Woman has her own record-breaking blockbuster movie. Diana, Princess of the Amazons, is the best-known and most enduring female superhero of all time. The only live action version of Wonder Woman prior to Gal Gadot’s debut in Batman v. Superman: Dawn of Justice last year was the 1975 TV show starring Lynda Carter, which I grew up watching in the 1980s. I don’t remember much of it apart from the theme music, but I did have a Wonder Woman outfit that I wore as often as my parents would let me.
I have already seen the new Wonder Woman movie twice, and I absolutely loved it. However, it shames me to admit I have never read the comics. So I did what I always do when I need to catch up on my reading: I turned to my library.
One of Neil Gaiman’s best-known pieces of fiction, a topic of fascination and discussion for his sizeable fanbase, is the novel American Gods. It’s a high-concept doorstopper of a book, with both a universe-shattering frame story, and a series of thematically similar but otherwise unconnected vignettes. The frame story follows protagonist Shadow Moon as he accompanies the mysterious Mr. Wednesday (a barely disguised Odin from Norse tradition) as he rallies other half-forgotten deities from various mythologies and cultures. The focal antagonists are new “gods” based in the worlds of modern technology, like television and the Internet, and all are hard at work trying to capture Shadow to get him to fight for their side. The vignette stories mostly show us who the other gods are in this fictional universe, to flesh out the mythology and show us how these ancient beings might navigate a modern setting.