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I can't complain about the quality of the content of this book, only that there's not enough of it!
The artwork is incredibly crafted, and the large-format reproduction is spectacular. It's not as much a direct narrative as an overlapping, fractured, paranoid, angst-ridden blend of narrative slices, observations, and Spiegelman's thoughts and feelings on 9/11 and its aftermath. His visual story-telling skills, aided by references to comic book history, are as powerful and clever as ever -- the "Cuddly Tower Twins" sub-panel, featuring the Katzenjammer kids and their crazy uncle, says more in a few frames than most insta-pundits can get across in 10 minutes of cable news rants or in long-winded op-eds.
But then, halfway through the book, you've read all of Spiegelman's new work. I was expecting more, but he makes clear in the foreward that it's painstakingly slow for him to produce. I'm guessing a rush to publish is a factor in how thin this collection is. I certainly hope he keeps working in this format -- for stuff this good, I can wait.
The rest of the book is still rewarding -- a monograph on the old comic strips that influenced his work is followed by brilliant color reproductions of that old work. (Speigelman is upstaged in his own book by a stunning "Little Nemo in Slumberland" strip that's worth the price of admission alone.) By providing this window into his world of references, Speigelman makes his own work a little richer.
WARNING: Not recommended for robots, tragedy fetishists, Bush lovers, or Britney Spears. But if you're even reading this you probably know that already.