And so we come to the last day of 2019 and the final Book of the month of the 2010s, the decade in which reading changed my life.
From the start, this project has been about addressing personal blindspots and exploring what storytelling can do. In that spirit, this last review of the tenties, ventures into new territory for me: the world of graphic novels.
First, a confession: I’m not a very visual person. As a child, comics left me cold. I didn’t much like cartoons. The visions words conjured always seemed much more vivid than illustrations.
Recently, however, I got the chance to interview translator Sarah Ardizzone for the Royal Literary Fund, a wonderful charity of which I’m honoured to be a fellow. I’d been aware of Ardizzone’s work for many years because, among the more than 50 books she has translated, her work includes Faïza Guène’s powerful depiction of a Moroccan teenager’s life in a Parisian high-rise estate, Just Like Tomorrow, which was my French pick during my year of reading the world.
Indeed, as I said to Ardizzone during our discussion, her career has been characterised by translating diverse and non-mainstream voices, often through collaborations with representatives of a range of communities to capture the nuances of particular dialects or argots in French and find equivalencies in English.
Alpha: Abidjan to Gare du Nord is a prime example. The product of a collaboration between award-winning Belgium-born writer Bessora and French illustrator Barroux, the book reflects on the treacherous journeys of many of the undocumented migrants who have attempted to cross the Mediterranean to enter Europe in recent years, condensing extensive research into a single, striking account.
When I spoke to Ardizzone about it, she told me that working on graphic novels like this requires her to translate on another level, allowing the pictures to dictate the palette or moodboard of the words she uses. Following her lead, I am using some of the pictures from the book to direct my review.
The novel follows title character Alpha as he sells his business and sets out to travel to the Gare du Nord in Paris, where he believes he will meet his wife and son. Although the journey only takes a matter of hours by plane, he knows it will be somewhat longer by land and sea. As such, he travels light.
To reflect this, illustrator Barroux, who is known for using strict constraints in his work, opts to present his illustrations as though they are sketches done with felt-tip pens in a cheap exercise book Alpha has taken with him. Mostly black and white, with occasional splashes of colour when he has time for embellishments, they are stark and powerful, with a make-do, hurried air, as though the person drawing them can never be sure when he will next be on the move.
Ardizzone’s translation of Bessora’s words reflects this. The writing is largely functional and direct – in the manner of a journal – with occasional flights of fancy and poetic descriptions.
The depictions of many of Alpha’s fellow travellers are cases in point. There is Antoine from Cameroon, who is so set on making it to Spain to play for F.C. Barcelona that he is already wearing his football boots and gets up before sunrise to jog in the Sahara so as to stay in good physical form.
Equally powerful as these small, often funny, human details are the gaps and omissions. Take Abebi, a young woman from Lagos, whose health has been ruined by the physical risks she has been obliged to take to pay for her journey. The spare account of the toiletries she sets out in the corner of her room in one of the camps in an attempt to show potential customers that she is hygienic, coupled beautifully with the image fading into black, is more evocative than pages of detailed description could be.
And then there are the places where language breaks down altogether, as in the case of these pictures capturing Alpha’s terrifying crossing. At these points, with the abandonment of words, Barroux is able to take us into territory to which purely written works can only gesture.
As with all translations, compromises and reimaginings have been necessary to bring Alpha into English, giving this version a distinct character. According to Ardizzone, the most striking difference is the fact that, whereas the text was handwritten in the French original, it is typeset in the English. This change was necessitated by publisher Barrington Stoke’s focus on producing texts for readers with visual challenges and conditions such as dyspraxia. While it means that the English version lacks some of the original’s homespun feel, it does make the graphic novel accessible to more readers.
This can only be a good thing. Powerful, memorable, humane and shocking, this story deserves a large audience. It is the book that Ardizzone says she worked hardest to find a publishing home for in English and I can see why. I read it in one sitting and, generally non-visual though I am, many of its images will stay with me for a long time to come. Heartily recommended.
Alpha: Abidjan to Garde du Nord By Bessora & Barroux, translated from the French by Sarah Ardizzone (The Bucket List, 2016)
Wishing all literary explorers a very happy new year and many wonderful reads in the decade ahead. With thanks for your ongoing curiosity, enthusiasm and support!
this book looks very powerful and you are right, should be seen my many – thank you for this
This is a wonderful graphic novel! I loved reading it so much. It was chosen for the inaugural @GlobalLitin (Global Literature in Libraries Initiative) translated young adult literature award shortlist. I’m so glad to see you review it here.
Thanks Karen. A fantastic choice!
Thank you for yet another fantastic book review! Happy New Year to you!
Thanks! And to you.
Pingback: Graphic Novels: From the Blog, “A Year of Reading the World” – The Policy Blues