Stats
- 4 out of 5 Stars
- Paperback, 138 pages
- Published October 1st, 1992 by Four Walls Eight Windows (first published 1992)
- Original Title Flood!: A Novel in Pictures
- ISBN0941423794 (ISBN 13: 9780941423793)
- Edition Language – English
Awards
American Book Award (1994)
#612 on The 1001 Comics to Read Before You Die
About
From the publisher, “An American Book Award winner and an Editor’s Choice of the New York Times, Flood! is the powerful first graphic novel by Eric Drooker, frequent cover artist for the New Yorker. Flood! is a modern novel written in the ancient language of pictures, with an expressionist, film noir edge. This “definitive edition” of Flood! is a unique record of our country’s turbulent past – and corporate present – and a must-read for students of graphic storytelling. This third edition also features a new cover by Drooker and a complete re-design. Flood! A Novel in Pictures was followed by Drooker’s acclaimed book, Blood Song: A Silent Ballad.”
My Thoughts
First, let me say right off the bat that Flood! is a pure graphic novel. It is graphic storytelling in its unadulterated form, with little to no words. Drooker tells his tale almost entirely through panels. This style of work is a throwback to the Depression era and the 1930s woodcut and printmaking art of Lynd Ward and Otto Nickel. When comparing Drooker’s work to that of Ward, one can immediately see how much this era of artwork and silent movie filmmaking has influenced Drooker.
Drooker is a politically impassioned artist who has been a long-standing fixture in the East Village art scene in New York. He has been drawing art and comics for The New Yorker for years and collaborated with Allen Ginsberg on an animated version of “Howl.” Ginsberg wrote the introduction to “Flood!”
The overall story is divided into two parts, each consisting of small short stories that revolve around a common theme: “The City.” Although “The City” is not explicitly identified as New York City, anyone familiar with its sights knows that this is the setting. “The City” possesses a distinct sense of place, an aura that the author evokes throughout the book.
We first meet our protagonist in his dreary life. He dreams of things he wishes to do but instead spends his time watching TV. There are multiple panels showing him traversing the city, longing to become part of it, yet he remains sidelined. Drooker depicts the city not just as a backdrop but as an entity with a looming and almost omniscient presence on the pages. This goes back to the sense of place that Drooker meticulously creates. “The City” itself has a personality. As the story unfolds, we see the protagonist lose his job and sense of purpose, wandering among the city’s rabble, almost losing himself on the streets, which he has always wanted. “The City,” once grand in scope, is reduced to a microcosm. We watch the protagonist begin to live the life he has always dreamed of—drinking, meeting women, and subsequently having casual encounters. However, all of this leaves him feeling more alone than ever.
The next part of our story, called “Flood,” reminds me of the old adage about a frog in a pot of boiling water. Our protagonist goes through his daily activities while rain continuously falls. The viewer has a voyeuristic insight into his life as he trudges through knee-deep water, unable to bring himself to leave “The City.” It seems he believes “The City” can save him. He starts drawing at his drafting table, creating images that are nearly prophetic, detailing the rise of the water and the decline of “The City.” Initially, the water is depicted as having cleansing powers, but it soon becomes destructive. A notable aspect of this section is the protagonist’s cat, who appears in many panels, seemingly questioning, “What is he doing?” This theme culminates in a significant way at the end.
While this book was not a particularly enjoyable read—perhaps “pour over” is the more fitting term—it provokes thought and questions in each panel. It is an evocative experience, beautifully rendered in its imagery. The visuals created by Drooker are worth the effort required to engage with the text. The book takes itself seriously, perhaps to the point of parody, but it explores a meaningful idea. If you’ve read this, I would love to hear your thoughts.