Alison Bechdel has really outdone herself in this latest collection of DTWOF. The clear (but not in-your-face) theme in this one is the chronic anxiety that underlies everyday life, but an anxiety Bechdel thinks has been manipulated and artificially enhanced by the current "war on terror" culture in which we live. Enemies abroad and domestic, heightened security alerts, on-going vigilance against the homeland's enemies, suspicion, paranoia, anger, aggressiveness, and on top of it all the oppressiveness of war: these are internalized sources of anxiety that play themselves out here in the on-going stories of the DTWOF regulars. The trenchant humor is still present, but there's little light-heartedness, and Bechdel makes all of her adult characters--even Stuart, easily one of the most lovably unflappable of them all--look slightly haggard.
Some of the vignettes: Raffi, son of Clarice and Toni, is imbibing macho norms of honor (aka violence) at school and on computer games; Ginger is dealing with self-absorbed students indifferent to social injustice and clueless about the war, but up in arms about class requirements; Sidney comes down with breast cancer, and her oncologist, a walking encyclopedia of martial slogans ("war on cancer"), progressively riles Mo, who's already wigged-out about the state of the world; and relationships (I won't give away which ones) are seriously threatened by loneliness and desperation-inspired infidelities. Everyone feels the pressure. As Ginger tells Mo at one point, "I'm managing. When my panic about Bush provoking a nuclear terrorist attack gets too intense, I switch to my fear of being rounded up and shipped to a gulag for intellectuals in Kentucky" (p. 119).
Still, there's hope. Sparrow and Stuart become parents--life renews itself--and Ginger falls in love (with Samia, a voluptuous and uninhibited middle eastern woman, of all people!). And then there's Cynthia, a red-white-and-blue student of Ginger's who's discovering that the world isn't as simple as she once thought.
Bechdel is angry in this volume, and she pulls no punches (not that she ever has). Perhaps the single best panel is #409, "We interrupt our regularly scheduled comic strip for this important message" (the panel title itself gestures as the panicky headlines loved by the media)in which the characters speak to readers directly about the anxiety that's the theme of the book.
An excellent, excellent piece of work.
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