Pride & Prejudice: Not Really A Very Short Review

The Marvel comics version, of course:

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pp1I’m not sure if you can read the lettering in this thumbnail, or whether you will have to go over to the Marvel website (http://www.marvel.com/catalog/?id=11466) .  But as with the Obama spoofs,  the covers are fully sufficient for happiness.  “How to Cure Your Boy-Crazy Sisters!”  “Bingleys Bring Bling to Britain!”  Since the writers are pretty limited in what they can do with the text  — I gather it is a five or six issue miniseries — all the creativity pours, very properly, into the covers, which  is what leads the buyer to take the thing off the shelf and open it up.  The People magazine format is pitch-perfect.

Of course there is a profound virtue in comic book versions of the classics of English literature, just as the Masterpiece Theater versions on TV are useful.  There are people who would never read the novel, but who will watch it  or read a graphic novel.  And it is a truth universally acknowledged, that there cannot be too much Jane Austen read in the world.

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About Brenda Clough

Brenda W. Clough spent much of her childhood overseas, courtesy of the U.S. government. Her first fantasy novel, The Crystal Crown, was published by DAW in 1984. She has also written The Dragon of Mishbil (1985), The Realm Beneath (1986), and The Name of the Sun (1988). Her children’s novel, An Impossumble Summer (1992), is set in her own house in Virginia, where she lives in a cottage at the edge of a forest. Her novel How Like a God, available from BVC, was published by Tor Books in 1997, and a sequel, Doors of Death and Life, was published in May 2000. Her latest novels from Book View Cafe include Revise the World (2009) and Speak to Our Desires. Her novel A Most Dangerous Woman is being serialized by Serial Box. Her novel The River Twice is newly available from BVC.

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Pride & Prejudice: Not Really A Very Short Review — 3 Comments

  1. Sigh.

    When I was editing the Classics Illustrated line for Acclaim Pride and Prejudice (written by Terry Bisson and penciled and inked by Kevin Kobasic) had just been lettered–when they shut down the line. I have the only copy (I kept a proof) and look at it lingeringly from time to time.

  2. You depress me, Mad. Did the art have a different look than these Marvel covers? Austen is probably not a venue for cutting-edge graphic artists; I think this iteration, with its prosaic realism and the concentration on facial expressions, is probably about right. Artists who are good at drawing space battles do not take on jobs like this.

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