Black is the Color begins with a 17th-century sailor abandoned at sea by his shipmates, and as it progresses he endures, and eventually succumbs to, both his lingering death sentence and the advances of a cruel and amorous mermaid. The narrative also explores the experiences of the loved ones he leaves behind, on his ship and at home on land, as well as of the mermaids who jadedly witness his destruction. At the heart of the story lie the dubious value of maintaining dignity to the detriment of intimacy, and the erotic potential of the worst-case scenario. Julia Gfrörer’s delicate drawing style perfectly complements the period era of Black is the Color, bringing the lyricism and romanticism of Gfrörer’s prose to the fore. Black is the Color is a book as seductive as the sirens it depicts.
A vision-impaired, Victorian spinster in need of primitive cataract surgery has little time for herself between needing to take care of her demanding, bipolar, and invalid sister-in-law, and investigating her brother’s mysterious nighttime activities. To escape it all, she engages in a sexual relationship with a haunted mirror in her bedroom. Gfrörer’s delicate and dark line-work perfectly complements the period era of the book’s setting, bringing the lyricism and romanticism of her stories to the fore.
In a plague-ravaged medieval city, survival is a harsher fate than death. As corpses accumulate around her, Agnes, a young widow possessed of supernatural strength, must weigh her obligations to the dead and dying against her desire to protect what little remains. Laid Waste is a graphic novella about love and kindness among vermin in the putrid miasma at the end of the world. As with her evocative debut book, Black is the Color, Julia Gfrörer's delicate, gothic drawing style perfectly complements the period era of the book’s setting, bringing the lyricism and romanticism of her prose to the fore.
In a plague-ravaged medieval city, survival is a harsher fate than death. As corpses accumulate around her, Agnes, a young widow possessed of supernatural strength, must weigh her obligations to the dead and dying against her desire to protect what little remains. Laid Waste is a graphic novella about love and kindness among vermin in the putrid miasma at the end of the world. As with her evocative debut book, Black is the Color, Julia Gfrörer's delicate, gothic drawing style perfectly complements the period era of the book’s setting, bringing the lyricism and romanticism of her prose to the fore.
A vision-impaired, Victorian spinster in need of primitive cataract surgery has little time for herself between needing to take care of her demanding, bipolar, and invalid sister-in-law, and investigating her brother’s mysterious nighttime activities. To escape it all, she engages in a sexual relationship with a haunted mirror in her bedroom. Gfrörer’s delicate and dark line-work perfectly complements the period era of the book’s setting, bringing the lyricism and romanticism of her stories to the fore.
Black is the Color begins with a 17th-century sailor abandoned at sea by his shipmates, and as it progresses he endures, and eventually succumbs to, both his lingering death sentence and the advances of a cruel and amorous mermaid. The narrative also explores the experiences of the loved ones he leaves behind, on his ship and at home on land, as well as of the mermaids who jadedly witness his destruction. At the heart of the story lie the dubious value of maintaining dignity to the detriment of intimacy, and the erotic potential of the worst-case scenario. Julia Gfrörer’s delicate drawing style perfectly complements the period era of Black is the Color, bringing the lyricism and romanticism of Gfrörer’s prose to the fore. Black is the Color is a book as seductive as the sirens it depicts.
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