From Publishers Weekly
Brown's exploration of the life of a fictional 19th-century Canadian revolutionary Riel is a strong contender for the best graphic novel ever. Over five years in the making, Brown's work is completely realized here, from the strikingly designed two-color cover to the cream-colored paper and pristinely clear drawings. The story begins in 1869, with the sale of the independent Red River Settlement area of what's now Canada to the Canadian government. The area is inhabited by the French-speaking Metis, of mixed Indian and white ancestry, who are looked down upon by the Canadians. Riel is bilingual and becomes a de facto leader for the Red River Settlement, demanding the right for them to govern themselves within Canada. Not surprisingly, this request is denied, and the conflict is set in motion that ultimately consumes Riel's life. Brown doesn't deviate from a six-panel grid for the entire book, telling his story in a cartoon realism style reminiscent of Little Orphan Annie. And while the book concerns imperialism, empire, nationalism and the chaos that results, Brown maintains a still, almost silent atmosphere. He brilliantly renders a lengthy courtroom sequence by setting figures against a black background, heightening the tension of the events by employing minimal effects. Even the battle scenes are subdued. All of this will hook readers' minds and eyes, but never tell them what to think or feel. Instead, Brown calmly lets his story unfold, making the reading process deeply affecting. This is an ingenious comic and a major achievement.Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.


From Booklist
Brown, better known for such outre projects as his scatologically surreal Ed the Happy Clown (1989), now tells the story of a controversial nineteenth-century Canadian political figure in comics. A charismatic leader who championed the cause of the half-French, half-Native Canadian metis community in their rebellion against the English Canadian government, Riel was hounded into religious fanaticism and madness before being hanged for treason. For his nonsensationalistic treatment of this momentous life, Brown adopts an intentionally flat drawing style reminiscent of 1930s comics (Harold Gray's Little Orphan Annie was a key visual influence) and a straightforward storytelling approach based on six square panels per page. These prove perfectly suited to his heavily researched, extensively footnoted subject matter. Although a folk hero in Canada, Riel is largely unknown by Americans, many of whom will be fascinated to learn that their northern neighbor country also cheated and exploited native peoples. Comics artists have tackled history before (see Larry Gonick's Cartoon History series) but seldom as artfully and intelligently as Brown does here. Gordon Flagg
Copyright © American Library Association. All rights reserved


Book Description
Martyr or Madman? The Passionate Rebel History Can't Close The Book On.

Is this the future of comics? Respectably penning the dowdy pages of history? Don't be fooled. This is one of the hippest comics going and will be a controversial must-have in 2003. Legendary cartoonist Chester Brown reveals in the dusty closet of Canadian history there are some skeletons that won't stop rattling. To some Louis Riel was one of the founding fathers of a nation but to others he was a murderer who nearly tore a country apart. A man so charismatic he was elected to government twice while in exile with a prize on his head--but so impassioned his dramatic behavior cast serious doubts on his sanity. Riel took on the army, the government, the Queen, and even the Church in the name of freedom. Will Riel's visionary democracy ever be enough to defend him from the verdict of history?



About the Author
Chester Brown is one of the pioneers of the 1980s comix renaissance. He was born in 1960 in Montreal but lives today in Toronto.

FROM THE PUBLISHER

MARTYR OR MADMAN? THE PASSIONATE REBEL HISTORY CAN'T CLOSE THE BOOK ON. Is this the future of comics? Respectably penning the dowdy pages of history? Don't be fooled. This is one of the hippest comics going and will be a controversial must-have in 2003. Legendary cartoonist Chester Brown reveals in the dusty closet of Canadian history there are some skeletons that won't stop rattling. To some Louis Riel was one of the founding fathers of a nation but to others he was a murderer who nearly tore a country apart. A man so charismatic he was elected to government twice while in exile with a prize on his head--but so impassioned his dramatic behavior cast serious doubts on his sanity. Riel took on the army, the government, the Queen, and even the Church in the name of freedom. Will Riel's visionary democracy ever be enough to defend him from the verdict of history?

FROM THE CRITICS

Time Magazine

Louis Riel ties together all the ideas Chester Brown has explored before in disparate ways: the capriciousness and injustice of authority, the relationship between religious fervor and madness and the relative "truth" of nonfiction. Louis Riel, as told by Chester Brown becomes a deeply personal, utterly compelling page-turner in the guise of a 19th-century history book. — Andrew D. Arnold

Publishers Weekly

Brown's exploration of the life of a fictional 19th-century Canadian revolutionary Riel is a strong contender for the best graphic novel ever. Over five years in the making, Brown's work is completely realized here, from the strikingly designed two-color cover to the cream-colored paper and pristinely clear drawings. The story begins in 1869, with the sale of the independent Red River Settlement area of what's now Canada to the Canadian government. The area is inhabited by the French-speaking Metise of mixed Indian and white ancestry, who are looked down upon by the Canadians. Riel is bilingual and becomes a de facto leader for the Red River Settlement, demanding the right for them to govern themselves within Canada. Not surprisingly, this request is denied, and the conflict is set in motion that ultimately consumes Riel's life. Brown doesn't deviate from a six-panel grid for the entire book, telling his story in a cartoon realism style reminiscent of Little Orphan Annie. And while the book concerns imperialism, empire, nationalism and the chaos that results, Brown maintains a still, almost silent atmosphere. He brilliantly renders a lengthy courtroom sequence by setting figures against a black background, heightening the tension of the events by employing minimal effects. Even the battle scenes are subdued. All of this will hook readers' minds and eyes, but never tell them what to think or feel. Instead, Brown calmly lets his story unfold, making the reading process deeply affecting. This is an ingenious comic and a major achievement. (Nov. 2003) Copyright 2004 Reed Business Information.

Library Journal

Brown (The Little Man; Ed the Happy Clown) has taken a brave step into what one hopes will be a popular new genre: historical biographical graphic novels. He successfully walks the thin line between cynicism and romanticism in this presentation of Riel's attempt to protect the people of the Northwest from expansionist Canada's unfair rule. Riel was the leader of the M tis people (mixed-blood French, English, and Cree) of what is now Manitoba, who fought to protect their land from 1869 to 1885, when Riel was hanged for treason. Brown packs in dates and events and gives voice to every side of every issue while milking the story for maximum drama and interest-readers won't be able to turn the pages fast enough. Brown dedicates full pages of panels to the realization of a character's thought or the full expression of an emotion. This is the work of a confident artist, sure to gain the respect of those readers as yet unfamiliar with GNs and to educate youth who would otherwise not dream of picking up a history text. Recommended for all public libraries.-Khadijah Caturani, "Library Journal" Copyright 2004 Reed Business Information.

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