5 Elements of the Pre-New 52 DC Universe We Really, Really Miss
Letting It Go (Drawn and Quarterly): When we last saw Miriam Katin, it was in the pages of her We Are On Our Own, her 2006 graphic memoir about how she and her mother survived the Holocaust, hiding out from the Nazis in the Hungarian countryside. Her new memoir continues that story, by skipping ahead to her current life as a middle-aged artist living in New York City and harboring the deep and bitter prejudices against a city, a country and a people that her childhood understandable instilled in her.
The subject matter is awfully heavy, but it’s presented quite lightly — this is a fun, funny comic about a grown woman coming to terms with the irrational prejudices and bias born of the irrational prejudice and biases of others.
When we meet the Miriam of Letting It Go, she and her husband are seemingly living an idyllic artistic life, he in a room playing his clarinet, she procrastinating starting to draw something. When her grown son says he wants to move to Berlin, she reacts negatively instinctively, and gradually comes to terms with it, visiting him in Berlin, and then returning a second time almost immediately in order to see some of her art hanging at a show there, learning the word vergangenheitsbewältigung (coming to terms with the past) and how to start doing it … if not how to pronounce it.
Katin’s graphic novel is border-less, the “panels” implied ones formed by the consecutive, often overlapping images, giving the artwork a winding, rhythmic flow that moves over the pages like water. That and the somewhat-sketchy nature of the art, in which you can see each and every line that goes into the drawings, gives the book an incredibly intimate feel, as if a reader has simply discovered Katin’s sketchbook, rather than something mass-produced.