Posy Simmonds' extraordinary reworking of Madame Bovary.
Posy Simmonds is the author of many books for adults and children, including Gemma Bovery, Lulu and the Flying Babies and Fred, the film of which was nominated for an Oscar. She has won international awards for her work, including the Grand Prix 2009 de la Critique Bande Dessine for Tamara Drewe. Both Gemma Bovery and Tamara Drewe have been made into successful feature films. She lives in London.
This graphic novel updates Flaubert's notorious heroine; she's a restless second wife who cons her husband into moving to Normandy-and then lets loose. Simmonds had a weekly comic strip in the Guardian for a decade. Copyright 2004 Reed Business Information.
Truly original, witty and well-observed... A work of genius *
Sunday Telegraph *
A tour de force of comic storytelling -- Roger Sabin * Observer *
Wickedly funny... This book is so good that one can hardly bear to reach the end * Daily Mail *
Hilarious... Gemma Bovery deliciously exploits Posy Simmonds' talent for observing, in words and in pictures, the absurdities of daily life among the aspiring metropolitan middle class at home and abroad * The Times *
This clever, satirical graphic novel reimagines the Flaubert classic Madame Bovary through contemporary mores and attitudes. Simmonds's unique approach includes the usual panels and balloons, but also voluminous amounts of text on each page. The result is a graphic novel that reads like an actual novel. Simmonds tells the story through the eyes of Raymond Joubert, a baker in Normandy. Gemma herself is a complex character-an unsatisfied young woman who marries Charlie Bovery, a lumpish carpenter, out of apparent boredom, and then persuades him to move from London to a farmhouse in Normandy, to escape his clinging ex-wife and two children. Here, the rather unlikable Gemma begins to come into focus, her loneliness and isolation leading to her affair. Joubert, who mixes genuine concern with denial about his voyeurism, is convinced Gemma's headed down the same tragic path as Flaubert's original. Since we learn in the first paragraph that Gemma is dead, the question is who will be responsible for her demise. Simmonds's art recalls the elegance of New Yorker cartoonists mingled with the goth charm of Edward Gorey (Gemma herself is all restlessly darting pinpoint pupils). The perceptive writing is as revealing as the art, concisely capturing the monotony of Gemma and Charlie's life, the shallowness of London yuppie society and the moments of happiness that are doomed from the start. A hit in England, Gemma should hold equal charms for American readers. (Feb. 1) Copyright 2004 Reed Business Information.