I really like this. The last page is so dramatic. The light from the fire in the gloom of the forest. Cool.
A nod’s as good as forty winks to a blind bat?
What’s going down in the dreamwork of this Oedipal stranglehold of a comic strip, I don’t know, other than to suggest, a la Propp, Levi Strauss, Barthes (Racine) and Greimas etc., that standard binary oppositions hold within the narrative sphere of action, such as light/shade, dialogue/monolgue, and power/weakness, the mother holding the first term of each and the son the second, and with the father dead, the mother holds full power over and loves her dreamer son, who sees her both as a figure of desire (however well disguised) and an obstacle to overcome, all part of a standard Oedipal conflict.
And, true to form, and enough to satisfy the innate structuralist in us all (well, me at least), what has been produced here is not the graininess of a real time narrative, but the production of a virtual time narrative, where the different narrative elements are joined in the end by a concessional love rather than dream logic, so ushering in a new and powerful force for good, which the dreamer will realise when he awakes.
Some nice poetry lines there too.
Take a bow, David Mahler (on this reading at least).
Not that it matters too much to anyone but myself, probably, however I’ve figured it’s plausible after all to say something about the dreamwork going down in this comic strip, particularly in respect of ekphrasis, which has been described variously in the issue’s essays as the seeing into of an artwork, here a comic strip, itself a mixture of readable (hearable) and visual material.
No way though is dreamwork ever a language as such, because the dreamwork (which contains viewing/reading matter) forestalls or interferes with hearing: here the dreaming son can’t hear his mother’s somewhat urgent voice; but will do so, presumably, when his REM (rapid eye movement winking fever stage) overpowers sleep, so forcing him to awaken to her voice.
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