The Amazing Adventures of Kavalier and Clay

Frank Krasicki writes "The Adventures of Kavalier & Clay has already won numerous prizes for literature including the Nobel prize for fiction in 2001. As imposing as that may sound, this is an entirely accessible and enjoyable read." It's also set in the world of comics; read on for the rest of Krasicki's review to find out why he considers it an "entirely pleasant and entertaining book." Update: 03/07 16:39 GMT by T : That's Pulitzer prize, not Nobel. The Amazing Adventures of Kavalier and Clay author Michael Chabon pages 636 pages publisher Picador USA (paperback edition) rating Excellent reviewer Frank Krasicki ISBN 0312282990 summary A convincing historical fiction of the Golden Age of Comics

As someone who grew up reading comics during the Silver Age of Comics (approximately 1958 - 1970 or so), I was fortunate to own, read, and come to love the comics from the Golden Age (approximately 1939 - 1949 or so). Michael Chabon's novel spans the years from 1939 through the mid-fifties and comic books are the thematic motif he uses as a vehicle to explore that time and that jaw-dropping social innocence. Anyone who has even a passing interest in comic books and their origin will enjoy this book. In it, Chabon creates a convincing parallel universe that includes a historical facsimile of what the Golden Age of Comic books may have been like.

This is a book that explores the very big ideas of human transformation, Jewish mysticism, and the subtle variations on the concept of escape, all sugar-coated in rich layers of wishful but impossible remembrance.

The setting of the book is a mythical New York City. Chabon revisits The Empire State Building - home of Empire comics, the General Motors pavilion of the World's Fair (1939), and a Naval base in Antarctica.

Our first hero, Samuel Louis Klayman (Clay) may as well be the skinny boy we all remember from the body building ads that illustrated a bully kicking sand into the boy's face as the ad exclaimed, "Tired of being picked on?". Clay is described as, "seventeen when the adventures began: big-mouthed, perhaps not quite as quick on his feet as he liked to imagine, and tending to be, like many optimists, a little excitable. He was not in any conventional way, handsome.", "He slouched, and wore clothes badly; he always looked as though he had just been jumped for his lunch money.", and "...an omnivorous reader...". Clay is an inventory clerk at Empire Novelties Incorporated Company who occasionally gets, "to do an illustration" for an ad.

Josef Kavalier, on the other hand, is Clay's cousin who, in 1939, escapes from German occupied Prague via Asia, Japan, and finally San Francisco to Brooklyn, NY. Josef arrives believing that Sam is a commercial artist who can get him a job doing the same thing.

Joe is older than Sam. He is nearly nineteen and his hobby is stage magic and it is learned from Bernard Kornblum, "an 'eastern Jew, bone-thin, with a bushy red-beard". It is Kornblum who smuggles Josef Kavalier out of Prague along with the clay body of a giant-sized, androgynous Golem disguised as a cadaver. The Golem's casket is Joe's first significant escape. The character of Josef Kavalier will remind older readers of Jerzy Kozinski, author of The Painted Bird whose late night television appearances in the 1960's recounted his own talent for hiding from the authorities.

Once Sammy discovers Joe's ability to draw, he announces, "... I'll tell you what. I'm going to do better than just get you a job drawing the Gravmonica Friction-Powered Mouth Organ, all right? I'm going to get us into the big money." From here on forward, the young men team up to become Kavalier and Clay. The analogy to Golden Age comic's masters such as Simon and Kirby, Siegel and Shuster, and others is unmistakable and, in the hands of Chabon becomes a transcendent metafiction that is replete with real and manufactured historical acknowledgments that will have many readers rubbing their chins in admiration of the precision of Chabon's clever inventions.

Kavalier and Clay create a comic book character called The Escapist. Their comic quickly rivals the economic success of Superman and Captain Marvel. In the hands of Kavalier and Clay The Escapist becomes a vehicle through which Joe Kavalier expresses his hatred of Hitler and all things Nazi. Chabon uses The Escapist comic book as a vehicle to meticulously describe the historical development most comic book heroes explored from the early forties until the Congressional hearings that challenged the influence of comics on children and eventually, temporarily, censored the industry.

Concurrent to describing the evolution of The Escapist from comic book sensation to radio show and product merchandising windfall, Chabon traces Kavalier and Clay as their lives are woven by their venture.

The third, main character is Rosa Saks who is first a model for Joe Kavalier, then lover, and eventually a romance comic book creator. In a perfectly plausible subplot, she first engages Joe Kavalier to underwrite the cost of helping Jewish children escape from occupied territories on a ship called the Ark of Miriam in an effort to save his own brother Thomas.

Rosa also becomes the inspiration for The Luna Moth, a female superhero comic book that expanded the number of titles Kavalier and Clay created. "Luna Moth was a creature of the night, of the Other Worlds, of mystic regions where evil worked by means of spells and curses instead of bullets, torpedoes, or shells. Luna fought in the wonderworld against specters and demons, and defended all us unsuspecting dreamers against attack from the dark realms of sleep." Rosa falls in love with Joe as his art blossoms in The Luna Moth. A footnote informs us that, "Thirty years later" The Weird Worlds of the Luna Moth "quickly became a head-shop bestseller".

Sam Clay, on the other hand, discovers his homosexual preference. Through Sam Clay, Chabon explores the social mores of that time and masterfully examines the topic as a third rail subject pertaining to the comics industry.

Further adventures and life complications evolve these characters - too many to describe without spoiling the fun of reading. This is an entirely pleasant and entertaining book that is nothing more or less than a light, leisurely read assuming you have an interest in the general topic or historical period.

I will add that, like the comics of that time, there is nothing heavy about the reading despite the introduction and resolution of a remarkable pastiche of sublime themes and subplots. These are all handled with a genuine love and thorough understanding of the subject matter.

In an Author's Note, Chabon closes with this remark, "Finally, I want to acknowledge the deep debt I owe in this and everything else I've ever written to the work of the late Jack Kirby, the King of Comics." The book is a wonderful tribute.

Michael Chabon's website is: http://www.michaelchabon.com/ and well worth a visit.

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