One Hundred Demons
As anyone who's read her comic strip Ernie Pook's Comeek or novel Cruddy knows, Barry has a pitch-perfect sense of the way kids talk and think. Childhood's cruelties and pleasures, remembered in luminous, unsparing detail, have become the central topic of her work. The semi-autobiographical vignettes of this new work, originally serialized in Salon, follow the same basic format as the strip: blocks of enthusiastic first-person commentary at the top of each panel, squiggly, childlike-but stylized-drawings and dizzy word-balloon dialogue between the characters. Here, though, Barry gets a chance to stretch out, drawing out her memories and impressions into long, lively, sometimes sweet and sometimes painful narrative sequences on a seemingly endless list of curiously compelling topics: the scents of people's houses (one is "a combination of mint, tangerines, and library books"), dropping acid at 16 with a grocery bagger, the colors of head lice and the art of domesticating abused shelter dogs. The structure of the book is a drawing exercise that allows a hundred demons to flow out of the artist's pen onto paper. Barry's demons are the personal objects and effects that remind her of the in-between emotional states from her early life. The result is simultaneously poignant and hilarious-never one at the expense of the other-and so are her loopy, sure-lined drawings, which make both the kids and the adults look as awkward and scrunched-up as they feel.Copyright 2002 Reed Business Information, Inc.--This text refers to an out of print or unavailable edition of this title.