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Thursday, 23 February 2012

In Review: Dotter of Her Father's Eyes

Dotter of Her Father’s Eyes 
by Mary and Bryan Talbot
Publisher: Jonathan Cape
Out: Now

The Book: Part personal history, part biography, Dotter of Her Father's Eyes contrasts two coming-of-age narratives: that of Lucia, the daughter of James Joyce, and that of author Mary Talbot, daughter of the eminent Joycean scholar James S. Atherton. Social expectations and gender politics, thwarted ambitions and personal tragedy are played out against two contrasting historical backgrounds, poignantly evoked by the atmospheric visual storytelling of award-winning graphic-novel pioneer Bryan Talbot.

Produced through an intense collaboration seldom seen between writers and artists, Dotter of Her Father's Eyes is smart, funny, and sad - an essential addition to the evolving genre of graphic memoir.

The Review: 

Father/daughter relationships can be fractious at best of times. Either the former is too protective of the latter, becoming inadvertently overbearing and prescriptive or, conversely, too immersed in work or personal projects and thus aloof and distant. It’s rare the father that can tread this tightrope successfully. It’s this relationship that Mary Talbot examines in her new graphic novel, Dotter of Her Father’s Eyes. Juxtaposing her own relationship with her father, James S. Atherton, a noted Joycean scholar, with that of James Joyce and his daughter Lucia, Talbot has created a bittersweet drama that will resonate with anyone who has a parent.

For a debut graphic novel, Mary’s writing is incredibly confident and assured. This may be partly due to her being an established, published scholar in her own right, and partly due to the fact that the book is drawn by her husband, Bryan, one of the UK’s most accomplished masters of the art. Bryan’s artwork mellifluously transports us up and down the timeline so effortlessly that we simply go with the flow. He very cleverly uses highly simplified, full-colour Julian Opie-like characters for the present day and Mary’s life story; a washed out sepia tone for Mary’s post-war childhood; and finally, a more rendered reality in a blue-wash to recount the tale of Lucia.


The majority of this collaborative endeavour is incredibly smooth, but there are a couple of points where Mrs. Talbot has to highlight her husband’s inaccuracies (such as how her classroom was laid out) in margin notes. While this is an endearing insight into the creative process, it feels like too much fourth wall breaking to sit comfortably, instantly reminding the reader that they are reading a graphic novel, rather than being engrossed in the fascinating tale.

Perhaps it is unsurprising that Mary’s academic career has focused on gender politics and power, once you have read this story. Being the only daughter with four elder brothers; a domineering father; the appalling repression and treatment meted out to women in the pre-Feminism era; and that she had two sons; all indicate a natural, and understandable, desire to readdress the balance somewhat. Yet despite the obviously painful, and joyful, recollections, and analysis of her relationship with her father, Mary never descends into mawkishness or hand-wringing self-pity, and remains refreshingly clear of the mire of the “misery memoir” that the book could so easily have become. Mary’s writing remains constantly engaging, and brings every character to vibrant, empathic life, as she contrasts her coming-of-age with that of Lucia’s. Where Mary’s father seems distant yet authoritarian, Joyce appears weaker, agreeing with his wife Nora’s more bombastic and conservative views on womanhood, as both girls are belittled for failing to live up to their parents’ expectations.

Thankfully, Mary’s tale ends happier than the tragic Lucia’s, but both resonate long after the final page has been turned. This is destined to become a set text for graphic novel scholars.

I’ll confess my ignorance when it comes to Joyce, but this book sparked an interest in his life and writing and I started actively searching out further information, and no greater compliment can be paid than that. Fortunately there’s a comprehensive bibliography in the back.

Most fathers remain enigmas to their children, and it’s this attempt to understand her father’s motivations and moods—to get behind both his public and home personas, and in turn closure—that makes Mary’s writing so intriguing. Like the title’s pun suggests, Mary Talbot is wrapping up her father’s business, his memory and legacy. Dotting his eyes and crossing his tease.

• This review is cross-posted with permission from the Comic Book Alliance web site: the web site championing British comics and their creators 

More about Dotter of Her Father's Eye's on Mary Talbot's official web site

Blogs/Interviews about the Book





More Reviews

"Dotter of Her Father’s Eyes is a fascinating addition to the emerging tradition of autobiographical graphic novels by the offspring of complex, often difficult, parents..."

"The book... not only educates but it inspires"

"Dotter of Her Father's Eyes will strike chords far beyond those interested in James Joyce and his own creativity; but it will be additionally fascinating both for those devotees and followers of Bryan Talbot, for there are insights to be gleaned into the comic creator's teenage years when first meeting Mary, and their shared trepidation of life under the threat of nuclear annihilation."

"The Talbots continue the recent excellence in using the graphic novel as a tool to educate of important social issues. Although the issues are from a distant past, Dotter reminds us of the urgency in women’s issues and keeps the momentum moving along in the present and into the future."

"Talbot’s illustrations show exceptional dexterity in moving from the monochromatic past to the more colorful present, with the changing color palette suggesting the changing social climate for women. Those looking for a graphic memoir that provides an insightful study of how 20th-century sexual politics played out on the home front will be hard pressed to do better than the present title."

"Talbot has a keen eye for the revealing detail, an important skill if you are working in comics. She makes connections, but never labours them."

"There are some very deft little touches where she comments on her husband’s artwork – the fact her mother would have never worn a frilly apron; the way he doesn’t segregate the sexes in the classroom scenes. This is within the context of a wider awareness, from education to ballet lessons to obstetrics, on how women’s lives were directed into the 'unnatural. There can’t be many more frightening and saddening moments in graphic novels than the account of the birth of a first child, and the terse note 'without anaesthetic'."

"Borrowing its punning title from Finnegans Wake, this compact graphic memoir mixes Mary Talbot’s memories of growing up alongside her father, the irascible Joyce scholar J S Atherton, with a biographical sketch of Joyce’s troubled daughter Lucia.
"The hazy parallels between the stories have to do with clever men being so absorbed in their work that they neglect and inhibit the women in their lives which, in the autobiographical segments at least, makes for some forceful bouts of score-settling."
"I am still reeling from the impact of the combination of images and texts, and this book had me both laughing out loud, crying, nodding my head, and enraged at the prevalent attitudes of other people in Lucia and Mary’s life."

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