“J'ai connu un homme qui a donné vingt ans de sa vie à une étourdie, qui lui a tout sacrifié, ses amitiés, son travail, la décence même de sa vie, et qui reconnut un soir qu'il ne l'avait jamais aimée. Il s'ennuyait, voilà tout, il s’ennuyait comme la plupart des gens. Il s'était donc créé de toutes pièces une vie de complications et de drames. Il faut que quelque chose arrive, voilà l'explication de la plupart des engagements humains. Il faut que quelque chose arrive, même la servitude sans amour, même la guerre, ou la mort.”
This scene between Sherlock and Shinwell especially the end exchange. Shinwell says “Say goodnight to your lady” - referencing Joan and Sherlock’s queen (one of the most powerful of pieces). A not so veiled foreshadowing of what the outcome of their relationships might be. Sherlock’s phone rings and he says he’s been “summoned” - the choice of word perhaps another ref to his queen. Then this intense little bit of dialog takes place:
Sherlock did not lose the queen. He controlled the outcome of the game from the beginning - I believe the term in chess is gambit and the intensity with which Sherlock describes the 3 moves that end in checkmate puts Shinwell on notice - this is not just about chess. I like Shinwell’s reaction - he is impressed but not necessarily intimidated.
Graphic Women: Life Narrative and Contemporary Comics (2010)
“Some of the most acclaimed books of the twenty-first century are autobiographical comics by women. Aline Kominsky-Crumb is a pioneer of the autobiographical form, showing women’s everyday lives, especially through the lens of the body. Phoebe Gloeckner places teenage sexuality at the center of her work, while Lynda Barry uses collage and the empty spaces between frames to capture the process of memory. Marjane Satrapi’s Persepolis experiments with visual witness to frame her personal and historical narrative, and Alison Bechdel’s Fun Home meticulously incorporates family documents by hand to re-present the author’s past.
These five cartoonists move the art of autobiography and graphic storytelling in new directions, particularly through the depiction of sex, gender, and lived experience. Hillary L. Chute explores their verbal and visual techniques, which have transformed autobiographical narrative and contemporary comics. Through the interplay of words and images, and the counterpoint of presence and absence, they express difficult, even traumatic stories while engaging with the workings of memory. Intertwining aesthetics and politics, these women both rewrite and redesign the parameters of acceptable discourse.”