It can arouse an impression of dark times in a dark place. Nothing unexpected in view of the topic, appropriate.
But why are the characters so flat, so indistinguishable? This doesn't make sense, as the dramatis personae in the beginning of the book and the development of the story treats the characters clearly as individuals, as distinguishable. And the same is true for the locations: Undamaged houses and rubble are hardly distinguishable either. I do believe that the author is mourning over the loss of his country Syria, and he is clearly in favor of the political anti-Assad opposition not in favor of the islamist opposition, though , but he treats the country without love when he draws it.
All in all this seems to be a rambling book to me.
Booking.com Guest Review Guidelines
I need to get my information and my art about the tragedy of Syria from somewhere else. Any suggestions? View 1 comment. Nov 30, Nallasivan V. As much as the remarkable story that Freedom Hospital tells, it doesn't feel very effective. The advantage that comic book format has over other mediums is the power of the visuals. Hamid Sulaiman's visuals are sketchy - minimalistic and communicating more with negative spaces rather than drawn lines. The style is effective at places, evoking a rebellious street mural kind of poignancy.
But at many other places, where the critical drama happens, it falls short. One wonders if a Joe Sacco kind of As much as the remarkable story that Freedom Hospital tells, it doesn't feel very effective. One wonders if a Joe Sacco kind of attention to detail could have helped. The overall effect of Hamid's style is to make it feel like a skim through an otherwise deeply humanist tale. Hartes aber sehr gutes und wichtiges Buch. Yasmin is trying to start and run an independent hospital for the victims of the fighting, but with the chronic shortages of supplies, anything resembling normal health care is out the window.
Drugs, equipment, staff, quality, are simply not available.
articles sur le même thème
It's chaotic and dangerous. Unfortunately, it doesn't seem like anythi Freedom Hospital: A Syrian Story Hamid Sulaiman, Francesca Barrie Translator This graphic novel gives an insight into Syria's internal war and turmoil during the period. Unfortunately, it doesn't seem like anything new or significant.
We have become acclimated to war and turmoil for the last years or so. If one counts the "Cold War" as war, then most of the twentieth century has been war after war after war. Intellectually, we know that war is destructive and can crush human life and spirit, but politically we support war. We can argue that some wars must be fought, but we know there will be casualties, death, destruction, and sorrow. Another sad data point from the front. The art was minimalist and sketchy, which could give an atmosphere of chaos and mess, but could also just confuse the narrative. The characters were so blurry that I could never tell who was who, much less find a way to connect and care for them, especially when the entire text was dialogue driven only.
However, it is an important topic and one could do worse things than pick this up. I admire the writer and what he endured, and it was a very fast read.
Quinzaine des réalisateurs. Années 1980 : un orphelin rêve à Kaboul
All the military equipment is labelled with its model number and the country that sold it to either side. Even though it's a work of fiction I thought that was an effective device. Why are people still fighting in our name? Sulaiman makes a brave and bold attempt to translate the madness and murder of the civil war currently raging throughout the country. The story is drawn entirely in black and white, which enhances the grim atmosphere. The spare and stark art work lends the horror a sense of gritty confusion, which can sometimes intrude upon the story, but it does faithfully preserve the bleak atmosphere, in which millions have endured.
We see that this is all done with weapons from Russia, USA, France, Qatar and Saudi Arabia and that the only certainties are the uncertainties and the escalating body count which continues as I type this. This is a gruesome, intense and occasionally challenging read that succeeds in dragging the murky horror of Syria into graphic form for largely ignorant western readers.
Puis cela devient de la torture. Sommige illustraties waren prachtig en emotioneel, maar vaak was het verhaal moeilijk te volgen en het was een wat onduidelijke mix van feit en fictie.
I'm conflicted by this book. It has a number of strong qualities that seem undermined by the craft of the author. I feel, at times, that I was reading a great work produced by someone ten years before they would be capable of doing it justice.
Still, it is a book very much worth reading if I think it may be superceded by other works and reduced by time. Sulaiman has knack for making characters work. They're all very well defined in terms of their interests and ambitions. Dialogue mostly gleams, b I'm conflicted by this book. Dialogue mostly gleams, but on occasion, it comes off as it maybe rushing to push along the story and as part of a rougher draft.
The passage of time is marked by a death count that wears the reader down. I felt myself feeling like the characters do, weighed down by the violence around them with seemingly no end in sight even in disbelief at its own continuation. Depictions of real life videos and photos are inserted into the book as filtered through the book's style. It is one of many creative decisions that ultimately make this book greater than the sum of its parts. While the situation in Syria may be extremely complicated by any number of actors and agents, the simple graphic style of the story serves the setting well.
But just because the style is simple, it does not mean it is elegant. The execution here is messy and clunky. The expressions of characters are too basic and inconsistent especially when it comes to women. The body language of the characters often exists only in a minimal way. In some pages, silhouettes tell the story and they are used to great effect.
I understand the author may have wanted to boil down the visuals to its most basic point in these pages, but the composition in these panels communicates too little to tell us anything of significance.
- Les villes de l'Aquitaine orientale (suite et fin) - Persée.
- The Second Layer of Hell (Path of Survival Book 1).
- Les moudjahidin arrivent, ils tuent l’éducateur.
- Dans une vue, au coeur d'une ville de rêve / poême!
- Retrouver son fleuve : une nécessité pour la ville durable.
- Gothic Gladiator (Tales of the Gothic Warrior Book 3)!
Almost every panel is stiffly posed. Whenever the story requires a sense of movement, Sulaiman loses his hold on the craft. In comparison, when Sulaiman includes them, his backgrounds are quite striking and dynamic. The high contrast style works marvelously here. At around the midpoint, pages and in my edition, there is a wonderful sequence where the characters set up sniper cover on a street. It is the visual highlight of the book and it may be telling that the characters occupy little real estate on these two pages. But the book accomplishes what the author sets out to do.
I came away from the book, not understanding the conflict to a greater extent, but seeing it with a more sensitive, grounded point of view gifted by the author. Am I personally bringing it down too many points because of what I want to be? Is this type of journalism, one where a timely comic is created to explain a place, people and time, bound to the same standards as a regular entry of fiction?
I don't know, but my ultimate recommendation is that you check this book out and make your conclusion as to what a work like this means. Three and a half to four stars. Hamid Sulaiman weaves a complex tale blending fact and fiction to explain the crisis in Syria. Sulaimam world hard to stay neutral in the telling which is evident as the story unfolds based on the specific images within this book.
I would recognize this book as I think it has really good info.
Be aware of its length though. Tom Watson Photographer. He studied at the New York School of Visual Art, he also began his career alongside Steven Meisel and his shots were quickly fashion-oriented. St Tropez: the eternal sexy sixties city. See all our articles. When I think of Fermob, I immediately think of the stylish garden furniture in the Jardin de Luxembourg!
For me, it also represents French quality and expertise. For me, Fermob means dynamic furniture inspired by humans that really becomes a part of our lives.
Retrouver son fleuve : une nécessité pour la ville durable
It's sometimes discreet, and always useful and practical. I particularly love the designs: understated pieces that are artistic and timeless. That's what I'm leaning towards more and more: pieces you never get tired of, year after year. Not just because of their high quality, but also because the combination of styles, materials and colors works perfectly. We like Fermob because it is a quality French brand, that uses designers.
I am particularly fond of the colour range, with lightweight but strong materials like aluminium. When I was asked to shoot for Fermob I was intrigued by the challenge it presented … to shoot real people in their homes. I worked [with two families], both of whom were extremely kind. I have great memories of sharing special moments with them.
Choose the size and colour, decide whether to place it or hang it, make it into a lamp for the house or take it with you for a beach party.