Guy Delisle Knihy

Rok v rozděleném městě V nejnovějším albu se Guy Delisle vydává na roční pobyt do Izraele, kam následuje manželku, pracující pro Lékaře bez hranic. Jako otec na rodičovské dovolené se stará o dvě děti, ale zejména prozkoumává své okolí. Rodina musí zvládnout žít v zemi, která je kolébkou náboženství, ovšem potýká se s řadou problémů. Samotný Jeruzalém je rozdělené město, kde se z tak jednoduché záležitosti, jakou je přejet z jednoho konce (muslimského) na druhý (židovský), dokáže vyklubat opravdu pořádný oříšek. Delisle popisuje a glosuje to, s čím se setkává, se svěžím přístupem nezatíženého pozorovatele a s nezbytnou dávkou sarkasmu i ironie.

Na cestách s Lékaři bez hranic po Myanmaru To, co ho zavedlo za dveře totality, nejsou jeho vlastní pracovní povinnosti. Guy Delisle se tentokrát vydal ve stopách své ženy na misi Lékařů bez hranic. V Barmě tak kreslí deník čerstvého otce na mateřské, s humorem a nadsázkou opět odhaluje pokroucený život v zajetí idejí – pro tentokrát vojenské chunty. Vyzbrojen kočárkem s malým Louisem se pokouší přiblížit k Aun Schan Su Ťij, která bydlí o pár ulic dál, ale také proniknout do klubu australských diplomatů, protože ti mají luxusní bazén. A učí místní nadšence základům animace. To vše tradičně černo-bíle s vtipnými dialogy.

Pchjongjang – Výlet do Severní Koreje: dílo animátora cestovatele. Guy Delisle pracuje na „dislokovaném pracovišti“ v pchjongjangském studiu. Vypráví s humorem a sarkastickou nadsázkou o každodennosti komunistické Koreje. Vtipně podané pocity nudy, nepatřičnosti, pracovní beznaděje a ztížené možnosti komunikace, která by beztak i bez jazykové bariéry byla nutně absurdní, ale také snaha dozvědět se víc, prozkoumat zakázaný svět a překročit hranice jsou nosnými tématy Delislova díla o práci na animovaném filmu v zahraničí (první: Šen-čen – Cestovní deník z Číny). Odhaluje se zde před námi opravdový život v metropoli země ovládané stínem Velkého a postavou Milovaného vůdce, tedy ztělesněními unikátního komunistického teroru.

Guy Delisle se coby animátor ocitá v čínském Šen-čenu. Méně politizujícím pohledem než ve svém díle Pchjongjang popisuje realitu běžného života v komunistické Číně. Vtipně glosuje nesnadnost dorozumění se s obyvatelstvem z malého města, ale i s pracovníky vlastního studia, kteří příliš nechápou animační postupy. Setkání s „přáteli“ mají také svá úskalí, vycházející z absolutně odlišných kulturních návyků.

Acclaimed graphic memoirist Delisle returns with a thoughtful and moving travelogue about life in East Jerusalem and his involvement with the brutal, three-week Gaza War.

HOW DOES ONE SURVIVE WHEN ALL HOPE IS LOST? In the middle of the night in 1997, Doctors Without Borders administrator Christophe Andre was kidnapped by armed men and taken away to an unknown destination in the Caucasus region. For three months, Andre was kept handcuffed in solitary confinement, with little to survive on and almost no contact with the outside world. Close to twenty years later, award-winning cartoonist Guy Delisle (Pyongyang, Jerusalem, Shenzhen, Burma Chronicles) recounts Andre's harrowing experience in Hostage, a book that attests to the power of one man's determination in the face of a hopeless situation. Marking a departure from the author's celebrated first-person travelogues, Delisle tells the story through the perspective of the titular captive, who strives to keep his mind alert as desperation starts to set in. Working in a pared down style with muted colour washes, Delisle conveys the psychological effects of solitary confinement, compelling us to ask ourselves some difficult questions regarding the repercussions of negotiating with kidnappers and what it really means to be free. Thoughtful, intense, and moving, Hostage takes a profound look at what drives our will to survive in the darkest of moments.

"[Jerusalem] is a small miracle: concise, even-handed, highly particular." —The Guardian Jerusalem: Chronicles from the Holy City is the acclaimed graphic memoirist Guy Delisle's strongest work yet, a thoughtful and moving travelogue about life in contemporary Jerusalem. Delisle expertly lays the groundwork for a cultural road map of the Holy City, utilizing the classic "stranger in a strange land" point of view that made his other books required reading for understanding what daily life is like in cities few are able to travel to. Jerusalem explores the complexities of a city that represents so much to so many. It eloquently examines the impact of conflict on the lives of people on both sides of the wall while drolly recounting the quotidian: checkpoints, traffic jams, and holidays. When observing the Christian, Jewish, and Muslim populations that call Jerusalem home, Delisle's drawn line is both sensitive and fair, assuming nothing and drawing everything. A sixteen-page appendix to the paperback edition lets the reader behind the curtain, revealing intimate process sketches from Delisle's time in Jerusalem. Jerusalem is a masterfully hewn travelogue; topping Best of 2012 lists from The Guardian, Paste, and the Montreal Gazette, it was the graphic novel of the year.

Shenzhen is entertainingly compact with Guy Delisle's observations of life in urban southern China, sealed off from the rest of the country by electric fences and armed guards. With a dry wit and a clean line, Delisle makes the most of his time spent in Asia overseeing outsourced production for a French animation company. He brings to life the quick pace of Shenzhen's crowded streets. By translating his fish-out-of-water experiences into accessible graphic novels, Delisle skillfully notes the differences between Western and Eastern cultures, while also conveying his compassion for the simple freedoms that escape his colleagues in the Communist state.

"For three summers beginning when he was 16, cartoonist Guy Delisle worked at a pulp and paper factory in Quebec City. Factory Summers chronicles the daily rhythms of life in the mill, and the twelve-hour shifts he spent in a hot, noisy building filled with arcane machinery. Delisle takes his noted outsider perspective and applies it domestically, this time as a boy amongst men through the universal rite of passage of the summer job. Even as a teenager, Delisle's keen eye for hypocrisy highlights the tensions of class and the rampant sexism an all-male workplace permits... Guy and his dad aren't close, and Guy's witnessing of the workplace politics and toxic masculinity leaves him reconciling whether the job was the reason for his dad's unhappiness. On his days off, Guy found refuge in art, a world far beyond the factory floor. Delisle shows himself rediscovering comics at the public library, and preparing for animation school--only to be told on the first day, 'There are no jobs in animation.' Eager to pursue a job he enjoys and to avoid a career of unhappiness, Guy throws caution to the wind."-- Provided by publisher