Not the Israel my parents promised me
(Graphic Novel)

Pekar's Marxist mother and Orthodox father were both Zionists who fostered in him a near-blind faith in a Jewish state. Born as WWII started, Pekar grew up with Israel and away from it as it waxed ever more bellicosely nationalistic. His fourth posthumously published book intertwines that simultaneous maturation, the history of the Jews vis-a-vis their Middle Eastern neighbors from biblical times on, and conversations with artist Waldman, who illustrates all three strands wonderfully. He gives Pekar's personal recollections and the conversations realistic visual contexts, though he often shapes the panels expressively: for instance, in swooping ribbons when he and Pekar drive from a bookstore to a library. To the historical material, he gives various textures, the most striking of which is the mosaiclike rendering of the biblical scenes (which would look better still in color; can't have everything). Like many other liberal-left Jews, Pekar couldn't condone Israel's treatment of the Palestinians or see how to end it and rebellious Arab violence simultaneously. His ethical pain enhances a canny treatment of the debate over Israel.--Olson, Ray Copyright 2010 Booklist

Instead of the single-minded polemic that the title promises, this posthumous work by Pekar functions as a multipronged exploration of religious, political, and personal histories and is all the richer for it. Pekar structures his narrative as a long-running bull session with his collaborator, artist Waldman (Megillat Esther), as they amble around Pekar's hometown of Cleveland. While walking through a cavernous used bookstore or grabbing food at an Italian grocery, they explore his parents' very passionate but unusual Zionism (Pekar's mother was a stridently nonworshipping Marxist while his father was highly religious), the history of the Jewish people and the creation of the state of Israel, and Pekar's own evolving feelings about that country. Starting off as an unalloyed champion of the new Jewish homeland (he was a schoolboy during the War of Independence and grew up along with the young country), Pekar later becomes troubled by the growth of religious fundamentalism in Israel, West Bank settlements, and what he saw as destructive military policies. A sweet and simple epilogue by Pekar's widow, Joyce Brabner, provides the perfect capstone, noting how she planned a funeral that was properly Jewish and yet appropriately nonreligious. (July) (c) Copyright PWxyz, LLC. All rights reserved.

In the realm of comics, Pekar (1939-2010) was an iconic voice of candor, intelligence, and counterculture cynicism. This, his last work, is a collection of musings on the state of Israel recorded by his young protege, Waldman. Adapted and drawn by Waldman, it reads very much like Pekar's seminal work and autobiography, American Splendor, with both Pekar and Waldman narrating the book as they write. Pekar grew up a Jewish kid in Cleveland, the child of immigrants fleeing pre-World War II Europe. His formative years were bombarded by views of the necessity of a Jewish state. As he grew older, the political realities of the situation in the Middle East became all too apparent. Delving headfirst into Jewish history and the history of Israel as a nation, Pekar via Waldman presents his findings of culture and geopolitics that are at the very heart of one of the greatest conflicts of all time. Verdict Engrossing and enlightening, Pekar's work entertains and educates, with the help of a bright young star of independent graphic fiction.-Alger C. Newberry III, Genesee Dist. Lib., Flint, MI (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

This posthumous publication reflects the seminal graphic memoirist at his edgy best. From the grave, the pugnacious Pekar (Huntington, West Virginia "On the Fly," 2011) is still issuing challenges and picking fights. But the handsome hardback publication and the masterful illustration by Waldman (Megillat Esther, 2006) confer a respectful legitimacy that shows how far the genre Pekar helped spawn has advanced since his early comic-book narratives. The tone is quintessential Pekar, pulling no punches, while the focus extends beyond the purely personal to the history of the Jewish people and the formation and essence of Israel. Both of his parents were ardent Zionists, but the author was not. The story begins with a visit by the narrator and the artist to a huge used bookstore in his native Cleveland and ends with them doing more library research. In between, it encompasses centuries and continents against a backdrop of Jewish history (with appropriate flourishes and framing from the artist as the tale moves through Roman and Muslim periods), interspersed with the tale of Pekar's experiences in Hebrew school, his initiation into the leftist politics of the 1960s, his disillusionment with Israel as an oppressor, and his empathy with Arabs who were seen as the enemy. "Israelis mark this as a war of independence," he says of the triumph he initially celebrated. "Palestinians call it the great catastrophe." Pekar deepens the discussion through conversations with the illustrator, who lived for a couple of years in Israel (where Pekar had once attempted to move, but he received no encouragement from the Israeli consulate). Proudly Jewish but increasingly skeptical of Israel's moral authority, Pekar makes no claim to expertise on Middle Eastern relations: "What do I know? I make comic books and write about jazz," he admits. "I do know the difference between right and wrong, though." Even if other posthumous work follows, it likely won't be any richer than this.]] Copyright Kirkus Reviews, used with permission.

Pekar's Marxist mother and Orthodox father were both Zionists who fostered in him a near-blind faith in a Jewish state. Born as WWII started, Pekar grew up with Israel and away from it as it waxed ever more bellicosely nationalistic. His fourth posthumously published book intertwines that simultaneous maturation, the history of the Jews vis-à-vis their Middle Eastern neighbors from biblical times on, and conversations with artist Waldman, who illustrates all three strands wonderfully. He gives Pekar's personal recollections and the conversations realistic visual contexts, though he often shapes the panels expressively: for instance, in swooping ribbons when he and Pekar drive from a bookstore to a library. To the historical material, he gives various textures, the most striking of which is the mosaiclike rendering of the biblical scenes (which would look better still in color; can't have everything). Like many other liberal-left Jews, Pekar couldn't condone Israel's treatment of the Palestinians or see how to end it and rebellious Arab violence simultaneously. His ethical pain enhances a canny treatment of the debate over Israel. Copyright 2012 Booklist Reviews.

In the realm of comics, Pekar (1939–2010) was an iconic voice of candor, intelligence, and counterculture cynicism. This, his last work, is a collection of musings on the state of Israel recorded by his young protégé, Waldman. Adapted and drawn by Waldman, it reads very much like Pekar's seminal work and autobiography, American Splendor, with both Pekar and Waldman narrating the book as they write. Pekar grew up a Jewish kid in Cleveland, the child of immigrants fleeing pre–World War II Europe. His formative years were bombarded by views of the necessity of a Jewish state. As he grew older, the political realities of the situation in the Middle East became all too apparent. Delving headfirst into Jewish history and the history of Israel as a nation, Pekar via Waldman presents his findings of culture and geopolitics that are at the very heart of one of the greatest conflicts of all time. Verdict Engrossing and enlightening, Pekar's work entertains and educates, with the help of a bright young star of independent graphic fiction.—Alger C. Newberry III, Genesee Dist. Lib., Flint, MI (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted

Instead of the single-minded polemic that the title promises, this posthumous work by Pekar functions as a multipronged exploration of religious, political, and personal histories and is all the richer for it. Pekar structures his narrative as a long-running bull session with his collaborator, artist Waldman (Megillat Esther), as they amble around Pekar's hometown of Cleveland. While walking through a cavernous used bookstore or grabbing food at an Italian grocery, they explore his parents' very passionate but unusual Zionism (Pekar's mother was a stridently nonworshipping Marxist while his father was highly religious), the history of the Jewish people and the creation of the state of Israel, and Pekar's own evolving feelings about that country. Starting off as an unalloyed champion of the new Jewish homeland (he was a schoolboy during the War of Independence and grew up along with the young country), Pekar later becomes troubled by the growth of religious fundamentalism in Israel, West Bank settlements, and what he saw as destructive military policies. A sweet and simple epilogue by Pekar's widow, Joyce Brabner, provides the perfect capstone, noting how she planned a funeral that was properly Jewish and yet appropriately nonreligious. (July)