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I'm Not Here
A woman torn between her family and her independence, unmoored between what is and what could be.
A young, second-generation woman wanders through her city and memories encountering the world through a camera's lens; her independence pulled by the gravity of familial responsibility. She drifts until she encounters what could possibly be her potential self.
A young, second-generation woman wanders through her city and memories encountering the world through a camera's lens; her independence pulled by the gravity of familial responsibility. She drifts until she encounters what could possibly be her potential self.
104 pages, Paperback
First published September 12, 2017
4 people are currently reading
391 people want to read
About the author
GG
53 books72 followersgg lives and works in the small Canadian prairie city where she grew up during the 1980s. In this pre-Internet era, isolated geographically and culturally, drawing and making up stories was the means to connect to something more. It was romantic and lonely. In 2016 she was included in The Best American Comics edited by Roz Chast.
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Displaying 1 - 30 of 58 reviews
February 3, 2018
"To live is to be somebody else. Feeling is impossible if we feel today as we felt yesterday: To feel today the same thing we felt yesterday is to not feel at all. . . today we are the living cadaver of yesterday's lost life"--Ferdinand Pessoa
Odd that I should also be reading (and very slowly, in fragments) the fragmented The Book of Disquiet by Pessoa, which I see the main character, a woman, is reading, and I have also read the very quote she cites as a kind of epigraph to the book and which serves as a kind of emotional guidepost. The title itself is a Pessoan reflection of being/not being/alienation/quiet desperation.
This, the third work I have read by GG, and her best, her longest, her most developed narrative, is a delicately drawn series of vignettes about a woman, quiet, quite lonely perhaps, certainly isolated, faced with stressful family responsibilities, who spends much of her time lying around and thinking, and some time photographing (as I think of GG drawing) to make sense of her life. Images for her sometimes trigger memories of growing up. Intensely self-reflective, this elliptical, fragmented story is also lovely. Reminds me a bit of Tillie Walden's work of an also isolated, intensely self-reflective girl/woman, where single, usually silent images carry so much of the emotional weight.
Odd that I should also be reading (and very slowly, in fragments) the fragmented The Book of Disquiet by Pessoa, which I see the main character, a woman, is reading, and I have also read the very quote she cites as a kind of epigraph to the book and which serves as a kind of emotional guidepost. The title itself is a Pessoan reflection of being/not being/alienation/quiet desperation.
This, the third work I have read by GG, and her best, her longest, her most developed narrative, is a delicately drawn series of vignettes about a woman, quiet, quite lonely perhaps, certainly isolated, faced with stressful family responsibilities, who spends much of her time lying around and thinking, and some time photographing (as I think of GG drawing) to make sense of her life. Images for her sometimes trigger memories of growing up. Intensely self-reflective, this elliptical, fragmented story is also lovely. Reminds me a bit of Tillie Walden's work of an also isolated, intensely self-reflective girl/woman, where single, usually silent images carry so much of the emotional weight.
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July 23, 2018Triste e faz pensar.
October 11, 2020
I predict that GG and Nick Drnaso will soon be critically acclaimed indie comic artists.
*Note: I wrote this review and prediction in February 2018; in July 2018, Nick Drnaso was the first comic artist ever to be nominated for the Man Booker 2018 Longlist*
Please read a free excerpt provided by GG here:
https://ohgigue.com/
*Spoiler Free*
This is the first comic I ever bought as an adult (I read The Beano a decade ago). I read many of GG's consistently good short stories on the website above, so I knew this would be good.
GG writes the most introverted comics, ever. They center on the nostalgia, regret and torschlusspanik evoked when one begins living alone as a young adult.
It plays like an old avant-garde film as events are framed in a second-by-second manner with black pages between chapters, surreal and unexplained plot elements despite an ominous silence.
Criticism
One thing I hope GG develops is a better narrative climax, as they often seem contrived in a way that breaks the sense of realism the rest of the story had spent so long creating, and while that could be effective, I think GG should double down or pass, as it isn't long or extreme enough to induce dread about one's general sense of reality or an epiphany about the psychological state of the protagonist. I think the problem is, that GG does not vary the fast pacing at any point in any of her works, and while that may be a style preference, it makes for an anhedonic plodding reading style that is fine up until the point where a climax or end arrive. You sort of end up accidentally skim reading something that deserves more attention by both the reader and author, for example because it is tragic or horrifying. As in, I read the late cathartic bathroom scene like I read the early kitchen scene where the protagonist is cutting an avocado, as both had as much facial expression, number of frames, frame zoom, frame colour... What I'm trying to suggest is that I believe minimalism is beautiful until it is strict enough to restrict style changes that are necessary to allow a reader to subconsciously (or even consciously) differentiate parts in the general plot arc, which are necessary insofar as they provide the rationale for choosing and ordering of the story scenes. What is connected here, is anything connected? If not, why not? Put another way: when a reader can't easily tell what part of the story is important with reference either to the author, protagonist or reader, time and space within the narrative becomes less emotionally evocative or memorable. I think an author needs no reason for keeping a traditional narrative structure (other than it's more convenient to our conditioning on Campbell's monomyth), but I think they might explicitly need to show why they vary it in other cases for it to be more effective than a conventional structure. You need a reason to rebel against the easier path for your audience! I'm being overly judgemental here but it's only because I can see GG's future works being monumental to the indie comics genre.
*Note: I wrote this review and prediction in February 2018; in July 2018, Nick Drnaso was the first comic artist ever to be nominated for the Man Booker 2018 Longlist*
Please read a free excerpt provided by GG here:
https://ohgigue.com/
*Spoiler Free*
This is the first comic I ever bought as an adult (I read The Beano a decade ago). I read many of GG's consistently good short stories on the website above, so I knew this would be good.
GG writes the most introverted comics, ever. They center on the nostalgia, regret and torschlusspanik evoked when one begins living alone as a young adult.
It plays like an old avant-garde film as events are framed in a second-by-second manner with black pages between chapters, surreal and unexplained plot elements despite an ominous silence.
Criticism
One thing I hope GG develops is a better narrative climax, as they often seem contrived in a way that breaks the sense of realism the rest of the story had spent so long creating, and while that could be effective, I think GG should double down or pass, as it isn't long or extreme enough to induce dread about one's general sense of reality or an epiphany about the psychological state of the protagonist. I think the problem is, that GG does not vary the fast pacing at any point in any of her works, and while that may be a style preference, it makes for an anhedonic plodding reading style that is fine up until the point where a climax or end arrive. You sort of end up accidentally skim reading something that deserves more attention by both the reader and author, for example because it is tragic or horrifying. As in, I read the late cathartic bathroom scene like I read the early kitchen scene where the protagonist is cutting an avocado, as both had as much facial expression, number of frames, frame zoom, frame colour... What I'm trying to suggest is that I believe minimalism is beautiful until it is strict enough to restrict style changes that are necessary to allow a reader to subconsciously (or even consciously) differentiate parts in the general plot arc, which are necessary insofar as they provide the rationale for choosing and ordering of the story scenes. What is connected here, is anything connected? If not, why not? Put another way: when a reader can't easily tell what part of the story is important with reference either to the author, protagonist or reader, time and space within the narrative becomes less emotionally evocative or memorable. I think an author needs no reason for keeping a traditional narrative structure (other than it's more convenient to our conditioning on Campbell's monomyth), but I think they might explicitly need to show why they vary it in other cases for it to be more effective than a conventional structure. You need a reason to rebel against the easier path for your audience! I'm being overly judgemental here but it's only because I can see GG's future works being monumental to the indie comics genre.
January 26, 2023
Cette BD est très (trop ?) minimaliste. Peu de mots sont utilisés pour décrire l’immensité de la détresse et de la maladie qui remplie le quotidien de la jeune femme que nous suivons dans ce récit. J’en aurais certainement prit plus. Chose certaine, les illustrations sont magnifiques. 🖤
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October 28, 2020„Leben heißt ein anderer sein“
.
GGs Stil lässt sich wohl als minimalistisch beschreiben, denn es bedarf nicht vieler Worte. Die Zeichnungen in der Graphic Novel „Wie Dinge sind“ stehen für sich, wirken schon fast wie ein stummer Kurzfilm, ausdrucksstark und tiefgründig. Dadurch bleibt auch viel Interpretationsspielraum, was einerseits Spaß macht, da es die Gedanken anregt, einen andererseits aber auch etwas verwirrt zurücklassen kann, da ich mich mehrmals gefragt habe, ob ich die wortkargen Bilder „richtig“ verstanden habe.
Es wird die Geschichte einer jungen Frau mit Migrationshintergrund erzählt, die zwischen ihrer Familie und ihrer Suche nach Unabhängigkeit und Freiheit hin und her gerissen ist. Einerseits ist da der Anspruch, den Verpflichtungen und Erwartungshaltungen der Eltern gerecht zu werden, andererseits eine tiefe Sehnsucht nach mehr. Unsere Protagonistin lässt sich durch die Stadt und ihr Leben treiben, ihre Unabhängigkeit durch die familiäre Verantwortung getrübt.
Als sie eines Tages durch die Kameralinse auf eine Frau trifft, die ihr selbst so ähnlich und doch so fremd vorkommt, erschließt sich ihr in voller Erbarmungslosigkeit, wie anders, aufregender und erfüllender ihr Leben doch sein könnte.
Die schönen Schwarz-Weiß-Illustrationen übertragen ohne viele Worte die stille, schwere Melancholie und machen die Graphic Novel lebendig. GG schafft es traurige Offenheit, Ballast, Einsamkeit, Zweifel und ohrenbetäubende Stille darzustellen und damit ziemlich viel und gleichzeitig nur sehr wenig auszudrücken.
Schnell gelesen, langer Nachhall.
.
GGs Stil lässt sich wohl als minimalistisch beschreiben, denn es bedarf nicht vieler Worte. Die Zeichnungen in der Graphic Novel „Wie Dinge sind“ stehen für sich, wirken schon fast wie ein stummer Kurzfilm, ausdrucksstark und tiefgründig. Dadurch bleibt auch viel Interpretationsspielraum, was einerseits Spaß macht, da es die Gedanken anregt, einen andererseits aber auch etwas verwirrt zurücklassen kann, da ich mich mehrmals gefragt habe, ob ich die wortkargen Bilder „richtig“ verstanden habe.
Es wird die Geschichte einer jungen Frau mit Migrationshintergrund erzählt, die zwischen ihrer Familie und ihrer Suche nach Unabhängigkeit und Freiheit hin und her gerissen ist. Einerseits ist da der Anspruch, den Verpflichtungen und Erwartungshaltungen der Eltern gerecht zu werden, andererseits eine tiefe Sehnsucht nach mehr. Unsere Protagonistin lässt sich durch die Stadt und ihr Leben treiben, ihre Unabhängigkeit durch die familiäre Verantwortung getrübt.
Als sie eines Tages durch die Kameralinse auf eine Frau trifft, die ihr selbst so ähnlich und doch so fremd vorkommt, erschließt sich ihr in voller Erbarmungslosigkeit, wie anders, aufregender und erfüllender ihr Leben doch sein könnte.
Die schönen Schwarz-Weiß-Illustrationen übertragen ohne viele Worte die stille, schwere Melancholie und machen die Graphic Novel lebendig. GG schafft es traurige Offenheit, Ballast, Einsamkeit, Zweifel und ohrenbetäubende Stille darzustellen und damit ziemlich viel und gleichzeitig nur sehr wenig auszudrücken.
Schnell gelesen, langer Nachhall.
September 14, 2017
Minimalistic, but still sad.
August 10, 2018
The only negative I can say about I'm Not Here is that it's too short. An exploration of escape. GG's art is simple but engaging.
July 14, 2022
really good. id agree with some of the reviews saying it's more poetry because while there is a narrative it takes some thinking to put together. overall recommend. also the art style 😍
September 3, 2021
Yay Canadian authors and artists! Yay GG! Moving, unsettling, sad, hopeful - I read it twice to make sure I didn't miss anything. I wanted a little more - but this is good for now.
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February 23, 2020A young woman takes photographs, helps take care of her parents, and feels sad.
I'm not rating this one because I don't feel like I really understood it. The author's "Constantly" amazed me. This one has beautiful artwork, but I didn't understand the point of the story. Or maybe there wasn't a point, and that was the point. Regardless, I'll look forward to reading more by her.
I'm not rating this one because I don't feel like I really understood it. The author's "Constantly" amazed me. This one has beautiful artwork, but I didn't understand the point of the story. Or maybe there wasn't a point, and that was the point. Regardless, I'll look forward to reading more by her.
August 17, 2019
I was very intrigued by the art style and read it without any idea of what it was about. As a second generation Canadian this stirred up a lot of feelings and I think this novel illustrated the complex emotions of the story’s theme really well.
December 19, 2017
Beautifully executed, but I wish it was 10x as long.
September 17, 2018
i fell in love with this short gn as soon as i looked at the spine. the art style is super unique and the color palette is so calming and poignant. lots of feelings!!!
July 30, 2020
I don't usually read this kind of book, and I didn't completely understand it, but the artwork was great and from what I understood of it, it was a nice story. xD
March 29, 2022
Superbe travail sur le noir et blanc. Même après une deuxième lecture, l'histoire demeure un peu obscure mais cela n'entame en rien le plaisir de lecture. Je recommande vraiment.
August 23, 2017
These comics read like a little film. Sad and searching - GG is a talent to watch.
February 4, 2019
sooooo quiet. and loaded. it’ll take 5 minutes (unless you end up rereading it multiple times). second generation possibly queer young woman living with heavy familial responsibility. *side question, I noticed the word “millennial” being used to describe this book - is this supposed to be a criticism?? maybe 2nd gen artists writing about mental health and immigrant family trauma is, literally, a millennial theme because only now are these issues more culturally and commercially sought after? i mean i guess there were two whole panels devoted to an avocado so nvm.
December 30, 2017
A beautiful graphic novel about memory, aging, loss, coping, and how banal trauma often is when it shows up between us, interpersonally. This one was a quick read, but stuck with me a long time. I asked a friend to read it, too, and appreciated how much richer the story became after we shared our interpretations with each other. Highly recommended!
January 26, 2018
This small volume packs a punch. The use of black, grey, and white space was really interesting. The panels and colors were used in the narrative in a way I haven't seen before. Very unique and expertly executed to showcase the duality every twenty something encounters: the challenges/sadness of the past creeping into the present and how those two things impact who you are or could have been.
November 29, 2018
3.5-- There are just some things about the plot/timeline that left me confused. Otherwise this would be 4 stars. Really good.
December 9, 2017
A poignant story about time and impermanence, and wishing things could be as they are not.
The artwork is beautifully minimalistic, and the story moves along with little dialogue, which has the effect of keeping you wondering what exactly is going on.
I only wish it were longer, but I suppose it's brevity adds somewhat to the mystique.
The artwork is beautifully minimalistic, and the story moves along with little dialogue, which has the effect of keeping you wondering what exactly is going on.
I only wish it were longer, but I suppose it's brevity adds somewhat to the mystique.
February 1, 2018
A quiet kind of devastation. As a second generation American the feeling and images did well to bring back faded memories. Of the difficulties and harshness accompanying a refugee mother who carried her own burdens from far away and what that means for a daughter finding her own way in the world. I appreciate the glimpses of all too brief tender moments that still can carry so much weight.
July 24, 2022
I've lost my complete faith in Koyama- when it comes to the short titles. The 2-3 previous were let-downs too.
This is boring and tries to be profound without laying any "meat" "on the table". If you're going to try to make me sad then at least tell me a story. There are very few words per page and barely anything happening.
The art looks like a grainy scanning of real art.
This is boring and tries to be profound without laying any "meat" "on the table". If you're going to try to make me sad then at least tell me a story. There are very few words per page and barely anything happening.
The art looks like a grainy scanning of real art.
August 23, 2023
This is a graphic novel. And one that very much uses the pictures to tell the story.
Trippy. I didn't really get the point of it. It was short enough that I kept reading and never felt like I wasted my time, but if it was longer I would have lost interest.
I do get the sense that for some readers, this book will work.
Trippy. I didn't really get the point of it. It was short enough that I kept reading and never felt like I wasted my time, but if it was longer I would have lost interest.
I do get the sense that for some readers, this book will work.
October 15, 2017
Strong Canadian story with few words and great images.
Nods to the TTC and Polka Dot Door here, if you look close.
A story that most everyone with aging parents can relate.
Perfect balance of image, words and tone.
Highly recommended.
Nods to the TTC and Polka Dot Door here, if you look close.
A story that most everyone with aging parents can relate.
Perfect balance of image, words and tone.
Highly recommended.
February 7, 2018
This book is very...still. Change is brought up often in dialogue, but the art is carefully framed and lingers on small moments. Feeling and not-feeling are constantly present. It's hard to describe, and it's something that I feel like could only be done in comics form.
December 9, 2017
disquieting. mysterious. thought-provoking.
January 21, 2018
<3 <3 <3 I really hope she puts out more content.
July 31, 2018
Though it was visually beautiful, I found the story confusing the and the precise nature of the art made it hard for me to read. It might be someone else's cup of tea but it wasn't mine.
November 26, 2018
Such a simple book with complex relationships. Felt very millennial
Displaying 1 - 30 of 58 reviews