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Moi, René Tardi #1
Ben Rene Tardi, Stalag IIB Kampında Savaş Esiri
Fransa’nın en özgün çizerlerinden Tardi, babasının 2. Dünya Savaşı sırasında esir düştüğü toplama kampında tuttuğu defterlerden yola çıkarak kaleme aldığı ve resimlediği Ben René Tardi, Stalag IIB Kampında Savaş Esiri, savaşı ve tutsaklığı, esir kampının insanlar üzerindeki etkilerini ve yaşanan o büyük yoksunluğu en yalın haliyle gözler önüne seriyor...
Ben René Tardi, Stalag IIB Kampında Savaş Esiri renklere boğulan fantastik dünyaların kusursuz kahramanlarından bir nebze uzaklaşmak isteyen çizgiroman severler için tam bir başyapıt...
Makinistim ve ben savaşmıştık. Düşmanı yok etme emri almıştık. İtaat etmiştik… Evet, savaşmıştık ve 22 Mayıs 1940’ta, bir Çarşamba günü, saldırıdan on iki gün sonra, sabahın erken saatlerinde, ormanlık bir alanda esir düştük. Somme bölgesinde Péronne yakınlarındaki Mons-en-Chaussée’de. Yirmi beş yıl önce babam burada yaralanmıştı. Bense yirmi beş yaşındaydım ve kafamın arkasına beklenmedik bir darbe yemiş gibi oldum.
Ben René Tardi, Stalag IIB Kampında Savaş Esiri renklere boğulan fantastik dünyaların kusursuz kahramanlarından bir nebze uzaklaşmak isteyen çizgiroman severler için tam bir başyapıt...
Makinistim ve ben savaşmıştık. Düşmanı yok etme emri almıştık. İtaat etmiştik… Evet, savaşmıştık ve 22 Mayıs 1940’ta, bir Çarşamba günü, saldırıdan on iki gün sonra, sabahın erken saatlerinde, ormanlık bir alanda esir düştük. Somme bölgesinde Péronne yakınlarındaki Mons-en-Chaussée’de. Yirmi beş yıl önce babam burada yaralanmıştı. Bense yirmi beş yaşındaydım ve kafamın arkasına beklenmedik bir darbe yemiş gibi oldum.
188 pages, Paperback
First published January 1, 2012
12 people are currently reading
281 people want to read
About the author
Jacques Tardi
297 books212 followersJacques Tardi is a French comics artist, born 30 August 1946 in Valence, Drôme. He is often credited solely as Tardi.
After graduating from the École nationale des Beaux-Arts de Lyon and the École nationale supérieure des arts décoratifs in Paris, he started writing comics in 1969, at the age of 23, in the comics magazine Pilote, initially illustrating short stories written by Jean Giraud and Serge de Beketch, before creating the political fiction story Rumeur sur le Rouergue from a scenario by Pierre Christin in 1972.
A highly versatile artist, Tardi successfully adapted novels by controversial writer Louis-Ferdinand Céline or crime novelist Léo Malet. In Malet's case, Tardi adapted his detective hero Nestor Burma into a series of critically acclaimed graphic novels, though he also wrote and drew original stories of his own.
Tardi also created one of French comics' most famous heroines, Adèle Blanc-Sec. This series recreates the Paris of early 20th century where the moody heroine encounters supernatural events, state plots, occult societies and experiments in cryogenics.
Another graphic novel was Ici Même which was written by Jean-Claude Forest, best known as the creator of Barbarella. A satire, it describes the adventures of Arthur Même who lives on the walls of his family's former property.
Tardi has produced many antiwar graphic novels and comics, mainly focusing on the collective European trauma of the First World War, and the pitfalls of patriotism spawned several albums (Adieu Brindavoine, C'était la guerre des tranchées, Le trou d'obus, Putain de Guerre...). His grandfather's involvement in the day-to-day horrors of trench warfare, seems to have had a deep influence to his artistic expression. He also completed a four-volume series on the Paris Commune, Le cri du peuple.
Fantagraphics Books translate and publish in English a wide range of Tardi's books, done by editor and translator Kim Thompson.[3] The books released so far are West Coast Blues (Le Petit bleu de la côte ouest), You Are There (Ici Même), and It Was the War of the Trenches (C'était la guerre des tranchées); a single album collecting the first two Adele Blanc-Sec volumes has also been published.
->http://en.wikipedia.org/wiki/Jacques_...
After graduating from the École nationale des Beaux-Arts de Lyon and the École nationale supérieure des arts décoratifs in Paris, he started writing comics in 1969, at the age of 23, in the comics magazine Pilote, initially illustrating short stories written by Jean Giraud and Serge de Beketch, before creating the political fiction story Rumeur sur le Rouergue from a scenario by Pierre Christin in 1972.
A highly versatile artist, Tardi successfully adapted novels by controversial writer Louis-Ferdinand Céline or crime novelist Léo Malet. In Malet's case, Tardi adapted his detective hero Nestor Burma into a series of critically acclaimed graphic novels, though he also wrote and drew original stories of his own.
Tardi also created one of French comics' most famous heroines, Adèle Blanc-Sec. This series recreates the Paris of early 20th century where the moody heroine encounters supernatural events, state plots, occult societies and experiments in cryogenics.
Another graphic novel was Ici Même which was written by Jean-Claude Forest, best known as the creator of Barbarella. A satire, it describes the adventures of Arthur Même who lives on the walls of his family's former property.
Tardi has produced many antiwar graphic novels and comics, mainly focusing on the collective European trauma of the First World War, and the pitfalls of patriotism spawned several albums (Adieu Brindavoine, C'était la guerre des tranchées, Le trou d'obus, Putain de Guerre...). His grandfather's involvement in the day-to-day horrors of trench warfare, seems to have had a deep influence to his artistic expression. He also completed a four-volume series on the Paris Commune, Le cri du peuple.
Fantagraphics Books translate and publish in English a wide range of Tardi's books, done by editor and translator Kim Thompson.[3] The books released so far are West Coast Blues (Le Petit bleu de la côte ouest), You Are There (Ici Même), and It Was the War of the Trenches (C'était la guerre des tranchées); a single album collecting the first two Adele Blanc-Sec volumes has also been published.
->http://en.wikipedia.org/wiki/Jacques_...
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Displaying 1 - 30 of 36 reviews
January 2, 2019
Barry Kroll taught a course in the English department at Indiana called Vietnam. In an article about his course, he said he would begin the course with a question, “How would you go about finding what happened at the Battle of Hue during the Vietnam War?” Students had a variety of answers, but the basic one was that they would ask someone who was there. He said, “Done, I was there, ask me,” and they did. He gave them a short answer, then shared some copies of his journal of the time that contradict (and romanticize) his contemporary version, then gave them copies of his journals written ten and twenty years later. Then he gave them various historical accounts, fiction from American and Vietnamese authors, they watched documentary and fiction films, read comic book accounts, read journalistic accounts from both western and Vietnamese newspapers. He even solicited his fellow solders' accounts of the battle, which in some ways contradicted his own memories/accounts. And so on.
To avoid a “revisionist” approach to history—i.e., the truth is whatever you say it is, because everything’s subjective--that he loathed, he helped them develop a collective sense of what really did happen there, while acknowledging the subjective truths of memory and experience. And he helped them explore the usefulness of fiction (see Tim O’Brien’s “How to Tell a True War Story”) in the process of approaching something so overwhelming and traumatizing as war and incarceration (also, as you know, Stephen Crane never went to a Civil War battlefield in order to write the powerfully convincing The Red Badge of Courage, but he nevertheless had soldiers thank him for detailing their actual “shared” experiences of the horrors of the battlefield.
Jacques Tardi has much written of the horrors of war in his comics fiction of WWI, and in this powerful story, he creates an historical fictional account of his father Rene as prisoner of war (we in the U.S. who never served in WWII “learned” of the P.O.W. experience through films such as The Great Escape and Hogan’s Heroes), partly informed by his Dad’s notes and by extensive research into this and other camps. This is the first volume of an omnibus story written and drawn by Jacques Tardi, just released in a wonderfully produced hardcover by Fantagraphics in December 2018 in a great English translation by Jenna Allen.
It features an introduction by another son of a P.O.W., Dominque Grange, and an introduction by Tardi about the process he went though in his attempt to allow his father to speak of his own experience. In it he fancifully features himself as a young boy—he was not born when his father was in captivity--in some of the panels, asking his father questions.
The story is grim, unpleasant, not featuring narrative heroics or some typical “rising action,” and his father is forever bitter about it, cynical; “It lasted five years!” René yells, “Let me talk about it, damn it! My belly was hollow for five years! Shit!”but you do get to like Rene and admire his tenacity and will. He's an interesting character, and I like seeing Jacques talking with him, throughout.
And somewhat like the artwork of his masterpiece of WWI, It Was the War of the Trenches, the art here is grey and black and white, bur terrific, the work of a master. His father’s talk in this book dominates many of the panels, so it feels less like a comics story and often more like an illustrated story, a series of photographs rather than a cartooned series of movements, but it is still compelling. Without question this is a great book to help one reflect on WWII from the experience of one man’s actual account, filled in by the speculation and research of his son. Much recommended, especially to those who are wanting to know more about the war. You can't romanticize military service if you read Tardi. And I think Kroll would appreciate Tardi’s approach to war “truth” and his contribution to our sense of “being there” that only a first person account can truly provide.
To avoid a “revisionist” approach to history—i.e., the truth is whatever you say it is, because everything’s subjective--that he loathed, he helped them develop a collective sense of what really did happen there, while acknowledging the subjective truths of memory and experience. And he helped them explore the usefulness of fiction (see Tim O’Brien’s “How to Tell a True War Story”) in the process of approaching something so overwhelming and traumatizing as war and incarceration (also, as you know, Stephen Crane never went to a Civil War battlefield in order to write the powerfully convincing The Red Badge of Courage, but he nevertheless had soldiers thank him for detailing their actual “shared” experiences of the horrors of the battlefield.
Jacques Tardi has much written of the horrors of war in his comics fiction of WWI, and in this powerful story, he creates an historical fictional account of his father Rene as prisoner of war (we in the U.S. who never served in WWII “learned” of the P.O.W. experience through films such as The Great Escape and Hogan’s Heroes), partly informed by his Dad’s notes and by extensive research into this and other camps. This is the first volume of an omnibus story written and drawn by Jacques Tardi, just released in a wonderfully produced hardcover by Fantagraphics in December 2018 in a great English translation by Jenna Allen.
It features an introduction by another son of a P.O.W., Dominque Grange, and an introduction by Tardi about the process he went though in his attempt to allow his father to speak of his own experience. In it he fancifully features himself as a young boy—he was not born when his father was in captivity--in some of the panels, asking his father questions.
The story is grim, unpleasant, not featuring narrative heroics or some typical “rising action,” and his father is forever bitter about it, cynical; “It lasted five years!” René yells, “Let me talk about it, damn it! My belly was hollow for five years! Shit!”but you do get to like Rene and admire his tenacity and will. He's an interesting character, and I like seeing Jacques talking with him, throughout.
And somewhat like the artwork of his masterpiece of WWI, It Was the War of the Trenches, the art here is grey and black and white, bur terrific, the work of a master. His father’s talk in this book dominates many of the panels, so it feels less like a comics story and often more like an illustrated story, a series of photographs rather than a cartooned series of movements, but it is still compelling. Without question this is a great book to help one reflect on WWII from the experience of one man’s actual account, filled in by the speculation and research of his son. Much recommended, especially to those who are wanting to know more about the war. You can't romanticize military service if you read Tardi. And I think Kroll would appreciate Tardi’s approach to war “truth” and his contribution to our sense of “being there” that only a first person account can truly provide.
December 19, 2018
This was such an intimate look at what it was like to be a German POW in WW II. Jacques Tardi places himself next to his father (as a little boy) as he observes and asks questions about his day to day existence during his captivity. The fact that Tardi was not born at the time adds an element of surrealism that really is powerful and a unique narrative device. In my top five GN list for this year.
August 3, 2018
Jacques Tardi encouraged his father, Rene Tardi, to write down his memories of being a POW in a Nazi prison camp during World War II in the early 80s. Some 30 years later, Jacques drew it as a two part graphic novel. Part 1 has just been published in English.
Not surprisingly, given the ongoing excellence of Jacques Tardi, it's superb. Tardi draws it as a dialogue between himself and his father--drawing himself as a boy in shorts and his father as a young man. But aside from the narrative structure (a father telling his son about what happened to him during the war), it is drawn as a narrative of the war and the camp, Stalag IIB. So while Rene Tardi engages in a tank battle or starves in a barracks in Pomerania, Jacques, depicted as a boy, is always standing nearby, as if he were there. This surreal touch made me think of David B, a much younger cartoonist but one who has had a fairly profound effect on French Comics.
The first volume takes us approximately to the end of the war. The next volume covers Rene's trip home and postwar life. (Interestingly, this mirrors the structure of Primo Levi's classic If This Is a Man and The Truce, the first covering his time before and during his internment at Auschwitz, and the second covering his liberation and circuitous trip home). Undoubtedly people will compare this book to Holocaust narratives like Levi's. Especially to Maus by Art Spiegelman, which is likewise a story told by a father to his son and then turned into comics. Tardi must have had Maus in mind as he worked on this book.
In the introduction, it is pointed out that French POWs did not exactly receive a great welcome when they returned home from their long internment. They were a reminder of the failure of the French to successfully fight the Nazi invaders. They could not be lionized, like Resistance Fighters, or condemned like Vichy collaborators, nor pitied like the small number of Jewish survivors who made it back. But the Stalags were obviously no picnic, as Rene Tardi's account shows. While the American prisoners had it OK, that was not the case for the French or other prisoners from conquered countries. America had plenty of German POWs, and it was in the German's interests to treat the Americans well because of it. In fact, different nationalities got different levels of treatment. Those that got it worst were the Russians, who died in appalling numbers in German captivity, as was described in harrowing detail in Timothy Snyder's book, Bloodlands. The French traded laborers for POWs, which was how one of Rene's friends got out of the Stalag early. But Rene endured all the way to the end of the war. The Stalags were not a great crime against humanity like the Nazi extermination camps were (unless you were a Russian POW), their story deserves to be told. We Americans get a bizarre notion of them from seeing such entertainments as The Great Escape. This book is at a corrective for that impression of the Stalags.
Rene Tardi is an acerbic, cynical person and is an unforgettable character. His voice is half the story here (and think a lot of his words are direct transcriptions from the narrative he wrote for his Jacques Tardi in the early 80s). Without having read the original (I can't read French anyway), I do want to praise the translator Jenna Allen. Previous volumes of Tardi's work from this publisher were translated by the late Kim Thompson, co-publisher and a man fluent in several languages, including French. But of all the Tardi books I've read from Fantagraphics, this is my favorite in terms of the language, and that has to be attributable to Allen's translation.
I highly recommend this book.
Not surprisingly, given the ongoing excellence of Jacques Tardi, it's superb. Tardi draws it as a dialogue between himself and his father--drawing himself as a boy in shorts and his father as a young man. But aside from the narrative structure (a father telling his son about what happened to him during the war), it is drawn as a narrative of the war and the camp, Stalag IIB. So while Rene Tardi engages in a tank battle or starves in a barracks in Pomerania, Jacques, depicted as a boy, is always standing nearby, as if he were there. This surreal touch made me think of David B, a much younger cartoonist but one who has had a fairly profound effect on French Comics.
The first volume takes us approximately to the end of the war. The next volume covers Rene's trip home and postwar life. (Interestingly, this mirrors the structure of Primo Levi's classic If This Is a Man and The Truce, the first covering his time before and during his internment at Auschwitz, and the second covering his liberation and circuitous trip home). Undoubtedly people will compare this book to Holocaust narratives like Levi's. Especially to Maus by Art Spiegelman, which is likewise a story told by a father to his son and then turned into comics. Tardi must have had Maus in mind as he worked on this book.
In the introduction, it is pointed out that French POWs did not exactly receive a great welcome when they returned home from their long internment. They were a reminder of the failure of the French to successfully fight the Nazi invaders. They could not be lionized, like Resistance Fighters, or condemned like Vichy collaborators, nor pitied like the small number of Jewish survivors who made it back. But the Stalags were obviously no picnic, as Rene Tardi's account shows. While the American prisoners had it OK, that was not the case for the French or other prisoners from conquered countries. America had plenty of German POWs, and it was in the German's interests to treat the Americans well because of it. In fact, different nationalities got different levels of treatment. Those that got it worst were the Russians, who died in appalling numbers in German captivity, as was described in harrowing detail in Timothy Snyder's book, Bloodlands. The French traded laborers for POWs, which was how one of Rene's friends got out of the Stalag early. But Rene endured all the way to the end of the war. The Stalags were not a great crime against humanity like the Nazi extermination camps were (unless you were a Russian POW), their story deserves to be told. We Americans get a bizarre notion of them from seeing such entertainments as The Great Escape. This book is at a corrective for that impression of the Stalags.
Rene Tardi is an acerbic, cynical person and is an unforgettable character. His voice is half the story here (and think a lot of his words are direct transcriptions from the narrative he wrote for his Jacques Tardi in the early 80s). Without having read the original (I can't read French anyway), I do want to praise the translator Jenna Allen. Previous volumes of Tardi's work from this publisher were translated by the late Kim Thompson, co-publisher and a man fluent in several languages, including French. But of all the Tardi books I've read from Fantagraphics, this is my favorite in terms of the language, and that has to be attributable to Allen's translation.
I highly recommend this book.
October 14, 2017
Tarih ile içiçe bir hayat öyküsü anlatan çizgi roman. En sevdiğim türde diyebilirim. Özellikle bu tip halkın gözünden savaşan ülkelerin durumunu anlatıyorsa çok daha iyi oluyor okuması. Fransa’nın savaşta izlediği daha doğrusu izleyemediği strateji ve politikayı görüyoruz. Sonrasında yaptığı hatalar ya da hataymış gibi gösterilen bir siyaset... bilemiyoruz tabi detayları. Fakat bir bildiğimiz var o da şu ki hitler bu katliamı tek başına yapmadı. Arkasında koca bir ülke ve çevresini sarmış orta avrupa vahşetiyle yanıp tutuşan ülkeler vardı. Herkes bir fırsat gördü kendisine göre ve aklı sıra değerlendirdi. İnsan hayatının hiç bir şey olduğu bir dönemdi ve hiç bir şeylerden bir şeyler çıkarmaya çalışıyorlardı. Planlar zaten yapılmıştı maşalar oynadı.
Bu tip çizgi romanlar ve kitaplar okuyunca özellikle hatıraları okuyunca bunları görmek ve çözmek çok daha kolaylaşıyor. Ölümün olduğu bir yerde bu kadar büyük hırslarla yaşayanların, bu kadar fazla hak yiyenlerin ve yaşam hakkının hiçe sayanların en iyi şekilde yaşadığı, adaletin asla var olmadığı bir dünyada yaşıyoruz. Nefes alıp vermemiz hariç herşey için vergi ödüyor, sözde kanunlarla hırs delisi cahiller tarafından yönetiliyoruz. Daha doğrusu sadece güçsüz için olan kanunlarla.
Bir yer var biliyorum demiş Orhan Veli. Keşke nerede olduğunu söyleseydi bizlere...
Bu tip çizgi romanlar ve kitaplar okuyunca özellikle hatıraları okuyunca bunları görmek ve çözmek çok daha kolaylaşıyor. Ölümün olduğu bir yerde bu kadar büyük hırslarla yaşayanların, bu kadar fazla hak yiyenlerin ve yaşam hakkının hiçe sayanların en iyi şekilde yaşadığı, adaletin asla var olmadığı bir dünyada yaşıyoruz. Nefes alıp vermemiz hariç herşey için vergi ödüyor, sözde kanunlarla hırs delisi cahiller tarafından yönetiliyoruz. Daha doğrusu sadece güçsüz için olan kanunlarla.
Bir yer var biliyorum demiş Orhan Veli. Keşke nerede olduğunu söyleseydi bizlere...
May 18, 2020
En ouvrant ce livre on sait tout de suite que c’est du Tardi, mais on pense aussi évidemment à un des chefs-d’oeuvre du neuvième art, le Maus de Art Spiegelman. Les deux oeuvres traitent du même sujet, la Seconde Guerre mondiale, mais c’est surtout le fait que ces deux grands de la BD racontent l’histoire de leur père respectif qui pousse à ce rapprochement. Ils utilisent des procédés narratifs similaires en s’incluant dans le récit pour apporter un contrepoint au témoignage du vécu. L’enfant – le jeune Tardi ou le jeune Spiegelman – auquel son père raconte l’histoire a des réactions qui paraissent parfois déplacées. Ce sont pourtant celles de l’opposition classique entre un père et un fils, mais aussi celles des personnes n’ayant pas vécu ces évènements tragiques. Tout l’intérêt est que ces réactions sont présentées au lecteur. En plus d’apporter un éclairage différent et d’enrichir la narration par ces échanges, les réactions de celui qui écoute l’histoire permettent de désamorcer celles du lecteur et le fait réfléchir.
Les deux livres s’intéressent tout deux au sort de prisonniers, mais ils sont différents. Le premier s’intéresse aux juifs enfermés dans les camps de la mort. Stalag est l’abréviation de Stammlager qui désigne, dans l’Allemagne de 1939-1945, un camp de prisonniers de guerre. Le Stalag II B, situé près de la ville de Hammerstein, est le principal théâtre de ce récit. Il raconte ce qu’était la vie pour ces jeunes hommes dans un camp de prisonnier, c’est tragique, mais souvent tinté d’humour.
> La vie s’organisait dans le but d’emmerder à tout instant et au maximum, le “Grand Reich”, selon nos moyens.
Il est toujours frappant de constater que la vie reprend ses droits et s’organise petit à petit y compris dans des milieux très contraints comme celui du Stalag. Ce qui marque également sont les propos du père de l’auteur est la rage qu’il éprouve contre l’armée française, son récit met en lumière sa désorganisation. A l’entendre on a l’impression que la guerre était perdue d’avance. Il a été frustré d’être enfermé à 25 ans avec l’impression d’un grand gâchis. Il en garda une profonde amertume.
> À la libération, la révélation de la barbarie nazie à l’ouverture des camps de la mort, puis l’arrivée à l’Hôtel Lutetia, ainsi que la célébration de l’héroïsme des résistants français sous l’occupation, éclipsèrent totalement le retour des prisonniers de guerre. Il n’y eut pas d’espace pour la parole de ces derniers et leurs souffrances n’eurent pas droit de cité.
Avec cette oeuvre, Tardi a érigé un monument de la bande dessinée et de la littérature en l’honneur de ces oubliés. Il peut trôner avec fierté à côté d’un Maus. Allez, pour terminer je spoile un peu, il y aura une suite sous-titrée Mon retour en France.
Également publié sur mon blog.
Les deux livres s’intéressent tout deux au sort de prisonniers, mais ils sont différents. Le premier s’intéresse aux juifs enfermés dans les camps de la mort. Stalag est l’abréviation de Stammlager qui désigne, dans l’Allemagne de 1939-1945, un camp de prisonniers de guerre. Le Stalag II B, situé près de la ville de Hammerstein, est le principal théâtre de ce récit. Il raconte ce qu’était la vie pour ces jeunes hommes dans un camp de prisonnier, c’est tragique, mais souvent tinté d’humour.
> La vie s’organisait dans le but d’emmerder à tout instant et au maximum, le “Grand Reich”, selon nos moyens.
Il est toujours frappant de constater que la vie reprend ses droits et s’organise petit à petit y compris dans des milieux très contraints comme celui du Stalag. Ce qui marque également sont les propos du père de l’auteur est la rage qu’il éprouve contre l’armée française, son récit met en lumière sa désorganisation. A l’entendre on a l’impression que la guerre était perdue d’avance. Il a été frustré d’être enfermé à 25 ans avec l’impression d’un grand gâchis. Il en garda une profonde amertume.
> À la libération, la révélation de la barbarie nazie à l’ouverture des camps de la mort, puis l’arrivée à l’Hôtel Lutetia, ainsi que la célébration de l’héroïsme des résistants français sous l’occupation, éclipsèrent totalement le retour des prisonniers de guerre. Il n’y eut pas d’espace pour la parole de ces derniers et leurs souffrances n’eurent pas droit de cité.
Avec cette oeuvre, Tardi a érigé un monument de la bande dessinée et de la littérature en l’honneur de ces oubliés. Il peut trôner avec fierté à côté d’un Maus. Allez, pour terminer je spoile un peu, il y aura une suite sous-titrée Mon retour en France.
Également publié sur mon blog.
September 25, 2019
It's cool when the same questions a reader is asking themselves about holes or omissions in the plot are addressed by the semi-narrator in a timely manner, it's not so nice that the book isn't clearly marked as Volume 1 to indicate an incomplete tale, and no additional research is addended to flesh out the aforementioned holes.
September 7, 2018
Wow! Started off slow (I skipped the text intros) but I was totally absorbed by this. While it reminded me a lot of the movie Stalag 17, it provided a different yet familiar perspective.
September 26, 2018
Classic Tardi, amazing drawings accompanied by a true, heart breaking story. A must read and must collect type of comic book.
September 23, 2017
"Bir ülkenin işgali kolay lokma değildir. Bütün nüfusu yok etmediğin takdirde, işgalcinin kendi tüylerini yoldurmadan bir ülkeyi istila edebildiği bugüne kadar görülmedi. Elbette ki bu az ya da çok zaman alabilir ama er ya da geç işgalci kuyruğunu kıstırıp ülkeyi terk eder." Rene Tardi
Doğu Pomeranya göğü altında dört yıl sekiz ay -1680 gün- sürecek olan esaretini bitirdiğinde, medeni ulusların birbirlerine uyguladıkları devasa katliamdan sağ çıkmış olmakla birlikte, toplama kamplarının açılışıyla ortaya çıkan Nazi barbarlığı ve işgal altındaki Fransız direnişçilerinin kahramanlığının kutlanmasıyla hayal kırıklığına dönüşen kurtuluşunun gerisindeki yaralı, hırçın, öfkeli, utanç dolu, mağlup ve her şeyden mahrum bir kaybeden'e dönüşmüş Rene Tardi'nin, StalagIIB kampında bir savaş esiri olarak yaşadıklarını anlatmış ve de çizmiş oğul Tardi. Önü kesilen gençliği, altüst edilen gelecek planları, lüzumsuz yere hapiste geçirilen yıllar, tecrit, fiziksel acılar, kötü muamele ve aşağılanmalarla geçen yıllar neticesinde hiç dinmeyen öfkesini yansıttığı cümlelerinde Fransa'ya, politikacılara, Bosch'lara, orduya, papazlara, eğitimcilere, memurlara, liyakatsiz liderlere, Petain'e ve Vichy Hükumetine, Hitler'e ve adamlarına, tüm dünyaya ve öteki dünyalara lanet okuyor Rene hiç durmadan. Belediye bandosunun klarnetçisiyken, orduya yazılan ve zırhlı birliklere katılıp, makinisti ile birlikte esir düştükten sonra kampta da çeşitli işlerde konumlanmaya çalışan bu asi adam en nihayet kampın veznedarlarından oluyor kurtuluş gününe dek. Bu kitabın ve beraberinde milyonların trajedisini anlatan kişi Tardi olunca, kamptaki yaşamla ilgili kimi ayrıntılar yer yer sıkıcı olmakla birlikte, çizimlerin gerçekçiliğine vuruluyor insan. Usta bir çizerden, söz konusu kişi öz babası olduğundan belki de, tüm ayrıntılara fazlasıyla sadık kalınmış bir üslubun cilveleri bunlar. Dışarıda lapa lapa kar yağarken serbest bırakılan askerlerin meşakkatli yolculuğunun, karla imtihanlarının ve sonrasının anlatıldığı bir de devam kitabı varmış. Çevrilmesini bekleyeceğiz en kısa zamanda.
July 1, 2020
Ik René Tardi, werd geschreven door Jacques Tardi en is een stripbewerking van de aantekeningen en verhalen van zijn vader, René Tardi.
In Krijgsgevangene in Stalag2b volgen we René Tardi die de oorlog op Frans grondgebied mee maakt. We volgen hem hoe hij met zijn tank door het Franse land trekt totdat hij opgepakt wordt door de Duitsers en in een kamp terechtkomt. De gebeurtenissen daar overheersen het verhaal.
De meeste tekeningen zijn gemaakt in enkel grijstinten, dit past zeer goed bij de sfeer van het verhaal. De tekenaar heeft er ook voor gezorgd dat hij zichzelf tekent op elke tekening waar René opstaat. Zo tekent hij zichzelf die de vragen stelt aan zijn, soms, geïrriteerde vader. Hij gaat de dialoog aan met iemand waarvan je merkt dat de gebeurtenissen diepe wonden nagelaten heeft.
In deze graphic novel wordt vooral stilgestaan hoe de gewone soldaat de oorlog meemaakt. Wat zijn hun gevoelens bij alle gebeurtenissen en hoe zij de ontberingen meemaken. Dit alles wordt zeer goed in beeld gebracht in de tekeningen en de begeleidende tekstballonnen.
Dit boek bevat enorm veel info over de kampen en bevat details die je misschien in andere boeken niet tegenkomt.
Het einde van deze Graphic Novel is direct ook de start van het tweede boek.
Conclusie
Een graphic novel die je als lezer voorziet van enorm veel info vanuit de nagedachtenis van iemand die het echt mee gemaakt heeft. Die de ontberingen aantoont die de soldaten in de kampen moesten ondergaan.
In Krijgsgevangene in Stalag2b volgen we René Tardi die de oorlog op Frans grondgebied mee maakt. We volgen hem hoe hij met zijn tank door het Franse land trekt totdat hij opgepakt wordt door de Duitsers en in een kamp terechtkomt. De gebeurtenissen daar overheersen het verhaal.
De meeste tekeningen zijn gemaakt in enkel grijstinten, dit past zeer goed bij de sfeer van het verhaal. De tekenaar heeft er ook voor gezorgd dat hij zichzelf tekent op elke tekening waar René opstaat. Zo tekent hij zichzelf die de vragen stelt aan zijn, soms, geïrriteerde vader. Hij gaat de dialoog aan met iemand waarvan je merkt dat de gebeurtenissen diepe wonden nagelaten heeft.
In deze graphic novel wordt vooral stilgestaan hoe de gewone soldaat de oorlog meemaakt. Wat zijn hun gevoelens bij alle gebeurtenissen en hoe zij de ontberingen meemaken. Dit alles wordt zeer goed in beeld gebracht in de tekeningen en de begeleidende tekstballonnen.
Dit boek bevat enorm veel info over de kampen en bevat details die je misschien in andere boeken niet tegenkomt.
Het einde van deze Graphic Novel is direct ook de start van het tweede boek.
Conclusie
Een graphic novel die je als lezer voorziet van enorm veel info vanuit de nagedachtenis van iemand die het echt mee gemaakt heeft. Die de ontberingen aantoont die de soldaten in de kampen moesten ondergaan.
September 11, 2022
Every book about war that I have read that was written by someone who was actually there fighting as been striking. Cruel, absurd, maddeningly sad, chaotic, brutal... So many adjectives, ultimately meaningless. But stories aren't. Anyone out there somehow thinking that war is a glorious and patriotic affair would be well advised to read this. For my part, I feel blessed that I never even come close to experience it. I was familiar with Tardi's work having read It Was the War of the Trenches which is probably in my top 3 of favorite comic of all time.
Jacques Tardi wrote a book about his dad's experiences in WW2, using journals and interviews. His dad was a armored soldier, a tanker, who fought briefly and was captured. He spent a long time as a prisoner of war in German's camp. We will follow him from the beginning of the war to his return in France. This first part covers the beginning of the war, the (brief) fighting that Rene did, his capture and his time in the camp.
This is Rene Tardi's story, although Jacques inserts himself across the pages in an unexpected way, as a character who follows his dad around and engages in dialogues either about what is happening to him, or about historical events. This give the book an "history lesson" dimension. At first, this method annoyed me a bit and I though it took away from the story, a distraction of sort. However, I came to enjoy it and I by the end of the book I really appreciated what Tardi was able to do here. We can see his doubts, hesitations, biases unfold...
Worthwhile for anybody who wants to learn about another facet of this terrible ordeal that was WW2.
Jacques Tardi wrote a book about his dad's experiences in WW2, using journals and interviews. His dad was a armored soldier, a tanker, who fought briefly and was captured. He spent a long time as a prisoner of war in German's camp. We will follow him from the beginning of the war to his return in France. This first part covers the beginning of the war, the (brief) fighting that Rene did, his capture and his time in the camp.
This is Rene Tardi's story, although Jacques inserts himself across the pages in an unexpected way, as a character who follows his dad around and engages in dialogues either about what is happening to him, or about historical events. This give the book an "history lesson" dimension. At first, this method annoyed me a bit and I though it took away from the story, a distraction of sort. However, I came to enjoy it and I by the end of the book I really appreciated what Tardi was able to do here. We can see his doubts, hesitations, biases unfold...
Worthwhile for anybody who wants to learn about another facet of this terrible ordeal that was WW2.
October 26, 2017
Il padre di Tardi si racconta al figlio, testimoniando le privazioni della sua prigionia in mano ai tedeschi, lungo tutto il secondo conflitto mondiale. E' un racconto che restituisce uno spaccato crudo e inedito, una sorta di limbo che non va verso le atrocità dei campi di sterminio o della prima linea di guerra, ma rimane nella memoria per una carattterizzazione cupa e disperata, esaltata dalla colorazione in tinte grige e uniformi. Un racconto in cui Renè parla direttamente al figlio, inserito, ma al contempo svincolato, nello scenario desolante in Pomerania, dove il sottufficiale francese e carrista viene relegato dalla scellerata gestione francese di inizio conflitto. Un romanzo che trova in questo primo poderoso volume coconino una prima parte (anche se la conclusione termina la storia della reclusione, quindi la storia si potrebbe dire in qualche modo definiita). Un volume da leggere.
January 13, 2021
I'm reluctant to give five stars- but here is why it deserves it.
1. This is Tardi's art at its best, using the grey tone and three panels per page format of War of the Trenches. It is very immersive and his period detail is flawless.
2. As a war memoir it is genuinely engrossing-there are many such war stories of course, but this stands well among them. It's true that Rene Tardi does not face the extreme hardship of the Gulag or concentration camps, but this story is less often told and we can certainly empathise with his hunger and frustration and the sheer boredom.
3. The sarcastic and critical commentary by the young Jacques Tardi, challenging his father and questioning the story works, extremely well...as in Maus we also see this through the lens of a family relationship in which the father's memory can be questioned, and his own personality is far from heroic- self-interested, angry, intolerant and complaining.
Strongly recommended.
1. This is Tardi's art at its best, using the grey tone and three panels per page format of War of the Trenches. It is very immersive and his period detail is flawless.
2. As a war memoir it is genuinely engrossing-there are many such war stories of course, but this stands well among them. It's true that Rene Tardi does not face the extreme hardship of the Gulag or concentration camps, but this story is less often told and we can certainly empathise with his hunger and frustration and the sheer boredom.
3. The sarcastic and critical commentary by the young Jacques Tardi, challenging his father and questioning the story works, extremely well...as in Maus we also see this through the lens of a family relationship in which the father's memory can be questioned, and his own personality is far from heroic- self-interested, angry, intolerant and complaining.
Strongly recommended.
May 9, 2017
El padre de Tardi, a petición de éste, rellenó, al final de su vida, unos cuantos cuadernos con su historia y sus recuerdos de la guerra y sus cinco años en un campo de prisioneros en Pomerania, al norte de Prusia. El propio Tardi se introduce como personaje en el cómic y aparece en las viñetas interpelando a su padre, haciéndole preguntas y lamentándose por no haberle preguntado en vida determinados detalles que han quedado sin aclarar. Más que contar la historia de su padre lo que hace es ilustrar la historia de esos cuadernos. Leyéndolo tenía, a veces, la sensación de estar viendo La gran evasión por la cotideaneidad que el padre de Tardi da a los detalles: el hambre que pasaban, el frío, la manera de dormir, de cagar (me fascina como este tema tan escatológico tiene una importancia crucial en condiciones de supervivencia extrema), lo que fumaban, cómo se entretenían, en qué pensaban. Es cómo si centrarse en los pequeños detalles les alejara de la consciencia de lo terrible de su situación o, quizás, es que esos pequeños detalles a los que no damos importancia en el día a día se revelan como lo verdaderamente importante de la vida cuando estamos privados de todo lo demás: qué comer, cuando y como cagar, cómo abrigarnos, conseguir dormir. Es un comic interesante pero sólo si te gusta la II Guerra Mundial.
July 10, 2025
Una storia sempre contemporanea vista dalla prospettiva poco indagata dei prigionieri di guerra nei campi di lavoro, sarebbe stato ancora meglio una serie che indagasse il vissuto di prigionieri dello Stalag IIB di varie nazionalità…
Il fumetto è ricco di testo più che di disegni e questo glielo si perdona considerando il tema.
Ho scoperto questo titolo quando mesi fa scoprii che mio nonno fu anch’esso tenuto prigioniero allo stalag IIB, se qualcuno conoscesse altri titoli che parlino di questo sarei grata sé me li consigliaste.
Il fumetto è ricco di testo più che di disegni e questo glielo si perdona considerando il tema.
Ho scoperto questo titolo quando mesi fa scoprii che mio nonno fu anch’esso tenuto prigioniero allo stalag IIB, se qualcuno conoscesse altri titoli che parlino di questo sarei grata sé me li consigliaste.
August 14, 2022
Papirutgave. Biblioteket. Norsk, bokmål - men jeg tror jeg har denne på fransk på fjellet. Tardi med selvbiografisk/farsbiografisk/relasjondbiografisk grafisk doku/roman om faren sin krigshistorie, og eget forhold til faren. Veldig bra, lærte mye nytt og oppdaget at Tardi er fra en korsikansk familie.
November 9, 2022
Excellent livre qui s'inscrit dans l'exercice de mémoire des prisonniers de guerre dans les camps nazis de la seconde guerre mondiale. Les dessins, la qualité d'écriture et la précision des descriptions rendent ce livre d'autant plus génial !
February 24, 2017
L’auteur raconte de manière autobiographique la vie de son père lors de la deuxième Guerre Mondial. Il y a un message clairement antimilitaire et antipatriotique dans le livre.
November 13, 2017
cizim ve hikaye cok guzel. baski kalitesi de cok iyi. ama ceviri ve kaligrafi icin aynisi soylenemez. yine de ikinci kitabi merakla bekletiyor.
January 21, 2019
Anlattığı hikâye güzel ama çizgi o kadar durağan ki, çizgi roman olmasa da olurmuş.
January 29, 2019
Buen cómic, aunque a veces cargado de demasiada información de la vivencia. Se puede apreciar la diferencia entre los campos de exterminio, de trabajo y los Stalags.
April 10, 2019
Met dit boek krijg je een beeld over het leven van een krijgsgevangene in Duitsland tijdens de Tweede Wereldoorlog.
March 23, 2021
I still appreciate this book for what it is. A heartfelt story with a unique delivery style. Beautiful pages, lovely hardcover etc. But I just couldn't get into it. Not for me.
May 12, 2021
Jacques Tardi depicts himself as a boy trying to understand his father's harrowing experiences as a prisoner-of-war of the Germans during World War II.
March 21, 2022
This was a good insight of the war from a Frenchman's perspective.
July 3, 2022
Tardi is a master of the war graphical novel tells the story of his father's experience fighting in WW2 and his extended time in a POW camp. Looking forward to volume 2.
September 30, 2024
Um ponto de vista diferente e bastante cínico da segunda guerra. Uma descoberta interessante.
November 30, 2024
Intéressant d'en savoir plus sur la vie des prisonniers de guerre. On va dans les détails et on en apprend sur la discipline, la contre-bande et le travail forcé.
December 12, 2019
Incroyable.
November 18, 2017
Dette er det første jeg leser av Jacques Tardi, og tydeligvis et verk som har betydd mye for ham. Hele boka er en slags visuell framstillin av hans fars krigshistorie. På hans oppfordring skrev faren ned det han husket, og mange år senere gjorde Tardi tegneserie av det. Men her er det ikke gjenskapte scener, eller forsøk av Tardi på å fremstille spesifikke situasjoner. Heller foregår det hele med at farens ord gjengis mer eller mindre direkte, noe tilpasset slik at det foregår som en mer direkte kommunikasjon med ham selv og faren. Tegningene bygger på fotografi og annet visuelt materiale, og er tydelig et produkt av heftig research. Resultatet er en veldig fordøyelig og godt fremstilt versjon av en krigshistorie, som holder blikket høyt og gir en god framstilling av livet i Stalag II B-leiren, samtidig som farens personlige vurderinger av de han møtte og det som skjedde kommer med. Det at Jacques inkluderer seg selv, som en ung nysgjerrig gutt, gjør at verket også får et metaperspektiv. Dette fungerer svært bra.
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