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The New York Tetralogy #2
EL EDIFICIO
Le jour où le vieil immeuble fut remplacé par un énorme building, 4 fantômes apparurent...
80 pages, Paperback
First published January 1, 1987
1 person is currently reading
228 people want to read
About the author
Will Eisner
761 books534 followersWilliam Erwin Eisner was an American cartoonist, writer, and entrepreneur. He was one of the earliest cartoonists to work in the American comic book industry, and his series The Spirit (1940–1952) was noted for its experiments in content and form. In 1978, he popularized the term "graphic novel" with the publication of his book A Contract with God. He was an early contributor to formal comics studies with his book Comics and Sequential Art (1985). The Eisner Award was named in his honor and is given to recognize achievements each year in the comics medium; he was one of the three inaugural inductees to the Will Eisner Comic Book Hall of Fame.
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Displaying 1 - 30 of 53 reviews
January 30, 2024
This is a very good tale of the life stories of four ghosts connected to an old building in a large city that is torn down to make way for one more modern. Their stories intersect at the end, of course, and there's a hopeful note at the conclusion of some pretty somber happenings. Eisner probably did more to develop the style of modern sequential art than any other individual, and this graphic novel from late in his career is an elegant and thoughtful work.
December 14, 2015
4 o 5 stelle? 4 o 5? E vada per 5, non sono molti quelli in grado di trasformare dei banali stereotipi (la bella, l'omino invisibile, il cattivo imprenditore...) in una storia che si è chiusa con la necessaria lacrimuccia
August 6, 2007
When it comes to graphic novels, most people need some kind of "gateway" book. In other words, some graphic novels are going to be better first graphic novels than others. I talked with a lady recently who's first graphic novel experience was 'Ghost In The Shell.' Yikes. If you're going to try and get someone interested in the genre, try handing them a copy of "The Building" by Will Eisner. Eisner has a real easygoing graphic style - he doesn't always use boxes or speech bubbles, and some of the pages are just sketches drifting into other sketches. However, Eisner's understanding of graphic elements, and his arrangement of pictures and words on the page is nearly flawless. You read the book and you don't even think about it. It just flows over you like water. The Building is one of his greatest works, as far as I'm concerned. It tells a simple story of the history of a building and the various people who live in and around it. The story comes to a beautiful and touching conclusion, as each character gives a little bit of themselves back to the building that gave them so much.
May 10, 2014
I personally found it kinda one dimensional & corny. Corny is a word you'll see a lot in my lower-rated reviews. I know this is older & all, but it just didn't really interest me.
February 20, 2015
This was alright, but every few minutes of reading this I was wondering when it was going to end.
January 10, 2023
A short graphic novel with four tales. They are each romantic and predictable (Gilda's is the best though) but the real draw is the art. Eisner was a master of showing movement.
September 25, 2024
I know the name of Will Eisner well, because he lent it to an award, the Will Eisner Comic Industry Awards, or simply the Eisners. There are many of these, for a whole slew of categories, and they're often seen as the comic book world's equivalent to the Oscars, the most prestigious of them all, a replacement for the Kirby Awards that were discontinued in 1987. Many of the graphic novels that I've reviewed at the Nameless Zine have won Eisners.
Yet I've never read anything by the man himself, even though Eisner's 1978 book, 'A Contract with God and Other Tenement Stories', popularised the very term "graphic novel", even though it does predate his work, having been first used in 1964, and the format dating back to at least 1828. While he built his reputation working in more traditional cartoons and comic books, dating to before the Second World War, he started turning out more serious book length work in the seventies and this is the first example to fall into my lap, so I was eager to dive in.
It's simple to see from the outset why "graphic novel" was so quickly applied to this era of his work, as it doesn't quite feel like a comic book. Eisner himself used the term "sequential art" and that's another perfect term to apply. This is a book made up of artwork that's presented in sequence. For quite a while, that artwork shows up as one image per page, even in a large format paperback, as Eisner's introducing us not to people but to the building of the title, which is proud and upright on the first page but gone, an empty hole in a city, on the second. On the third, it's been replaced by something very different, its old fashioned stones replaced by an edifice of glass. At this point, it's the only character that matters.
On the fourth page, he introduces us to four characters, appearing as ghosts, who had connections to the building in its past and are now haunting it in a fashion, not as stagy ghosts but as memory. Eisner's conceit here is that old buildings have souls, grown in them by everything that happens in and to them over a long period of time. This particular building occupied its place for over eighty years and it saw a lot in that time. Eisner quickly focuses us in on some of that, through how these four ghosts interacted with it.
Apparently he used to be a cartoonist before he was a comic book writer and that's clear from the simplicity of his work. He's quite obviously a master of telling a whole story in only a single image, not by cramming it full of detail but by distilling it down to its essence. The first such page has one of the ghosts, Monroe Mensch, about to walk into the building when a drive-by shooting happens, presumably placing us in the gangster-ridden twenties, and the bottom third of it is nothing but a ricocheted bullet whizzing past Mensch and into the body of a child.
It's a harrowing image but it's impeccably simple and utterly masterful, because it's not just about a sad accident, it's about how he didn't do anything to stop it, to shield the child, and that changes his life. I'm not going to talk about where that life takes him over a long period of time, but Eisner distils it down to its primary moments just as he does any one of its individual images. It carries a serious emotional punch, all the more powerful for being told in so few pages, and it sets us up for the other stories to come.
There's Gilda Greene, who marries a dentist but carries on an affair with a poet for her entire life, meeting in front of the building every Wednesday. She gets more pages but her story isn't quite as brutal, pervaded more with a sense of sad inevitability. Antonio Tonatti is a musician who's better than most of us would ever be but not quite enough to turn professional. After a work accident, he starts playing for fun outside the building and changes a lot of lives around him in the process, not least the characters we've already met. P. J. Hammond is a realtor who becomes obsessed with the building, the one in the block that he doesn't own but the one he played around as a kid.
They're all good stories and they put us through quite the ringer, but there's still one story to come and it trumps the rest for impact, not least because all four of our characters play their part, even though they were all dead before it happened. It's fair to say that there's a level of inevitability to each of them, albeit maybe not quite as much as in Gilda's story, so you're not going to find much in the way of surprise here. Some might even call the crucial moments corny. However, it would seem to take a hard heart indeed to not be moved by them and I mean seriously moved. That's down to Eisner's ability as a storyteller and especially his ability as an artist.
This entire book plays out very simply .There aren't many panels. There's sometimes a lot more in the way of narration than dialogue from characters, because we're watching from a distance, with the building always fully in mind and that dwarfs any of the individual people in and around it. It's all told in black and white, though it comes across as a sort of sepia tone, maybe because of how it looks inherently backwards. After all, the building the entire book is about is demolished on page two. However, there's a lot of humanity in these pages, the best of it and the worst of it and some of what sits in between, and it's impeccably touching. I clearly need to read more by Will Eisner.
Originally posted at the Nameless Zine in August 2023:
https://www.thenamelesszine.org/Illus...
Index of all my Nameless Zine reviews:
https://books.apocalypselaterempire.com/
Yet I've never read anything by the man himself, even though Eisner's 1978 book, 'A Contract with God and Other Tenement Stories', popularised the very term "graphic novel", even though it does predate his work, having been first used in 1964, and the format dating back to at least 1828. While he built his reputation working in more traditional cartoons and comic books, dating to before the Second World War, he started turning out more serious book length work in the seventies and this is the first example to fall into my lap, so I was eager to dive in.
It's simple to see from the outset why "graphic novel" was so quickly applied to this era of his work, as it doesn't quite feel like a comic book. Eisner himself used the term "sequential art" and that's another perfect term to apply. This is a book made up of artwork that's presented in sequence. For quite a while, that artwork shows up as one image per page, even in a large format paperback, as Eisner's introducing us not to people but to the building of the title, which is proud and upright on the first page but gone, an empty hole in a city, on the second. On the third, it's been replaced by something very different, its old fashioned stones replaced by an edifice of glass. At this point, it's the only character that matters.
On the fourth page, he introduces us to four characters, appearing as ghosts, who had connections to the building in its past and are now haunting it in a fashion, not as stagy ghosts but as memory. Eisner's conceit here is that old buildings have souls, grown in them by everything that happens in and to them over a long period of time. This particular building occupied its place for over eighty years and it saw a lot in that time. Eisner quickly focuses us in on some of that, through how these four ghosts interacted with it.
Apparently he used to be a cartoonist before he was a comic book writer and that's clear from the simplicity of his work. He's quite obviously a master of telling a whole story in only a single image, not by cramming it full of detail but by distilling it down to its essence. The first such page has one of the ghosts, Monroe Mensch, about to walk into the building when a drive-by shooting happens, presumably placing us in the gangster-ridden twenties, and the bottom third of it is nothing but a ricocheted bullet whizzing past Mensch and into the body of a child.
It's a harrowing image but it's impeccably simple and utterly masterful, because it's not just about a sad accident, it's about how he didn't do anything to stop it, to shield the child, and that changes his life. I'm not going to talk about where that life takes him over a long period of time, but Eisner distils it down to its primary moments just as he does any one of its individual images. It carries a serious emotional punch, all the more powerful for being told in so few pages, and it sets us up for the other stories to come.
There's Gilda Greene, who marries a dentist but carries on an affair with a poet for her entire life, meeting in front of the building every Wednesday. She gets more pages but her story isn't quite as brutal, pervaded more with a sense of sad inevitability. Antonio Tonatti is a musician who's better than most of us would ever be but not quite enough to turn professional. After a work accident, he starts playing for fun outside the building and changes a lot of lives around him in the process, not least the characters we've already met. P. J. Hammond is a realtor who becomes obsessed with the building, the one in the block that he doesn't own but the one he played around as a kid.
They're all good stories and they put us through quite the ringer, but there's still one story to come and it trumps the rest for impact, not least because all four of our characters play their part, even though they were all dead before it happened. It's fair to say that there's a level of inevitability to each of them, albeit maybe not quite as much as in Gilda's story, so you're not going to find much in the way of surprise here. Some might even call the crucial moments corny. However, it would seem to take a hard heart indeed to not be moved by them and I mean seriously moved. That's down to Eisner's ability as a storyteller and especially his ability as an artist.
This entire book plays out very simply .There aren't many panels. There's sometimes a lot more in the way of narration than dialogue from characters, because we're watching from a distance, with the building always fully in mind and that dwarfs any of the individual people in and around it. It's all told in black and white, though it comes across as a sort of sepia tone, maybe because of how it looks inherently backwards. After all, the building the entire book is about is demolished on page two. However, there's a lot of humanity in these pages, the best of it and the worst of it and some of what sits in between, and it's impeccably touching. I clearly need to read more by Will Eisner.
Originally posted at the Nameless Zine in August 2023:
https://www.thenamelesszine.org/Illus...
Index of all my Nameless Zine reviews:
https://books.apocalypselaterempire.com/
July 12, 2012
One of my major seventies collections was of Eisner' 'The Spirit'. Had a great many of the comics. Loved them.
This is a much later work but still has Eisner's wonderful pen line and tangible materialism down on paper.
The stories are quaint and while they have charm the work is a one idea notion to excuse a few storytelling profiles.
But as a graphic work: wow! effortless stuff. Will Eisner is a god.
This is a much later work but still has Eisner's wonderful pen line and tangible materialism down on paper.
The stories are quaint and while they have charm the work is a one idea notion to excuse a few storytelling profiles.
But as a graphic work: wow! effortless stuff. Will Eisner is a god.
September 20, 2014
J'ai lu ça en anglais il y a longtemps - à peu près vingt ans. Quand je l'ai relu je ne rappelais pas l'histoire lui-même mais j'ai encore été touchée par son regard vers les gens. Eisner voyait l'âme de chaque personne. Il y'a 20 ans j'ai compris l'importance de son œuvre dans l'histoire américaine du 'graphics novels' mais maintenant je le comprends beaucoup mieux parce que je vis près de Paris.
August 28, 2021
A referência a antigas edificações, as histórias que lá se passaram, as pessoas que viveram e morreram, é a força dessa obra de Will Eisner. O apelo emotivo funciona, o traço do artista é destaque, mas as histórias são um tanto convencionais. Talvez eu tenha ido com muita expectativa para essa leitura tardia.
December 20, 2017
This is a ghost story. In New York City, a brand new building has risen where another one stood for eighty years. But not all remnants of the old building’s history are gone. Today, four people from the past appear, their tales entwined with this site.
Will Eisner (1917-2005) was one of the first creators to produce original material for comic books, which had started out as reprint magazines for newspaper comic strips. His best known creation was The Spirit, who ran from 1940 to 1952. The strip was known for its innovative layouts and strong writing (even if done by “ghosts” during most of World War Two.)
He kept busy with various projects, including training manuals for the military, and a monthly preventive maintenance magazine with comic book elements. In the late 1970s, he returned to fiction with A Contract with God, and Other Tenement Stories, which popularized the term “graphic novel” for long-form comics storytelling in a single volume. Mr. Eisner’s work in this line continued, and was so influential that a major comic book award was named after him.
In this story, we learn about the four ghosts. Monroe Mensh was a shoe salesman who minded his own business until the day a child was gunned down in front of him. Anguished by the thought that he could have done something to prevent this tragedy, Monroe dedicated his life to charity, trying to save children without a great deal of success.
Gilda Green, a pretty dental assistant, loved penniless poet Benny, but married her successful employer for economic stability. She couldn’t commit fully to either relationship, which resulted in heartbreak for everyone.
Antonio Tonatti loved to play the violin, but he wasn’t quite good enough to make a living at it. So he got a decent-paying construction job and only played for special occasions. That is, until an accident left him disabled. His pension being good enough to keep him housed and fed, Antonio returned to his first love, and became a street musician near the building.
P.J. Hammond was the son of a real estate magnate, who followed his father into the business. At first, he had some idealistic notions about the social responsibilities of landlords, but exposure to what it really took to get ahead in the business hardened his heart. As part of a huge development deal he put together, P.J. was adamant on repurchasing the first building his father had owned.
But the new owners refused to sell, and P.J. became obsessed. He finally resorted to the most underhanded methods that were still marginally legal that he could think of–but it was a Pyrrhic victory that eventually bankrupted him. P.J. was finally forced to sell out this last remaining building, which was razed, and the Hammond Building put in its place.
Today, these four ghosts appear, and each in their way intervenes in events. The new building is now free to collect its own stories, and its own ghosts.
This is great stuff, pictures and words working together to tell a story that would not work without either. The long-story format allows for many single-panel pages focused on the tall buildings that are the setting, but also multiple-panel pages showing changes over time.
We get to know the characters, their flaws and failings as well as their good intentions. There is much sadness here, but also hope.
Highly recommended as an example of what the comics medium can be used for, and an excellent story.
Will Eisner (1917-2005) was one of the first creators to produce original material for comic books, which had started out as reprint magazines for newspaper comic strips. His best known creation was The Spirit, who ran from 1940 to 1952. The strip was known for its innovative layouts and strong writing (even if done by “ghosts” during most of World War Two.)
He kept busy with various projects, including training manuals for the military, and a monthly preventive maintenance magazine with comic book elements. In the late 1970s, he returned to fiction with A Contract with God, and Other Tenement Stories, which popularized the term “graphic novel” for long-form comics storytelling in a single volume. Mr. Eisner’s work in this line continued, and was so influential that a major comic book award was named after him.
In this story, we learn about the four ghosts. Monroe Mensh was a shoe salesman who minded his own business until the day a child was gunned down in front of him. Anguished by the thought that he could have done something to prevent this tragedy, Monroe dedicated his life to charity, trying to save children without a great deal of success.
Gilda Green, a pretty dental assistant, loved penniless poet Benny, but married her successful employer for economic stability. She couldn’t commit fully to either relationship, which resulted in heartbreak for everyone.
Antonio Tonatti loved to play the violin, but he wasn’t quite good enough to make a living at it. So he got a decent-paying construction job and only played for special occasions. That is, until an accident left him disabled. His pension being good enough to keep him housed and fed, Antonio returned to his first love, and became a street musician near the building.
P.J. Hammond was the son of a real estate magnate, who followed his father into the business. At first, he had some idealistic notions about the social responsibilities of landlords, but exposure to what it really took to get ahead in the business hardened his heart. As part of a huge development deal he put together, P.J. was adamant on repurchasing the first building his father had owned.
But the new owners refused to sell, and P.J. became obsessed. He finally resorted to the most underhanded methods that were still marginally legal that he could think of–but it was a Pyrrhic victory that eventually bankrupted him. P.J. was finally forced to sell out this last remaining building, which was razed, and the Hammond Building put in its place.
Today, these four ghosts appear, and each in their way intervenes in events. The new building is now free to collect its own stories, and its own ghosts.
This is great stuff, pictures and words working together to tell a story that would not work without either. The long-story format allows for many single-panel pages focused on the tall buildings that are the setting, but also multiple-panel pages showing changes over time.
We get to know the characters, their flaws and failings as well as their good intentions. There is much sadness here, but also hope.
Highly recommended as an example of what the comics medium can be used for, and an excellent story.
February 19, 2018
The short of it: I loved it. I believe this to be one of Eisner's strongest stories. Definitely recommend it.
The long of it: Holy hell, what a trip. The Building focuses on four different ghosts of people who had frequented the building in question before it was torn down to accommodate a bigger structure. We hear of a woman who soled her soul to a loveless relationship only to stay connected with her humanity in an unconventional way through a very unconventional man, the story of a young boy who so desperately wanted to play violin despite his unremarkable talents, and the tale of a man seeking atonement, an impossible endeavor in his case. I can't divulge much about the fourth ghost without giving away a good chunk of the novel. These people and their extremely intimate personal histories will leave you haunted, thinking about them and The Building long after you catch a glimpse of the back cover.
The long of it: Holy hell, what a trip. The Building focuses on four different ghosts of people who had frequented the building in question before it was torn down to accommodate a bigger structure. We hear of a woman who soled her soul to a loveless relationship only to stay connected with her humanity in an unconventional way through a very unconventional man, the story of a young boy who so desperately wanted to play violin despite his unremarkable talents, and the tale of a man seeking atonement, an impossible endeavor in his case. I can't divulge much about the fourth ghost without giving away a good chunk of the novel. These people and their extremely intimate personal histories will leave you haunted, thinking about them and The Building long after you catch a glimpse of the back cover.
December 14, 2023
Indicação Semanal = “O Edifício - Graphic Novel"
🖋 PUBLICAÇÃO DE = Will Eisner
📃 PÁGINAS = 82
Avaliação: 5.0 ⭐
A produção que aos olhos iniciais se assemelha singela ou alheia pelas pouquíssimas páginas que a compõem, mas que carrega ode, peso reflexivo real para análise individual sobre os indivíduos sob as suas especificidades, dimensões no que concerne as camadas da sociedade na qual vivem e, de alguma forma convivem, experienciando ocorrências similares ou diversificadas nos e pelos espaços que ocupam, ações que inúmeras vezes não são percebidas na exponencialidade que carregam, além de produções bibliográficas.
#literaturainternacional #literaturanacional #resenhaliterária #análiseliterária #biblioteca #livraria #história #leitura #livros #books #livroseleituras #indicaçãodeautores #bookstan #perfilliterário #booklovers #leitores #nerd #geek #orgulhonerd #culturanerd #geekpride #geekculture #OEdifício #WillEisner #GraphicNovel
🖋 PUBLICAÇÃO DE = Will Eisner
📃 PÁGINAS = 82
Avaliação: 5.0 ⭐
A produção que aos olhos iniciais se assemelha singela ou alheia pelas pouquíssimas páginas que a compõem, mas que carrega ode, peso reflexivo real para análise individual sobre os indivíduos sob as suas especificidades, dimensões no que concerne as camadas da sociedade na qual vivem e, de alguma forma convivem, experienciando ocorrências similares ou diversificadas nos e pelos espaços que ocupam, ações que inúmeras vezes não são percebidas na exponencialidade que carregam, além de produções bibliográficas.
#literaturainternacional #literaturanacional #resenhaliterária #análiseliterária #biblioteca #livraria #história #leitura #livros #books #livroseleituras #indicaçãodeautores #bookstan #perfilliterário #booklovers #leitores #nerd #geek #orgulhonerd #culturanerd #geekpride #geekculture #OEdifício #WillEisner #GraphicNovel
August 14, 2024
Fantasmi sulla Fifth Avenue
Breve ma compatto album dedicato ad un "Palazzo" newyorchese, che non può non ricordare il celeberrimo Flatiron Building - in una tavola indovinata capiamo immediatemente di esservi all'interno dalla unica disposizione di due finestre ad angolo.
Struttura narrativa semplice ma efficace con una conclusione dolente e malinconica, ma che lascia iun retrogusto soprattutto per la figura di Monroe Mensch (sicuramente il protagonista più riuscito e simbolico, anche nel nome). Eisner sa unire malinconia e profondità esistenziale ad un talento illustrativo e grafico unico (la pioggia a New York di Eisner è indimenticabile) - la libertà espressiva e creativa si vede anche da come sa fuggire dai limiti rettangolari delle vignette. E la capacità di colpire il lettore con delle tavole a tutta pagine di grandissima profondità è solo sua.
Breve ma compatto album dedicato ad un "Palazzo" newyorchese, che non può non ricordare il celeberrimo Flatiron Building - in una tavola indovinata capiamo immediatemente di esservi all'interno dalla unica disposizione di due finestre ad angolo.
Struttura narrativa semplice ma efficace con una conclusione dolente e malinconica, ma che lascia iun retrogusto soprattutto per la figura di Monroe Mensch (sicuramente il protagonista più riuscito e simbolico, anche nel nome). Eisner sa unire malinconia e profondità esistenziale ad un talento illustrativo e grafico unico (la pioggia a New York di Eisner è indimenticabile) - la libertà espressiva e creativa si vede anche da come sa fuggire dai limiti rettangolari delle vignette. E la capacità di colpire il lettore con delle tavole a tutta pagine di grandissima profondità è solo sua.
May 6, 2017
Just stumbled upon this while browsing Goodreads, and remembered reading it quite a while ago (in the late 80s, which was when it first showed up in the magazine stands around here). This is a powerful and very moving story, and masterfully told with drawings and words; I vividly remember almost all of it despite it being more than 30 years since reading.
If you like old buildings and often find yourself staring at them and wondering what stories they have witnessed, this is a must-read book.
If you like old buildings and often find yourself staring at them and wondering what stories they have witnessed, this is a must-read book.
December 9, 2024
The story is a beautiful ode to the spirit of a building and the people that call it home. I have long been enamoured by the effect buildings have on our identity and memory and this book explores the topic brilliantly. This tragedy is tinged with sadness but is ultimately a story of human connection with each other and structures.
November 4, 2018
Good story purportedly of the life of a building but more focussing on the lives of some people who are connected to the building. Told in trademark Will Eisner style. While not as thorough and spellbinding as Dropsie Avenue, a worthy siderunner to that book.
June 8, 2024
Eisner utiliza un edificio con excusa para entrelazar las historias de cuatro personajes. Pese a lo rápido que desarrolla la acción, en unas pocas viñetas consigue crear situaciones con fuerte carga emocional con apabullante facilidad.
July 23, 2018
4,5/5 ⭐️
December 24, 2018
These were good stories but I definitely wanted more. Although I felt the concept was already done better in A Contract With God. Either way, I have never really been disappointed by Eisner.
June 26, 2019
Uma das melhores HQs que li na vida. É de uma sensibilidade que poucas vezes vi a literatura alcançar. Li quando era adolescente e me marcou muito.
August 7, 2019
Rather depressing, but an interesting concept. Surely some happy stories could have been associated with the building, but this chose to focus on 4 very sad ones, with a slightly uplifting ending.
May 8, 2020
Not his best work, but still super gripping. Visually the storytelling is beautiful, and the climactic scene rocks. Eisner giving it his all as usual.
September 2, 2021
a bit more depressing than i would have though, but nice ending
February 17, 2023
I read Eisner for his drawing and his heart.
September 10, 2023
There is a reason people get awards named for them
December 11, 2023
Fandt denne på bibloteket gemt blandt andre “voksen” tegneserier. Egenligt meget fin lille fortælling om mennesker, der gør hvad de kan. Lige hvad min eftermiddag manglede.
January 17, 2024
J’ai pris le seul Will Eisner à la bibliothèque.
March 21, 2024
Très émouvant, et j'ai apprécié le fait qu'il y ait de vraies histoires au lieu de vignettes comme dans le premier volet de la trilogie.
Displaying 1 - 30 of 53 reviews