Happy to share with you a conversation between Gabriel Bá, Fábio Moon, and I about their extraordinary graphic and literary work published in the new issue of Latin American Literature Today.
The text can be read both in English and Spanish here.
In Brazil, there are few but very interesting cases of authors who decided to create interdisciplinary works against all odds. The continued effort to create a simultaneously verbal and visual object that is as complex as traditional novels and the effort to intersemiotically translate a verbal object into an image are now starting to pay off.
Rafael Coutinho and Daniel Galera (Cachalote, 2010), Odyr and Angélica Freitas (Guadalupe, 2012), Lourenço Mutarelli (Diomedes, 2012), Shiko (Azul Diferente do Céu, 2013), Diego Sanchez (Perpetuum Mobile, 2013 and Hermínia, 2015), Magno Costa (A Vida de Jonas, 2014), Marcello Quintanilha (Tungstênio, 2014 and Talco de Vidro, 2015), Psonha (Pogando, 2015), Ana Luiza Kohler (Beco do Rosário, 2015), Felipe Portugal (Espiga, 2015), Carol Rossetti (Mulheres, 2015), Germana Viana (Lizzie Bordello e as Piratas do Espaço, 2015), Juscelino Neco (Matadouro de Unicórnios, 2016), and Marcelo D’ Salete (Angola Janga, 2017) are some of the names that have stood out among graphic novelists.
Among them, the work of Gabriel Bá and Fábio Moon distinguishes itself for its creativity and literary innovation. It also reminds us that the analysis of graphic novels should utilize the interpretative tools and skills used in the analysis of traditional novels or artistic objects. At the same time, their work also shows us how much those same interpretative tools need to be amplified.
In addition to adapting two literary and canonical works--O Alienista by Machado de Assis and Dois Irmãos by Milton Hatoum, in 2007 and 2015, respectively—in 2011, Bá and Moon released the complete version of Daytripper.