Gone to Amerikay is a masterfully told tear-jerker of a graphic novel that tells the stories of multiple generations of Irish immigrants to New York, skilfully braided together. There's a storyline from 1870, the tale of Ciara O'Dwyer and her baby daughter who arrive in the Five Points slum ahead of Ciara's husband, who is meant to catch the next boat, but does not arrive. There's a storyline from 1960, in which a merchant seaman named Johnny McCormack jumps ship to become an actor, but instead ends up in folk-music-saturated Greenwich Village, discovering turbulent truths about his calling and his sexuality. Finally, there's a 2010 timeline in which a stratospherically wealthy Celtic Tiger CEO named Lewis Healy touches down in New York in his private jet so that his lover can give him a gift for the man who has everything: the secret history of a song that changed his life when he heard it as a child.
Writer Derek McColloch and illustrators Colleen Doran and Jose Villarrubia make this three-way narrative sing (literally, at times) by exploiting the unique visual storytelling capabilities of comics in ways rarely seen. Their masterful treatment boosts an already fine -- if sleight and sentimental -- tale into a higher orbit, giving it a velocity and a mass that makes the book both unstoppable and heart-tugging.
This is a sensitive treatment of race and class, sexuality and art, betrayal and gender, and above all, the immigrant experience in America. Like a great folk song, it is at once simple and complex, a paradoxical confection that could only have been rendered in graphic form.
Gone to Amerikay
I first read George RR Martin’s 1982 vampire novel Fevre Dream as a young teenager, around the time I was also discovering Anne Rice and a host of other “contemporary” vampire novels who were reinventing the genre; now, decades later, I’ve been transported anew to the slavery-haunted riverboat where Joshua York and Abner Marsh tried to tame the ancient vampire before it was too late.
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