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These are of course universal concerns, but they ping-pong aggressively in such an unsettled country, one that doesn’t even have clear borders. Rather, it’s in their recurring themes: missing fathers, the search for a sense of self, inherited trauma. It would be a distraction to locate the Israeliness of Modan’s books in their settings - in the suicide bombings and cursing taxi drivers. Their search takes them to various corners of the country as they collect clues, and the plot and their relationship deepen. She finds his estranged son, Koby, a surly taxi driver, and the two commence an investigation of sorts - an uncomfortable one, as he hates his neglectful father and she is grieving her loss. One of the victims has remained unidentified, and a tall young woman named Numi (nicknamed “the Giraffe”) is convinced that it is her older, secret lover who died. “Exit Wounds” unfolds after a suicide bombing in a bus station. Modan’s books often read like mystery novels, filled with strange characters and missing people and a protagonist - always an awkward but determined woman - on some kind of quest. Like all her comics, it is brightly colored and perfectly paced. Her first full-length work, EXIT WOUNDS (Drawn & Quarterly, paper, $19.95), remains her most affecting. The greatest of Israel’s writers have found ways out of this trap, and revealed their greatness in the process. This, of course, can be a killer to creativity and a road to propaganda. “I love Israel and I also hate Israel,” she said in a 2013 interview.Īll Israeli artists confront a burden of expectation that their work must not only address politics, but also contain some kind of answer key to the country’s existential dilemmas. Born in 1966, she is part of a post-Six Day War generation that, at least among her cohort of Tel Aviv urbanites, has drifted far from the unquestioning Zionist fervor of her parents and grandparents. She had previously resisted depicting the particularity of Israeli reality. Her three graphic novels, including her most recent, TUNNELS (Drawn & Quarterly, $29.95), out this month, have all been published in English and have established her as her country’s most renowned comics artist. At one point she helmed a Hebrew version of Mad magazine. Modan began making comics in the early 1990s, almost single-handedly bringing the form to Israel, where, she says, even Tintin and Superman were strangers.
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We tighten on her face as she sips her coffee, eyes closed, and they return to talking about their wedding plans. “My beautiful one,” her fiancé tells her. The man opens his eyes and says one word, “Jamilti.” By the next page the woman is sitting at home with her shirtless fiancé when she learns from the television that the dying man was actually the suicide bomber.
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She performs mouth-to-mouth resuscitation, though in Modan’s close-up it appears more like a passionate kiss. She takes off her hair tie and makes a tourniquet, then gently cradles his head. A man is lying in a pool of his own blood, both his legs blown off. She runs toward the blast, where she encounters a horrific sight. And just as she slams the car door, a nearby cafe explodes in a burst of fire and glass. Soon they’re in a taxi, and the fiancé is commiserating with the driver, who - and this is not atypical for Israel - is assuming the role of the country’s prime minister: “We should just bomb them all to hell.” The woman, disgusted, demands to be let out. “Jamilti,” first published in 2003, begins with a woman and her boorish fiancé fighting over his refusal to participate in wedding preparations. 1917? 1948? 1967? But the Israeli graphic novelist Rutu Modan managed to grasp what often gets left out entirely - the emotional truth - and did so in a simple 11-page comic.
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Just the question of where to begin can stop things before they start. The story of the Israeli-Palestinian conflict is rarely told with much economy.