Ethel & Ernest
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Ogni capitolo è scandito da decenni (‘30-‘40; ‘40-‘50; ‘50-‘60; ‘60-‘70) per poi giungere al capitolo finale, che comprende solo il 1970-1971. Lo stile di Raymond Briggs non rientra nei miei preferiti, ma devo dire che più andavo avanti con la storia, più questi disegni tondi e pieni con questi colori pacati mi sembravano adatti, anzi, perfetti, per la storia autobiografica raccontata dall’autore.
Briggs is a very famous British children's author, which I didn't realize until after I finished reading this graphic novel. It didn't surprise me though, because the rich illustrations reminded me of books I'd read as a child. They were fabulous! A tribute to his parents, this is their love story. Poignant, funny, and utterly original, Ethel and u0026 Ernest is Raymond Briggs’s loving depiction of his parents’ lives from their chance first encounter in the 1920s until their deaths in the 1970s.Ethel and Ernest were solid members of the English working class, part of the generation that lived through the most tumultuous years of the twentieth century. They met during the Depression — she working as a maid, he as a milkman — and we follow them as they court and marry, make a home, raise their son, and cope with the dark days of World War II. Briggs’s portrayal of how his parents succeeded, or failed, in coming to terms with the events of their rapidly shifting world — the advent of radio, television, and telephones; the development of the atomic bomb; the moon landing; the social and political turmoil of the sixties — is irresistibly engaging, full of sympathy and affection, yet clear-eyed and unsentimental.Briggs’s illustrations are small masterpieces; coupled with the wonderfully candid dialogue, they evoke the exhilaration and sorrow, excitement and bewilderment, of experiencing such enormous changes. As much a social history as a personal account, Ethel and u0026 Ernest is a moving tribute to ordinary people living in an extraordinary time. Ethel and Ernest by Raymond Briggs – eBook Details Poignant, funny, and utterly original, Ethel & Ernest is Raymond Briggs's loving depiction of his parents' lives from their first chance encounter in the 1920s until their deaths in the 1970s.Ethel and Ernest are solid members of the working class, part of the generation (Brokaw's "Greatest Generation") that lived through the tumultuous era of the twentieth century. They meet during the Depression -- she working as a chambermaid, he as a milkman -- and we follow them as they encounter, and cope with, World War II, the advent of radio and t.v., telephones and cars, the atomic bomb, the moon landing. Briggs's portrayal of his parents as they succeed, or fail, in coming to terms with their rapidly shifting world is irresistably engaging -- full of sympathy and affection, yet clear-eyed and unsentimental.El ilustrador Raymond Briggs hace un homenaje gráfico a la relación de sus padres y cuenta la historia del matrimonio desde que se conocen hasta el fallecimiento de ambos. Y, mientras tanto, sucede el siglo XX. Ethel y Ernest es un retrato personal, sí, pero también lo es de una clase social: la de los ingleses de clase trabajadora que experimentaron las penurias de dos guerras mundiales y sus consecuencias. Entre tazas de té nos narran los avances de la sociedad y, con un humor muy británico, ironizan sobre la modernidad, las revoluciones sociales y los inventos que fueron llegando a los hogares para hacer las vidas más fáciles. En esta historia también se habla mucho sobre la paternidad: sobre volcar las ilusiones en los hijos y que después sus sueños sean distintos a lo que se proyectó para ellos, sobre crecer posicionándose en contra de todo lo que se mamó.
Briggs says: "[The couple are] somewhat like my parents but I like to think my parents weren't quite as dim as they are. But they have to be dim to follow Protect and Survive."Briggs attended the local Rutlish school and went on to study at Wimbledon School (now College) of Art, the Central School of Arts and Crafts (now Central Saint Martins) and, after a two-year break for national service, the Slade. His father, a milkman, had tried to dissuade his son from studying at art school, fearing that it would not equip him for stable employment.
Such prejudices, still not entirely eradicated today, were commonplace at art schools of the time. Although he bemoaned his tutors’ failure to recognise a “natural illustrator”, the formal training that he received imbued in Briggs a strong sense of structure and of the importance of good draughtsmanship. These equipped him well in book illustration, although he left the Slade with what he saw as a poor sense of colour and a dislike of paint. When he eventually arrived at the film version of The Snowman, he expressed pleasure at how it so faithfully and painstakingly replicated his coloured-pencil technique, despite the massively labour-intensive approach that this necessitated.But perhaps the most powerful motivation was a hatred of injustice by authority toward the powerless and naively respectful common man. The latter could be seen most directly in When the Wind Blows (1982), Briggs’s examination of an elderly couple’s attempts to follow government guidelines as nuclear war breaks out; and The Tin-Pot General and the Old Iron Woman (1984), a thinly disguised General Leopoldo Galtieri and Margaret Thatcher. stato un fumetto che ho amato fin dall’inizio. Sono stata catapultata in un’altra vita, un’altra epoca, e percepivo il cambiamento a ogni decennio. Ho provato molte emozioni diverse: mi sono divertita, mi sono affezionata a questa dolce e simpatica coppia, ho avuto paura con loro e per loro, e mi sono sentita terribilmente triste, quasi svuotata, quando tutto è finito. His long-time editor, Julia MacRae, felt overwhelmed with emotion when Briggs first showed her the work.