Tuesday, July 14, 2026

Exploring a Tragedy: Journey to Nowhere by Shiva Naipaul

 Journey to Nowhere: A New World Tragedy by Shiva Naipaul

Journey to Nowhere book cover

Author Shiva Naipaul

Many thanks to Doubleday Books and NetGalley for sharing an advanced copy of Shiva Naipaul’s complicated observations and investigation into the 1978 massacre in Guyana titled Journey to Nowhere: A New World Tragedy. I was not aware of this book, originally published in 1980, that examines the factors that Naipaul claims helped to facilitate the deaths of nearly 1000 followers of Jim Jones. While the book documents the tragedy from an outsider’s perspectives through travels to both Guyana and the Bay Area that served as a home to the People’s Temple, Naipaul’s analysis appears to be biased, engaging in major generalizations about the ways in which Jim Jones’ followers were led from the 1960s countercultural and Civil Rights fights of California to the jungles of Guyana, a post-colonial nation that had recently attained its independence. In the first part of the book, Naipaul, who grew up as an Indo-Trinidadian British subject in colonial Trinidad, travels to post-colonial Guyana to examine the site of the mass suicide. I thought that possibly his own experience as a British subject might influence his views on colonialism, but I almost felt as if Naipaul’s journey through the jungles of Guyana was like reading Conrad’s Heart of Darkness. As Naipaul prepares to visit the site, he encounters other journalists and bureaucrats who all look to take advantage of the tragedy, whether it is capitalizing on the increased interest in the island or looking to sensationalize the story. Although Naipaul highlights letters and testimony from some of the members of the People’s Temple, bringing a sense of humanity to this story, he also seems to dehumanize some of the Guyanese, never giving a voice or any kind of individuality to those who seem to observe from a distance. It would have been interesting to learn more about how these indigenous members of Guyana and some of the oppressed classes felt about the events that transpired there. Rather than interviewing these citizens, Naipaul recounts the political history of post-colonial Guyana and the two opposing factions that battled for power. This was not something I new much about, but basically Forbes Burnham sought to implement a kind of socialism in Guyana by nationalizing some of the industries like bauxite and sugar in the developing nation. While some of Burnham’s policies had the outer sheen of socialism, Naipaul (and Burnham’s opposition, Cheddi Jagan’s People’s Progressive Party) critique the rigged elections and accumulation of wealth that marked Burnham’s true motives in consolidating his power. Further observations of the kind of surveillance that Naipaul observes both in Georgetown and at the People’s Temple site indicate the kind of conspiratorial and paranoid leadership that Burnham engaged in. However, what I found problematic was that for Naipaul, this kind of socialism is seemingly what led Jones’ group to Guyana, promising a socialist paradise with large land plots that they could develop and farm, bringing some much-needed development to the jungle areas. Naipaul also notes that the People’s Temple also investigated moving to Russia and took trips to Brazil and Cuba as sites that were socialist. Nevertheless, it was the shared beliefs in socialism that led the People’s Temple to Guyana and that allowed them to have, more or less, carte blanche to develop the land and commit human rights violations among their followers. There was little oversight or observation as to what was actually happening at the site by the Guyanese government. While I can see how the Burnham government was permissive with Jones, it also seemed like this was more like what happened with Jones across the different places he lived and ministered. Whether it was his own magnetism or his manipulation, Jones seemed to be able to convince others and develop a sense of trust that allowed him to commit atrocities among his followers without any kind of accountability. Even in San Francisco, Jim Jones and the People’s Temple were lauded by politicians, officials, and other institutions, until they were eventually forced out not too long before the tragedy occurred. Naipaul seems to overextend the analysis and criticisms, failing to recognizing the unique situation of the kind of corruption that may have been endemic to Burnham’s leadership and administration. While Naipaul takes some time to recount the political history of post-colonial Guyana, he also seems to suggest that most Caribbean nations experienced similar levels of corruption in their post-colonial independence and search for a national identity, implying that socialism-communism was to blame for much of the ills, including the Jonestown tragedy, in the Caribbean. Nevertheless, readers can tell how much visiting the Jonestown site affected Naipaul; his descriptions of decay and death that remain at the site months after the tragedy are haunting. In fact, his descriptions of all of the surrounding areas are evocative and haunting, creating a sense of degradation and death all around. I was able to see how fitting, at least with this section, the title is. Regardless, Naipaul rarely explores the history of exploitation and terror that were visited on the original inhabitants of these islands and lands, and fails to connect those aspects of history to the events of Jonestown.

The second half of the book finds Naipaul in the United States, primarily in California, investigating the various groups and movements of the early and late 60s that were developing in a response to social issues in America. I found this part of the book to be more biased. I read another review that noted Naipaul’s condescension throughout this section, and I agree. The level of condescension towards groups like feminists, environmentalists, Civil Rights groups, students, and Vietnam protesters made this part of the book feel like Naipaul had some kind of personal animus towards anything progressive. There are some fascinating parts, like when he meets with Huey Newton of the Black Panthers, but Naipaul’s description of Newtown and his twitching legs and laconic speaking are not really journalistic and paint Newton as a kind of faded and false freedom fighter, a flawed remnant from the social unrest of the 60s who was now relegated to backroom hideouts on the margins of a run-down Oakland. In fact, he paints Oakland as a decrepit city with shacks all around, frequently referring to it as a ghetto. I wasn’t aware that Jones and Newton met in Cuba, and while Naipaul tries to get Newton to admit to some kind of alliance between the People’s Temple and the Black Panthers, Newton doesn’t acknowledge any connection beyond the admiration of attracting followers and critiquing the racism and inequality of American society. Nevertheless, Naipaul links the People’s Temple to all kinds of radical groups including The Weather Underground, the Symbionese Liberation Army, and even the Mason Family, suggesting that there was something about California that attracted radicals and violent demagogues. In one chapter, Naipaul visits some kind of convention or market where various community groups have set up shop. He critiques the feminists, homosexuals, those who are interested in organic food and improving the environment, and even a group practicing a kind of polyamory, lumping all of these together and bundling them with the People’s Temple. I found this chapter to be particularly troubling since Naipaul seemed to generalize all of these groups. While he does make some important points about the nature of consumerism and how some of the groups were looking to sell products with the hope of making people feel better, it seemed like he was blaming the people rather than examining other factors that might have influenced the kinds of social change and development occurring in American society. Other chapters in which Naipaul reviews Jim Jones’ journey from an Indiana preacher who cared deeply about injustice and inequality were more relevant and seemed to offer Jones some more grace and understanding about his foray into religion or at least his use of religion to achieve political ends. If anything, this book takes on political relevance today to possibly see how religion is co-opted to attract followers to secular and political ideologies, seeing how overpromising and creating a kind of messiah who has immense and supernatural powers creates a dangerous and potentially fatalistic situation. The introduction by Hua Hsu notes one of the more powerful quotes from the book about how through Jones, Naipaul sees how “the language of religion could be transformed into the language of politics.” If anything, I took away some similarities from the past and today, recognizing how charismatic and determined leaders who see the world in black and white can often lead their followers on a road to nowhere, but also seeking a kind of mutually assured destruction or revolutionary suicide before exiting the scene. However, I also wondered what Naipaul would think about the world today, and how he might view movements for diversity, equity and inclusion today. Although he was critical of the People’s Temple, he blamed social movements rather than looking at individual differences and possibly Jones willingness to prey on those who were vulnerable or needy. There certainly is a need for assurance and fellowship, and to have a sense of purpose and meaning in the world. While some people are able to attain these things, others struggle with them, especially as American society has become more individualistic and competitive. Yet, these ideas or factors are not a part of Naipaul’s analysis. Rather, he makes an easy (almost lazy) assumption that Berkeley and the free speech movement helped to radicalize Patty Hearst, and this same movement also led to the deaths of nearly 1000 followers in Guyana. For Naipaul, it’s more about the movements that people follow without questioning, just blindly accepting, not recognizing the underlying mechanisms that lead people to blindly accept. Rather, he just assumes these people are lazy, thoughtless, or weak, and just want to be accepted by the crowd.

Naipaul’s Journey to Nowhere is a unique, fascinating, and frustrating book. While the book explores one of the 20th centuries greatest tragedies, Naipaul makes many generalizations and assumptions about what movements influenced the People’s Temple and led to Jonestown. The second half of the book is particularly frustrating due to Naipaul’s willingness to lump seemingly disparate groups together because they were alternative or non-mainstream. Furthermore, his condescending descriptions of the group demonstrate more of his bias rather than his ability to connect them to the People’s Temple. I can see how Journey to Nowhere is an important book that provides some insights into this tragedy, punctuated by some elegant descriptions of the surrounding Guyana environment, yet it is also a frustrating condemnation of the wrong factors that impacted the tragedy of Jonestown.  






Friday, July 10, 2026

World Cup Fever: Promoting US Tourism in Troubling Times

 World Cup Fever: Promoting US Tourism in Troubling Times

Poster Promoting US Tourism from USCBP

The FIFA World Cup is currently taking place in stadiums across North America, and it's been really nice to see many visitors come to celebrate and cheer on their teams. While Team USA had a good showing, they eventually exited with a loss to Belgium. People are enjoying  watching the world's best athletes compete against each other, but others have critiqued the high prices for things like train tickets, hotels, and matches. Part of the high price comes as the Trump cartel scrapped its initial plan to promote tourism in the US with some intimidating images. In this one, a MAGA demon is shown with two CBP officers behind them. The poster reminds visitors that agents will only neutralize American agitators. However, visitors should also remember that they shouldn't overstay their welcome, apply for welfare or date American women with a final reminder that DHS and CBP are here to protect and maintain the purity of the soil. 

The Trump cartel also had regional posters designed. I only have the Philly Posters, but there were three variants. 

This one reminds tourists to visit with confidence and to have their visa and passport. However, there's an ominous reminder of the Move bombing from 1985, possibly to suggest the power of the police state. 


This next variant is much darker in tone and message, informing visitors to not overstay their welcome. In addition to featuring the Move bombing, this one also seems to feature police surveillance, a zombie Ben Franklin who has been reanimated by lightning, and what appears to be the Eagles fan who ate a road apple during the Super Bowl parade. 

This last variant may be the most chilling as it offers some of the most disturbing instances from Philadelphia's history including Move, Scrapple, Pork Roll, Gary Heidnik, and Will Smith. It's clear that the Trump cartel wanted to send a message to tourists planning to visit. 



White House Patriotic Film Festival

 White House Celebrates Birth of a Nation During America 250

A flyer from the White House Film Festival

A recent film fest held at the White House to commemorate the "grand wizard of American Cinema" flew under the radar this past week. Curated by Stephen Miller, the film festival featured a screening of the 1916 controversial Birth of a Nation, which was the first film to be screened at the White House, nearly 110 years ago during the Wilson administration. Birth, based on Thomas Dixon's novel The Klansman, tells a fictionalized history of the south, using fear and stereotypes to imagine if the south were controlled by Black politicians. In addition to being fictionalized, Birth was largely responsible for perpetuating racist stereotypes that promoted violence against Black men, resulting in violence, threats, and fatal lynchings. It is somewhat surprising to learn that Miller enjoys films. First, he seems to derive no pleasure from anything except violence and humiliation. I've frequently wondered why so many of the guys in the Trump administration are so miserable and wish pain and violence on others. Yet, Miller was able to use the occasion of our nation's founding to celebrate one of his favorite films. Miller doesn't seem to like many other films. I've read his newspaper columns from his student days at Duke, and this particular entry titled "Hollywood and the Culture Wars" lays out his feelings about mainstream cinema. While I'm not always a fan of mainstream blockbusters, I can admit that there's always something in these movies that is appealing or entertaining. However, Miller acknowledges his paranoia when he claims that "American cinema is being converted into a propaganda machine." If Miller was aware of the history of cinema, he would know that has always been the case. Birth of a Nation is one of the prime examples that helped to propagate myths about Black masculinity and White femininity. Sadly, many of the stereotypes and propaganda from this film persists in the world today. However, Miller goes on to critique other films like Syriana, Munich, Goodnight and Good Luck, Brokeback Mountain and Fun with Dick and Jane (which I don't even remember). However, the other films that he mentioned are disparate, yet were all esteemed films that won Academy recognition in one way or another. He doesn't really make any argument about what culture war Syriana  is pushing, even though it questioned our role in the wars in the Middle East, which is something that the president and other members of his administration have critiqued over time. Furthermore Munich is a powerful film about the 1972 Olympics in Munich and the Mossad's attempts to get revenge against the Palestinians. Spielberg's film is not only a great political spy thriller based on real events, but it also raises questions about the nature of revenge and global/political conflict as Avner gradually realizes the violence is never ending. Rather than presenting the issue in traditional Hollywood good vs. evil fashion, Spielberg creates a more nuanced and ambiguous plotline where Avner learns more about the nature of his missions and its impact on others. Maybe Miller didn't watch this film because it didn't show "the evils of the Islamic holy war, the merits of capitalism, [or]...America as a force of good in the world". I'm not sure if Miller ever saw Rambo III, but the American hero who takes on all sorts of bad guys hitches up with a group of freedom fighters to push back against the invading Soviets. In fact, this film was made in conjunction with the GOP, as republican senator Pete Wilson helped to obtain weapons for the film 
I would definitely recommend that Miller view this American classic, especially since we see Rambo help the Mujahadeen in Afghanistan repel the invading Soviets. American cinema has always been a kind of propaganda machine, but it also is a source of art and beauty; a medium that allows us to hear stories and explore worlds that we might now always come into contact with. Maybe Miller doesn't want to do much exploring. Maybe he's just looking for a window to observe his fantasy world or to view his constructed history, but cinema can offer so much more, and I would think that many people don't always look to cinema to be didactic or proselytizing. Rather, they go to be entertained or to escape or to feel and experience great art. While Jackass might not be great art, I find it to be hilarious and offers me some time to laugh with others. I don't think the Jackass crew is looking to convert people to take risks or seek out dangerous animals. In fact, they offer warnings before each episode and film about the risks involved. However, I don't think that Miller is a fan or likes to laugh at these kinds of films. In fact, in his article, which was supposed to be about Hollywood and its propaganda machine, he goes on to whine about sexual assaulter Bill O'Reilly being mistreated by David Letterman. Apparently, Dave stuck a pencil in O'Reilly's drink before he came out on the stage, and the media said nothing about this. Can you believe that? A talk show host trying to get a laugh? Miller contrasts Letterman's treatment of O'Reilly, who attacked and insulted his guest, with his fawning treatment of Jane Fonda. I'm not sure how this relates to his propaganda argument except to say that Miller likes to revel in his logical fallacies like the straw man, the slippery slope and the false cause. He misrepresents the argument about cinema by offering no valid examples except providing a list of movies he seems to hate. He then somehow links cinema and propaganda with Letterman's treatment of a sexual harasser and Inside Edition host, to claim that the left is trying to radicalize our country. In trying to make sense of this logic, he is arguing that the left has taken over entertainment because there are stories and ideas he doesn't like. Not only is Miller a misanthrope, but he's also a lousy thinker. I feel bad for him in the way these ideas run together in his addled mind. At least now he can host the kind of film festivals that can secure the existence of his people and the future of his children. While I deplore this film festival, I was glad to hear that they were unable to score any lawn jockeys to display on the White House lawn. 




Hegseth Confounds Audience with Bible Verse from Scorsese Film

 Hegseth Again Quotes Fake Bible Verse, Invoking "God's Latest Gift"





Among the many changes to Pentagon protocol, not many would have expected regular prayer services in the building where wars are planned and weapon designs are discussed. However, Secretary Hegseth has possibly sought redemption for his many transgressions and inequities over the years through an outward display and proselytization of Christian nationalism. Hegseth, with the support of Pastor Doug Wilson. In April, Hegseth recited Jules Winfield's famous lines he recites before killing someone. Although the lines are based on Ezekial 25:17, director Quentin Tarantino revised the language to fit with his story of two hitmen looking to retrieve a mysterious briefcase for their boss, Marcellus Wallace. 

It seems like Pete is finding more inspiration from the neon bible than from the actual scripture. Hegseth facilitated the prayer service by rebuking his enemies especially the Pharisees, asking God to smite them with all his might. Hegseth then asked for everyone to pray with him and proceeded to read from the Levine Epistles.  Hegseth started with a question, "Did you enjoy God's latest gift," which confused the audience since Levine is not a part of the Bible and the question seemed to be pointed to them. 

After briefly scanning the audience for their reactions, Hegseth resumed by saying "God's gift. The violence. When I came downstairs in my home, and I saw that tree in my living room, it reached out for me... a divine hand. God loves violence. Why else would there be so much of it? It's in us. It's what we are. We wage war..." Hegseth once again paused and scanned the room, smirking slightly and breathing heavily and quickly through his nose, enflaming his nostrils. "We burn sacrifices, and pillage and plunder and tear at the flesh of our brothers. Any why? Because God gave us violence to wage in his honor. There's no moral order as pure as this storm. There's no moral order at all. There's just this: can my violence conquer yours? This has been a reading from the book of Levine. Amen." 

The audience remained still and quiet, unsure of how to navigate the settling blanket of discomfort that was settling on the room. Hegseth's head whipped from side to side, as if seeking confrontation. Although Hegseth's passage cited God and his gift of violence, the passage was actually from the Martin Scorsese Film Shutter Island, released in 2010. Famously, the noirish styled film features an all-star cast of actors and actresses and raises questions about identity, reality, and sanity. Teddy, Leonardo DiCaprio's characters, ends the film with a famous quote: "Which would be worse: to live as a monster or die as a good man?" It seems that Hegseth and most of the other Trump officials have provided a definitive answer to this question. 


Hegseth shown here trolling the libs

A Sudden Flicker of Light: Exploring Film's Impact

 A Sudden Flicker of Light: A Revisionist History of Movies by David Thomson 

Author and film critic David Thomson

Big thanks to Simon & Schuster and NetGalley for allowing me to preview David Thomson’s provocative and expansive A Sudden Flicker of Light: A Revisionist History of Movies. I wasn’t sure exactly what to expect with this book. While I wasn’t familiar with Thomson’s writing, I’ve learned that he is one of the foremost film critics, authoring over 40 books in a career spanning nearly 60 years. He knows his stuff, and this book is touted as the culmination of all of his knowledge and thoughts about film, both celebrating and critiquing not just the artistry and magic of filmmaking, but also the commerce and industry of Hollywood and the silver screen. However, what I found most interesting was not just examining the trends and history of film, but rather examining how film has influenced individuals and society, and how the kind of imaginary pretense of stories on the screen has ended up influencing people’s expectations and understandings of the world around us. A Sudden Flicker of Light ends up being a fascinating study of the role of popular media on our own ideas and expectations about the world, which challenged my own thinking about my relationship to films, media, and others. I ended up enjoying this book, not only for Thomson’s unique, digressive style that seems to transition from one idea or film to another like a jump cut, establishing an implicit relationship, but also because Thomson’s ideas and critiques about the influence of film and popular media had me questioning and thinking more and more about why we watch films and what impact this has on us. It’s a fascinating look at the history of film, which as the book’s subtitled proclaims, challenges popular notions of films by frequently looking at influential factors, context, trends, and historical events that have influenced not just movie scripts and productions but also viewership and ticket sales.

Although Thomson’s book follows a somewhat historical progression of films, he starts the book focusing on cinematographer and director Haskell Wexler, who is often cited as one of the best cinematographers, but who was also fired from two award winning films in the 70s (The Conversation and One Flew Over the Cuckoo’s Nest). I wasn’t exactly sure what this brief biography had to do with the rest of the book, but after finishing I can see a few themes emerge from Wexler’s career, especially as he was working with some of the directors who helped shift the Hollywood machine from entertainment to art, revising the ways that we consumed films and movies. As Thomson explains, Wexler was asking a lot of questions, sometimes pulling the actors from One Flew Over the Cuckoo’s Nest aside to question the tone of the film, asking whether Milos Foreman was trying to elicit more comedy from a film that could possibly serve as a serious critique of society. This kind of conflict or dichotomy between artistry and themes in films and the need for commerce and audience approval is one of the oppositions that Thomson pursues and analyzes throughout the book. It’s fascinating to think about how Cuckoo’s Nest, an Oscar winner and beloved classic, may have turned out differently if it had sought to lessen the humor and been more serious or morose. Thomson raises some other examples, most notably the ending of Chinatown, which was rewritten to be dourer, which ended up subverting the audiences’ expectations for a happy ending. He also acknowledges the kind of ambiguous ending of Adolescence as another way that audiences are left with questions about the motivation, yet still can remain riveted to the screen based on the artistry of the acting, direction, and relevance of the plot. The discussion of Adolescence and Netflix’s influence on our viewing is also compelling to think about how the approach to home viewing and engaging longer form television has shaped our own consumption of films and movies.

I loved learning more about the history of cinema, and Thomson’s own reflections about how cinema has evolved over time. There’s a lot to learn about, and in particular, the chapter “Like Lightning” that deals with The Birth of a Nation, the first film to be screened at the White House, is fascinating, especially in its demonstration of how film has the power to alter the popular understanding of history and shape or reinforce personal beliefs, biases, and stereotypes. I found this chapter particularly relevant based on the ways that images, video, and other forms of media are often presented to win hearts and minds and challenge perceptions about the nature of the world. Rather than documenting a kind of truth or reflecting historical accuracy, Thomson explores the ways in which film manipulates and alters our emotions and ideas, much the same way that say videos shared of boat attacks or bombings are now shared on social media to drum up support for violent, illegal policies and unpopular attacks on other nations. In fact, Thomson’s last chapter, titled “Quiet, Piggy” raises some important observations and questions about the ways in which President Trump, a big fan of Sunset Boulevard and Gone With the Wind, two other films Thomson analyzes and critiques, has more or less become an actor in his own film, playing a kind of trope and using other motifs like violence, sex, and villainy to sell his film. It’s a fascinating deconstruction that questions how our viewership and voyeurism has shifted from watching what plays out on the screen as a kind of escapism and fantasy to actually enacting the fantasy in real life.

Thomson’s viewership and scholarship is nearly unlimited, but he seems to know a lot about film noir, as one of the chapters significantly focuses on noir. Other chapters focus on other film trends, but sometimes the chapters aren’t completely historical or thematic, and his style moves around a bit. At first, I found these transitions a little hard to follow, but as the book progressed, I appreciated his thinking and linking more and more. At times, Thomson has a kind of conversational style where it’s almost as if he’s sitting in a room sharing all of his ideas and observations that have built up over years of viewership with the reader. At other times, he makes humorous asides and suggestions about films, actors, directors, and themes. I appreciated how critical he was of the need to sustain a commercial audience, and how popular tastes and the Hays Code influenced the earlier film industry. Other chapters on Orson Welles’ brilliance are also fascinating to read to really understand how Citizen Kane both established and in some ways limited Welles’ career. Thomson goes on to examine certain trends in films that emerged in the 1930s throughout the 1970s, noting how world events like the Great Depression, World War II, and the Cold War influenced film themes and tropes, including villains, heroes, the roles of women, and the need for sex and violence in films, even if these ideas are implied more than explicitly stated or displayed. Again, through his insight, Thomson explores how films are more of a window facing inwards, in our own psyches and human nature, rather than a mirror reflecting reality, and often giving us what we may desire or want rather than showing us an objective truth.

A Sudden Flicker of Light is a fascinating read; one that will challenge readers’ understandings and thoughts about film and popular media and how it shapes our own understanding to the world. It’s a book I will need to revisit since there are so many different ideas, but it’s also an important book to consider due to how Thomson raises important questions about our own viewership (or voyeurism) and how the trends and themes films explore have not only altered us on an individual level, but also how they have shifted ideas, attitudes, and beliefs in society. I loved this book and highly recommend it! 





Monday, July 6, 2026

Green Mutants Fighting Each Other: Teenage Mutant Ninja Turtles X Godzilla by Tim Seeley with Artwork by Fero Pe

 Teenage Mutant Ninja Turtles X Godzilla by Tim Seeley; Artwork by Fero Pe; Colorist Luis Antonio Delgado; Letterer Brian Kolek

Teenage Mutant Ninja Turtles X Godzilla cover


Author Tim Seeley
Artist Fero Pe

A great, big kaiju thanks to IDW Publishing and NetGalley for making their latest Godzilla mashup available to preview. Sometimes unlikely pairings can have a great payoff. Whether it’s the Judgement Night soundtrack or Martha Stewart and Snoop Dogg, the unexpected pairing of two seemingly disparate individuals or groups can show more alignment and result in fascinating and novel outcomes. Such is the case with Teenage Mutant Ninja Turtles X Godzilla, where it would seem like the 4 pizza loving, skateboard riding turtle brothers, named after Renaissance painters, who hail from NYC would have little in common with Japan’s biggest export and most feared giant monster, Godzilla, and his other kaiju kin. However, as this comic makes the point, both the Ninja Turtles and Godzilla are mutants whose mutations provided them with unique skills and powers. While the Ninja Turtles grew from mutagen in the NYC sewers, Godzilla’s mutation arose from radiation from the atomic bombs dropped on Japan. What was also interesting about this pairing is that there’s a shared backstory to the pair. Shredder and Master Splinter were both part of the Foot Clan, which was formed in Japan and was one of the organizations that attempted to protect people from the kaiju attacks in Japan’s past. This comic features flashbacks to the Foot Clan’s older days when Shredder and Splinter worked together. Although the Foot Clan struggled to contain the giant monsters, they were able to develop a kind of connection to the creatures through meditation, allowing the Foot Clan to better understand the monster’s motivations and drives. It’s a creative and fascinating way to seek ways to understand and potentially exploit the monsters’ anger, fury and pure power to wreak havoc on the world.

The story includes flashbacks and alternates between NYC and Shredder and Krang’s crew in the Technodrome as they make their way to Japan to take advantage of the kaiju. The action starts as Bebop and Rocksteady are attempting to take some proprietary hardware from a Japanese scientist who is in NYC. The Turtles come to her rescue, and eventually learn more about the attacks on Japan from Godzilla. They spot Shredder there, and Master Splinter then reveals his long connection with the Foot Clan and their role in keeping the kaiju in Edo Island. April O’Neil and Casey Jones are also featured, along with Mondo Gecko, a newer character who I wasn’t that familiar with but enjoyed his time on the pages. There’s much creativity that went into integrating these stories, bringing in various Godzilla nemeses like King Ghidorah, Mechagodzilla, Rodan, Jet Jaguar, Hedorah, and Mothra. Both Hedorah and Mothra have some prominent roles in the plot of this story as well, and I loved the way Tim Seeley incorporated these canonical Godzilla characters and their backstories into this graphic novel. In addition, Fero Pe’s artwork is incredible in this, along with the coloring by Luis Antonio Delgado and the lettering by Brian Kolek. There are also some great alternative covers by other artists, especially at the end of the graphic novel. It was fun to see these variations on the stories and the attempts to blend the Turtles with Kaiju. This is a great and fun pairing of two seemingly different cult classics that works really well due to the entertaining story and the excellent artwork. Highly recommended!




Sunday, July 5, 2026

A Return to the Rosebud Reservation with Wisdom Corner by David Heska Wanbli Weiden

 Wisdom Corner by David Heska Wanbli Weiden

Wisdom Corner book cover
Author David Heska Wanbli Weiden

Many thanks to Ecco, Harper Collins Publishers, and NetGalley for sharing an advanced copy of David Heska Wanbli Weiden’s exciting entry into the Virgil Wounded Horse novels Wisdom Corner. I have been waiting for this book for a while now, and I was very excited to find it on NetGalley. I read Winter Counts, the first entry into vigilante enforcer of the Rosebud Reservation Virgil Wounded Horse, about 5 years ago, not knowing much about the book. Heska Wanbli Weiden has the skill as a writer to craft page turning chapters that are full of action and intrigue while also being able to incorporate history, philosophy, and traditions of Indians, especially of the Sicangu Lakota people who live on the Rosebud Reservation. I was surprised at how gritty and thrilling the book is, yet there are also these incredibly informative and insightful sections where readers can learn about the traditions and history of the Lakota as well as other Indian people that seems to counter many of the stereotypes and misrepresentations that have been perpetuated throughout history and popular culture. Virgil isn’t the typical tough guy whose all action and no thinking. He’s a thoughtful and considerate guy who tries to avoid fighting, but will throw down when necessary. What I really appreciate about Virgil, though, is his continual growth and development, recognizing that he’s not perfect and that he seeks ways to continue to learn more about his identity, his culture, and his people’s history and ways. It’s these thoughtful moments of introspection that border the action in the book creating a wonderful kind of dwelling that as a reader, I found myself eager to revisit.

Wisdom Corner is a welcome return to the Rosebud Reservation with Virgil as our guide, although he notes that there are some issues that continue to plague the Rez like bootlegging liquor, access to healthy foods, which creates a reliance on convenient snacks and unhealthy, processed foods, crime, and the lack of investigative and preventative forces to fight back against crime. Heska Wanbli Weiden includes some great notes at the end of the book declaring that this is a work of fiction that takes place on a real reservation where he attempts to recapture the fond memories he had of growing up on Rosebud. However, he is also able to identify some of the more systemic and structural problems that have plagued Indigenous communities that have some level of independence from the federal government, but also lack any kind of support or resource sharing from the federal government. The limited access to resources, especially when fighting crime, is where Virgil sees an opportunity to use his skills, although he is trying to reform his ways, especially after the end of Winter Counts.

Although I ended up really enjoying this book, it starts somewhat slower, as Virgil spends about the first fifth of the book recapping the events of Winter Counts. Nevertheless, it’s an important reminder since Marie, Virgil’s significant other, ended up killing her father, who was a tribal council member who was dealing drugs on the Rez. Marie has taken over her parents’ home but still lives with Virgil. This plays an important part in Wisdom Corner, and I appreciated how Heska Wanbli Weiden is able to build on this continuity from book to book. Wisdom Corner has a twisty, surprising plot that will leave readers wondering who is behind the violence that is erupting on the rez. Virgil initially believes that the battle is retaliation from a meeting between his friend, Pudge, a bootlegger, and a rival gang from another rez who want to start selling alcohol on Rosebud. Virgil attends the meeting with his friend to maintain the peace, but has to resort to defending Pudge with his fists, as the rival gang becomes too threatening and imposing. In a later episode during his process serving work, Virgil encounters more resistance from a guy and his Aryan Nation buddies, but ultimately defends himself. Yet, Marie, who is now running for tribal council, has repeatedly asked Virgil to stop the violence as her opponent, Mitch Gagnon, will stoop to mudslinging and possibly some other dirty tricks to win the race.

Virgil also leans about a new development taking place in a city nearby where a Native boarding school stood. The developers took over the land and discovered unmarked graves on the site, which has slowed the construction process. Virgil eventually leans that his aunt was one of the children who died there and is likely buried in an unmarked grave there. Heska Wanbli Weiden uses this plot point to further educate readers about the horrors of these boarding schools that took Indigenous children away from their families in order to teach them the ways of white folks, just as the infamous phrase from Richard Henry Platt, who started the Carlisle Indian Industrial School, advocated for white society to “Kill the Indian, save the man.” While this could be a moment for a kind of preachy and pedantic lecture on injustices done to Indigenous people, Heska Wanbli Weiden skillfully incorporates this history and injustice as something that Virgil has a personal connection to and is trying to learn more about. Furthermore, the battle between the developers and the Indigenous community to preserve the remains of the ancestors highlights some of the current battles between commerce and tradition, corporations and collectives, where we see powerful, paid interests often finding ways to defeat these communities. I really appreciated how he integrates these learning moments throughout the book.

Shortly after visiting the development site to learn more about where his aunt might be, Virgil learns that his mentor and the respected tribal medicine man, Jerome Iron Shell, was murdered. Jerome was Pudge’s uncle, so Pudge and Virgil immediately suspect the rival 705 Gang. However, they have trouble tracking them down and pinning the murder on them. Through his encounters with other indigenous activists and tribal members, Virgil will work to unravel the mystery of Jerome’s murder. Yet, this will also come at a cost for Virgil. Heska Wanbli Weiden has crafted a compelling and exciting crime thriller that takes readers on the Rez and shares aspects of traditional Lakota life and history. Furthermore, he’s able to critique some of the issues that Indigenous people face through Virgil’s thoughtful asides. I also want to mention that the dialogue in this book is great. Heska Wanbli Weiden has crafted some distinct characters throughout the book, and their varied dialects and slang make them stand out in their differences. I don’t remember the dialogue being like this in Winter Counts, but it was definitely a strong element of Wisdom Corner. However, what I appreciated most about this book beyond being a great crime thriller was that Heska Wanbli Weiden shows the Rosebud Reservation to be a community that is supportive and inclusive, where people know each other, are rooting for one another, and come together when they experience hardship or challenges. Highly recommended!