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Table of contents
The highly colored and expressive panels not only illustrate the text, they convey additional meaning as well. This is the case with the last four panels. When Foxy G kicks the doughnut hole, the picture serves as an anticipation of the grasshopper's expression of his strength of mind. He will not accept his friend's pity.
He is looking for respect and acknowledgement. The image of Kid A sadly looking at his friend out the window points to the consequences of materialistic appetite.
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The female figure on the couch watching three television sets reveals the ant's double: his lazy self-centered self a very human element. One will here regret that the only representations of female characters are women lying in front of the television or the whore in the park. This image echoes Morrison's interrogation of the stereotype about blacks being lazy, as well as her frequent critique of the middle class in her work.
In Song of Solomon , for example, Milkman's father, a successful real estate man, is shown to be shallow and materialistic. Similarly, Spike Lee critiques at the same time as he affirms middle class values in Do the Right Thing. The authors are here attempting to reverse the negative "lazy" stereotype through showing the grasshopper's creative work while critiquing the middle-class "white" values mimicked by blacks of the ant by showing that work and cleanliness, in themselves, do not confer a higher morality.
Overly clean homes are also problematic for Toni Morrison in her novels in that she associates obsessive cleanliness with perversion. The juxtaposition of the picture of the ant at his window and the grasshopper "stumbl[ing] off into the night" 29 recaptures the whole moral question of the book, enlarging the debate and most of all forcing the reader to get involved in the "who's got game?
The juxtaposition of the two images directs the reader to a more nuanced response to "who's got game? The question also evokes Spike Lee's Do the Right Thing , as what constitutes the right thing is left in doubt. The last two pictures can be read as an epilogue that leads back to the beginning. The first portrays the story encapsulated in a snow globe, a clear distancing from the fictional world.
The second picture represents a young character holding this smaller copy of the story. The character being enveloped in the snow conveys the reader's further identification with the story. The realistic locations and details provided by the image constitute a voice of their own whose particularity establishes a satirical critique. While it illustrates the text, the picture conveys some additional meaning and thereby enters into dialogue with the words. For example, by picturing a child in front of three television sets and the ant storing goods in several fridges, the picture not only illustrates the text, it exaggerates and mocks the excesses of a consumerist society increasingly preoccupied with the accumulation of material goods.
Moreover, unlike ants who always work in close solidarity, some ants here are portrayed as lazy and isolated in front of the TV set. The caricaturist here introduces the theme of individualistic egocentrism. The graphic part not only situates the action in the US, it provides the reader with a discreet critique of US capitalistic society, resonating with the questions raised in the story.
Another example is when Kid A is portrayed doing the chores and at the store. Shopping becomes a race where everyone buys the same items and is dressed in a similar way. Besides the postmodern author and the satirical graphist, a third and important voice that enters in dialogue with the fabulist's is the voice embodied in the rhythmic density of the lines, close to rap music, which creates a stylistic change, what Genette would call transtylisation.
Already conveyed by the illustrations emphasizing popular street art, from the very first page and title Game in rap vocabulary refers to some way to make money or advance oneself , the book invokes the 3 R's which form the basis of rap: rhythm, rhyme and rhetoric Wood 1 , although the latter aspect is reduced since there is no performance implied.
Like rap music, the text resorts to rhymed couplets — rhymes being the structural device in rap, as Wood argues, with four beats: "Swam in the pool where the water was cool" One example is "sounding" in the quarrel scene whereby both exchange ritual insults:. Sounding Wood 4 , unlike signifying, is a direct form of provocation. The "don't play me" becomes here ambiguous. On the one hand, it means "do not tick me off," but it also ambiguously refers to "take my music" and thereby evokes rap quarrels. The "I make-you fake" refers to the discourse of plagiarizing that surrounds rap in general, in which artists take from each other as an act of economic exploitation.
It recalls the verbal battles that have become live unrehearsed performances Keyes at the same time as it interrogates the nature and purpose of intertextuality and borrowing in general.
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In many ways, this language of quarrel epitomizes and enhances the moral debate at the heart of the text. The originality of the text lies in the fact that this Afro-American subtext is conveyed by the transtylisation and not the diegetic transpositions. Both actually meet in the preceding picture: the world of rap conveyed by the narrative here enters the visual narrative. Moreover, the question of rap and the power of art are deeply intermingled since rap has often been considered a passing fad, despite being, by the end of the twentieth century, arguably "the most vital and dynamic genre of music" Keyes The persuasion rhetoric that characterizes rap emphasizes the characters' stubbornness while it accentuates the moral complexity and debate the story engages in.
Finally, through numerous intertextual references, the text establishes further dialogues with the rap and oral tradition that is characterized by rampant intertextuality. By giving the name Kid A — the title of a famous Radiohead album — to one of their characters, Slade and Toni Morrison engage from the very first page in an intertextual dialogue with contemporary youth music references.
It also establishes dialogues with the Spike Lee basketball movie He Got Game that shows how the young protagonist named Jesus "got game" and is to enter the basketball professional world.
In a way similar to the dilemma of the fable, the protagonist of the film has to choose between his dream to become someone and quick money. It is at the level of intertextual dialogue that the three voices examined — the postmodern author, the satirical cartoonist, and the rap artist — mostly converge. By multiplying the fabulist's voice in three different voices, the fable is here revised by three artists who subversively pay homage to while simultaneously questioning Aesop's voice as well as the traditional moral ending that used to give the ant the last word.
Despite the authors' emphasis on responsible thought, something mostly conveyed in the paratext of the book its title, its subtitle with a question mark, the last picture portraying the reader pondering the story's moral complexity , I posit here that, further than interrogating its morals, the text can be read as turning Aesop's fable upside down. The ant's aggressive attitude, and his inability to acknowledge his friend's gift of a song that has inspired him, somewhat compel the reader to side with the victimized gifted artist who inspires the ant to work harder.
The "got game" expression gets closer to "got talent" which, however, cannot be measured and is consequently denied by a society in which only commodification is valued. And yet, the grasshopper has few prospects for the future. The pragmatic and diegetic transformations participate in a larger thematic and semantic transformation.
It is probably here that my postcolonial background resurges. I want to suggest that the authors in some ways "write back" to the original story in that they actively engage in a process of questioning mainstream values, giving the grasshopper a chance to respond instead of regurgitating Aesop's moral lesson "It is best to prepare for the days of necessity" Aesop.
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The grasshopper, the one who can stick to his dreams, emerges as the one who is given a voice and who can "disprove" the values around him. Although neither of the characters explicitly loses or wins, the central pragmatic transposition in the first part of the story — namely having the ant being inspired by the grasshopper's art — turns "The Ant or the Grasshopper? The focus on and interweaving of three marginal forms of popular artistic expression visual and performative — children's literature, hip-hop and comics — further participates in claiming the power of human artistic expression.
Not only should one highlight the transfocalization whereby the grasshopper is made central, one might envision how it demonstrates Genette's "transvalorisation" , whereby the hypertext reverses or at least challenges the value system of the hypotext. The value of art as work is here made apparent. And as comfort discomforts, the authors urge one to reconnect with the power of the imagination. New York: Scribner, All further references are to this edition and are included in the text. The pages of this edition are not numbered. A plain question.
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In Aesop's version hypotext and many others, the grasshopper is singing idly. Here, the impact of his art is foregrounded. Kid A, although he has rejected Foxy G's music, cannot escape it.
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Like the ghost of Beloved to which the picture directly alludes coming back to Sethe in Morrison's famous novel, music becomes a ghost haunting and seducing the ant. The movement conveyed by the drawings further enhances the power of music and art. The first and main pragmatic transformation takes place right here. Though Genette argues that the pragmatic transposition is an "inevitable consequence of the diegetic transformation" , this does not seem true in this context.
But as Genette further remarks, it is rarely practiced without another aim, and that is indeed the case since the pragmatic transposition, which adds events without changing the overall plot, contains part of the authors' ideological message. When winter howls at the door, Foxy G wakes up a "hungry artist". He tries not to collapse as he "drags his wings back to the neighborhood" 20 and knocks on Kid A's door. The ant's old house situated outside of the cold city conveys a cosy cocoon that contrasts with the wintry urban jungle where the grasshopper struggles on his own. Instead of picking up the part of doughnut his friend throws at him out of pity after telling him he should have known better as in the original , Foxy G's here retaliates.
His anger turns into a plea for the recognition of his artistic creation. The authors decenter the question of hard work and material subsistence to articulate questions of artistic creativity and how art is considered within a work ethic and a consumerist culture. Since it does not "produce" anything palpable, the grasshopper's art hardly exists as such. Yet the text further challenges the assumption that art is entertainment and play. Moreover, by creatively rewriting Aesop's fable, the text itself illustrates not only how art is work but how art contains the power to renew itself.
By including the grasshopper's response to the original moral, the authors push the debate further. Answering Foxy G's speech, Kid A's first reaction consists in smirking. By showing he is pleased by someone else's bad luck, he reduces their past friendship to nothing. Again, this hypertext emphasizes human characteristics. With both characters sticking to their principles, the situation does not broadcast anything good for the future.
Kid A responds with a condescending monologue in which he obviously boasts about his material superiority. Foxy G does not give up and puts the meaning of the ant's dream into a very rap-sounding question, "where is your dream? When read in the largest context of the American dream in the meaning of ideology , the text leads us to question the values developed by American culture since the emergence of its formidable freedom dream in Is the ant doing the right thing by withholding charity from one who gave him aesthetic pleasure?
If the book can be read as a critique of a society where material success has surpassed its original dreams of freedom, justice and equality, it can also be envisioned as exposing the breadth of the American dream which can and should include the individual and his or her artistic expression. The pragmatic and diegetic changes analyzed above demonstrate that postmodern intertextuality has a "deconstructive function" Broich , in this case the destabilization of the fable genre along the foregrounding of moral relativism as a result of a "de-totalizing" postmodernist approach Hutcheon In many ways, the parodic interrogation of the fable genre confirms Hutcheon's observations that it both "legitimizes and subverts that which it parodies" Hutcheon The second voice of the work's heteroglossic quality is the voice of the satirical cartoonist that exposes questions of excess for instance with graphic scorn.
The alternation between an omniscient and first person narrator, something that characterizes comics in general, also participates in demoting the godlike status of the ancient fabulist, replacing his omniscient voice with an interplay of heterogeneous discourses. The ultimate pictures of the story I will consider the last two as an epilogue evidently emphasize the focalization on the grasshopper.
The book devotes eight large pictures to the grasshopper only one to the ant , giving him a new central discursive position. This graphic double-ending brings us to focus more specifically on the graphic aspect of the story, a voice in itself that plays a crucial role, if not THE central role in the book. It is at the level of the illustration that most diegetic transpositions take place, although they are somewhat conjured by the rap rhythm of the text. The stripped down, simplified portrayal of the protagonists enhances their universal appeal and fits perfectly within the context of a fable.