Ebook Tintin in America (The Adventures of Tintin), by Hergé
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Tintin in America (The Adventures of Tintin), by Hergé
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The classic graphic novel. Tintin comes to the U.S.A. to clean up the mean streets of Chicago but ends up in the wild west! Will Tintin make it back home?
- Sales Rank: #28381 in Books
- Brand: Little, Brown Books for Young Readers
- Published on: 1979-11-30
- Original language: English
- Number of items: 1
- Dimensions: 11.75" h x .25" w x 8.75" l, .50 pounds
- Binding: Paperback
- 62 pages
Amazon.com Review
Written in 1931, Tintin in America was chronologically the third Tintin adventure but is generally considered the first in the "official" canon. The stereotypes probably fit how a European would have looked at the New World, from Al Capone's gangsters in Chicago to a Native American tribe in the unfortunately named Redskin City, as Tintin and Snowy escape one peril after another in pursuit of villain Bobby Smiles. It's one of Herge's least complex--and least entertaining--tales, still worth a read but not a good introduction to the series as a whole. --David Horiuchi
Language Notes
Text: English, French (translation)
About the Author
Hergé, one of the most famous Belgians in the world, was a comics writer and artist. The internationally successful Adventures of Tintin are his most well-known and beloved works. They have been translated into 38 different languages and have inspired such legends as Andy Warhol and Roy Lichtenstein. He wrote and illustrated for The Adventures of Tintin until his death in 1983.
Most helpful customer reviews
40 of 41 people found the following review helpful.
Satire and serial thrills as our heroes race through the USA
By darragh o'donoghue
Although it begins with a precise date (1931) and location (Chicago) and features a real historical figure (Al Capone), 'Tintin In America' is Herge's tribute to the mythical America of dime novels and silent serials (especially gangster stories and Westerns). There's a real 'Perils Of Pauline' quality to Tintin's misadventures, which see the young reporter and his faithful terrier Snowy attempt to clean Chicago of gangsters, and which includes trapdoors, underground passages, falls from cliffs broken by handy branches, tetherings to railway lines etc. On their arrival, the pair are plunged into a hectic series of mishaps - they are kidnapped by a mob stooge in a steel-shuttered limousine; sawing their way out, they are met by police, and give chase; just as the nabbed hood is about to squeal, he is knocked out by a boomerang, whose owner they pursue in a gun-stuttering chase which ends in the first of many vehicular accidents. Throughout, Tintin will be gassed, dumped into Lake Michigan, shot at by a professional sniper, captured by Red Indians, have his brakeless train dynamited, and be thrown into a mincer. Welcome to America!
The simple-minded pleasures of these melodrama cliches are supplemented by a sophisticated and often quite savage critique on modern America (having tackled Bolshevik Russia in the previous adventure), an America on the brink of globalising superpowerdom, a critique that invokes the past to indict the present. The Red Indian sequence at first seems in dubious taste, with the warriors easily manipulated by a gang leader into mutilating Tintin - their knee-jerk savagery and comical rituals are the sad cliches of many a Western. But in the book's most perturbing sequence, Tintin accidentally hits oil on their land; they are speedily thrown off the reservation, and oil wells, banks and a new city erected in its place; a brilliant, shocking encapsulation of the long and terrible history that underlies bright modern America. The gangster epidemic is linked to police and presidential corruption, while the tendency of famed American democracy and justice to degenerate into mob rule and lynching is unflinchingly pinpointed, as are the ecological crimes of big business. In fact, Herge sees American capitalism as a form of cannibalism - a sausage-grinding plant is a front for disposing of gangland enemies, their flesh mingled with animal meat for sale (the leader of the gang is a dead ringer for Foucault!). Conversely, Tintin is at one point rescued by a labor strike! One frame must have registered on the young Jean-Luc Godard, in which Tintin passes a landscape of car-wreckage overlooked by advertising hoardings. The irony of the story is that America, once so new, innocent, a beacon of hope where the world's oppressed could find refuge, has become as corrupt as the Old World, to which Tintin must return ito protect HIS innocence.
Herge's satirical instinct does not preclude a great love for the LOOK of America, with its precisionist skyscraperscapes, and vast prairie spaces. Herge deliberately streamlines his animation, drawing in bold, uncluttered strokes and strong, bright colours, giving some indication of the size and modernity of America, as well as its anonymity, conformity and assembly line mentality. The nocturnal scenes, in which the overall brightness becomes deeply mysterious, are particularly beautiful. I dare anyone who views the flabbergasting scene of Tintin clambering across an endless skyscrapter not to feel dizzy. Within his frames, Herge creates an extraordinary dynamism of movement. I particularly love it when characters walk on the border of the frame, as if getting ready to leap from it.
42 of 49 people found the following review helpful.
Herge did better later
By Thomas Wikman
As a child, I read all of the Tintin books in Swedish, except the first one "Tintin in the Soviets". As an adult living in the U.S., I am reading most of them again to my children, but this time in English. Herge's first three Tintin books are not as good as his later books, and this was his third book. "Tintin in Congo" is the only Tintin book that I have read that is worse than this one. "Tintin in America" portrays America with an old fashioned European prejudice that is unrealistic and unflattering. His portrayal of the Indians is borderline racist, and the plot is essentially "gangster tries to kill Tintin, Tintin miraculously escapes" repeated a couple of dozen times. In a sense Tintin is a super hero with "luck" as his super power, and this becomes tiresome. The plot is silly, and the book is certainly not a history lesson.
Kids seven and below could enjoy this book, older kids will consider it stupid. If Herge instead had written "Tintin in Sweden" at this time, all the Swedes would have been blond, stupid, and quiet. There would be polar bears and reindeers in the streets, Samis would have been portrayed in an insulting way, and Tintin would have been repeatedly attacked by gnomes. Just to put this book in a Swedish perspective (for fellow Swedes). Humor has changed since 1932, and so did Herge's soon after (1934).
Having said that, the book is still entertaining, in its own way, and my kids have asked me to read it a few times, which I have. If you or your kids like Tintin books then buy it, but don't let this one be your first. Herge's master pieces came later in history. My favorites are "Tintin in Tibet", "Blue Lotus", "Flight 714", "The crab with the golden claw", and "The Seven Crystal Balls/Prisoners of the Sun", but I really like all of the later ones.
0 of 0 people found the following review helpful.
Tintin Before Becoming Tintin
By Bill Slocum
Reading "Tintin In America" is not for today's children; the ageless charm of the comic-adventure series is still at least a book away from arriving.
Serious fans may enjoy this view of where Hergé's head was at before the series matured into a more popular form. Be warned, though: "Tintin In America" is a choppy ride.
It's 1931, and gangster-ridden Chicago is in need of dire cleaning. Mobsters tremble at the approach of Tintin, "world reporter number one," not to mention Tintin's loyal wire-haired terrier, Snowy. Al Capone, who has tangled with Tintin in the past, sets up the plot in the second panel: "Not one single day does he spend in Chicago."
Capone is the only real-life figure to make an appearance in a Tintin comic; ironically given his ultimatum Tintin winds up making short work of him. The focus then moves to other gangsters, in particular Bobby Smiles, who leads Tintin on a westward chase that involves him with American Indians, oil, railroad chases, and a close shave at a slaughterhouse.
There are a lot of close shaves in this Tintin installment, originally written from 1931-32 as weekly magazine installments with plenty of sudden changes of pace and cliffhangers to be resolved very quickly and illogically in the next panel. This is what Belgian youngsters wanted at the time, and what Hergé delivers. In time, he would find a way to smooth out the lurches in his storycraft for book form, but those days were still to come.
Also still to come at this point in the series is Captain Haddock, Professor Calculus, the Thompson/Thomson Twins, and other sundry characters, both good and evil. Bobby Smiles is a particularly bland kind of villain, and the other baddies here (including Capone) fairly interchangeable. Tintin and Snowy actually have conversations in "Tintin In America," which is an adjustment for those like me who think of the pup as a kind of mute stand-in for the audience. It makes sense when you consider Hergé needed a means for delivering exposition.
Those seeing the cover and fearing politically incorrect content needn't fear: The American Indians featured in "Tintin In America" are not negatively treated, except in their naive trust of white men. In fact, the book becomes in places a shrill anti-American, anti-capitalist polemic. Whatever your own politics may be, the sometimes unsubtle posturing here gets in the way of the entertainment, already thin on the mystery front and pocked by coincidences and about-faces.
"Tintin In America" does have ample humor, darker than one is used to from the series. In keeping with the height of the Great Depression in which it was written, a radio bulletin announces: "24 banks have failed, 24 managers are in jail. Thirty-five babies have been kidnapped, 44 hoboes have been lynched." Other laughs are more innocent, like the way a tied-down Tintin is saved from being run over by a speeding train, or a meeting of the Distressed Gangsters Association in protest of Tintin's "unfair discrimination."
The book is too herky-jerky in its narrative, and uneven in its tone, to really be enjoyed as a classic Tintin story. A child given it as an introduction to Tintin can hardly be blamed for never going back. Tintin fans will get more out of it, seeing our hero at a time when he was still finding his feet.
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