- Tapa dura: 288 páginas
- Editor: DRAWN AND QUARTERLY PUBLICATIONS; Edición: 01 (18 de mayo de 2011)
- Idioma: Inglés
- ISBN-10: 1770460489
- ISBN-13: 978-1770460485
- Valoración media de los clientes: 5.0 de un máximo de 5 estrellas Ver todas las opiniones (1 opinión de cliente)
- Clasificación en los más vendidos de Amazon: nº99.906 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
Paying For It HC (Inglés) Tapa dura – 18 may 2011
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Descripción del producto
It has the thoroughness of a history book yet reads with the personalized vision of a novel. "Time on Louis Riel" If you love to read a gripping story, if you are awed by the talent of an artist, then look no further: Chester Brown's "Louis Riel "is comix history in the making, and with it, history never looked so good. "The Globe and Mail Book Review on Louis Riel""
Reseña del editor
A CONTEMPORARY DEFENSE OF THE WORLD'S OLDEST PROFESSIONChester Brown has never shied away from tackling controversial subjects in his work. In his 1992 book, "The Playboy," he explored his personal history with pornography. His bestselling 2003 graphic novel, "Louis Riel," was a biographical examination of an extreme political figure. The book won wide acclaim and cemented Brown's reputation as a true innovator. "Paying for It "is a natural progression for Brown as it combines the personal and sexual aspects of his autobiographical work with the polemical drive of "Louis Riel." Brown calmly lays out the facts of how he became not only a willing participant in but a vocal proponent of one of the world's most hot-button topics prostitution. While this may appear overly sensational and just plain implausible to some, Brown's story stands for itself. "Paying for It "offers an entirely contemporary exploration of sex work from the timid john who rides his bike to his escorts, wonders how to tip so as not to offend, and reads Dan Savage for advice, to the modern-day transactions complete with online reviews, seemingly willing participants, and clean apartments devoid of cliched street corners, drugs, or pimps. Complete with a surprise ending, "Paying for It "provides endless debate and conversation about sex work and will be the most talkedabout graphic novel of 2011."Ver Descripción del producto
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Most men might find this sort of domestic arrangement unacceptable, but Brown seems to casually accept it with no hard feelings. As underground comics legend Robert Crumb notes in his Introduction, and Brown's friend Seth observes in Appendix 23, the author is a rather cold fish with "a very limited emotional range compared to most people." So, after enduring two years of celibacy following his break-up with Sook-Yin, Brown decides that "paying for it" is the best way to reconcile his desire to have sex with his determination to NOT have a girlfriend. It's an odd choice, but one he believes is the most appropriate for him, given his disillusionment with even the concept of romantic love.
Unfortunately for Brown, prostitution is just as illegal in his native Canada as it is in the United States. This makes him more than a bit paranoid when it comes to trying to arrange his first appointments with the female escorts he sees advertising in some of Toronto's weekly newspapers. Brown's fumbling initial experiences are amusing, and even somewhat touching in an awkward way. But he eventually figures out how it all works.
From there it's onward to a revolving menu of carnal comfort food, at least as he describes it. Brown circulates among roughly two dozen different partners, before finally settling into monogamy with one. As the encounters proceed with each escort (all given fake names that are different from their already unreal "professional" names), Brown endures a fair amount of bad sex, has some truly awesome, wonderful sex, and struggles with a recurring sense of emptiness that often follows his erotic trysts.
This is where the book is at its best. Brown has an excellent ear for dialogue and a sharp eye for humor and irony. As one reviewer points out, the pillow talk Brown captures in his word balloons is pitch perfect even if his drawings are fairly flat and barely two-dimensional. As a bonus, Brown fills in the blanks between his "dates" by recounting conversations he has with his friends, many of which involve interesting discussions about the morality of what he is doing and the nature of what makes for a healthy relationship with another person, regardless of the context involved.
Along the way, Brown builds a convincing case for why prostitution should be decriminalized. After talking with numerous women, some of whom are "agency" or brothel escorts, and others who are independent contractors, he comes to the conclusion that Canada's laws against prostitution are more harmful than the vices they are meant to stop. Brown persuasively argues that most of the social ills blamed on the sex trade are a direct result of the fact that the ladies who engage in sex for pay are marginalized as people and not treated with the same dignity and respect as other providers of personal professional services. His logic here is difficult to refute, as is his assertion that many prostitutes freely choose, and even appreciate, their jobs, particularly when they can earn more money from taking intimate appointments than by doing anything else, and also get to set their own schedule and see a roster of regular clients.
The bad news is that Brown doesn't quit when he's ahead. Having articulated a clear view of why the status quo is unacceptable, he then becomes enamored of the idea that only a totally laissez faire, free-market approach to prostitution is the correct policy for sex workers and consumers alike. According to the artist, all regulation of the business is inherently evil and wrong, even when the goals are to protect the workers and the public health and welfare. Instead, he refers to imaginary, so-called "sexual civil rights" for individuals, without ever acknowledging that all rights generate corresponding responsibilities for citizens to behave with a measure of restraint. Furthermore, given that not all forms of prostitution are benign or identical, local communities have every reason to uphold their own standards and seek some degree of control over sex workers whose actions cross the line between exercising their own rights and causing harm to others. Contrary to what Crumb says about prostitutes, in his Introduction to "Paying for It," not all efforts to regulate their business are based on "liberal do-gooders' attempts to `reform' them." Regulation is about balancing the rights of adults to do what they want in their own lives, and with their own bodies, with everybody else's rights to not be victimized by people who cannot control themselves.
It's easy to tell what's behind the breakdown in Brown's logic. For all of his obvious intelligence, as the book delves deeper into the realms of gender politics and sociology, the writer's self-awareness starts to slide into a more ideological tone. Once again, the narrator's friend, Seth, nails it in Appendix 23, saying: "Often his [Brown's] opinion is a little too dogmatic for my tastes -- a little too tied to the libertarian party-line." Readers may well feel the same when Brown resorts to cherry-picking sources to suit his own philosophy.
For example, Appendix 17 of "Paying for It" approvingly cites psychologist Jeffrey Schaler's work "Addiction Is A Choice" by agreeing with him that substance abuse is not a disease. Brown quotes Schaler denying "that there is any such thing as `addiction,' in the sense of a deliberate and conscious course of action which the person literally cannot stop doing." Really? This claim is ridiculously simplistic and absurd on its face. Aside from the many well-documented studies of how long-term alcohol and opioid abuse causes physical changes in the brains of heavy drinkers and addicts, interfering with the normal function of their neurotransmitters, has either Brown or Schaler ever been around a junkie craving a hit of heroin? Glib theory is no match for the stark reality of watching a woman get dope-sick and go through withdrawal symptoms because she cannot smoke or shoot up the narcotics her body wants.
Elsewhere, Brown tends to extrapolate from his own experiences with prostitutes, and generalize about how their relatively upscale escort business is representative of paid sex at the lower end of the pecking order. Nothing could be farther from the truth. While the commercial dynamics of the transaction may be the same, there is a world of difference between the young lady who decides to earn good money the old-fashioned way, by entertaining professional gentlemen at her safe worksite, and the old (or underage) streetwalker hustling for small change from the more dangerous customers in the red-light district. Brown gives short shrift to the tougher problems that desperate women have to overcome, just to survive, when they are soliciting strangers in public places and struggling to avoid the police, violent johns, hard drugs, and all of the other obstacles in their path.
Admittedly, Brown does appear to recognize the very real crimes of human trafficking and sexual slavery in our culture today. Even there, though, he complains about how any attempt to regulate prostitution would be more apt to result in a "black market," where girls would be powerless to defend themselves, than it would serve as a tool to identify and eliminate such abusive underground operations. At the risk of sounding patriarchal, it's just difficult to take him seriously when he speculates that an environment in which anything goes would be more beneficial for women than one in which their basic human rights are protected.
Altogether, "Paying for It" is a fine memoir that everyone with an open mind should enjoy. With all due respect to Alan Moore, whose praise on the back jacket cover is effusive, I don't know if "this book will love you long time," and reward repeated readings, but it is definitely worth perusing at least once. Brown's latest creation belongs in that rare category of graphic biographies that makes you laugh and think at the same time.
Brown has obviously had it with the notion of "romantic love", yet still wants to have sex. He decides to peruse the services of a prostitute, yet has no idea how to go about this task. After cruising streets he believes prostitutes would hang out, he goes online to find one. He has quite a few encounters with different ladies... some with regularity, some only once. He encounters many problems... fear he might get assaulted, concern for their working conditions, age, etc... wrestling with certain moral dilemma, even feelings of attachment that comes up for one of the ladies. Brown pulls no punches and doesn't hesitate to portray himself badly. He's particularly hung up about age, as a woman in her late 20s is deemed "too old". That Brown can be brainwashed by mass culture in this way (young=better) is one of many instances that shows Brown is not operating from some moral high ground. The same can be said for his inability to hold on to a "romantic" relationship. He reminds me of Cerebus author Dave Sim in this way... "I've failed in romance, so there must be something wrong with romantic love." Despite this faulty logic, Brown comes off as totally sympathetic.
Besides taking you on his journey with prostitutes, Brown also has an ulterior motive for writing this book. He believes prostitution should be decriminalized. This, I believe, is where Brown gets into a rather dicey area. Brown is a Libertarian (once running for some office in Canada) and has literally swallowed their party line lock, stock and barrel. His take is the government should not regulate prostitution, it should just be decriminalized. Libertarians (much like Republicans lately) have a strong distrust in government and believe the free market will solve everything. This is naive on Brown's part. He feels the black market for prostitution will still exist if a license is needed to whore, as some ladies will want to keep their privacy. I think this logic is ridiculous. That's akin to saying why make drunk driving illegal, people are going to do it anyway. Without regulation, it would still be just as easy for underage girls to become hookers, not to mention the transmission of diseases. Brown's argument is: the government does not belong in our bedroom. To which I would say: if you are treating sex as a commodity (as Brown is championing), then taxation is not only fair, it's necessary. To give hookers a bye on paying their taxes is where Brown loses me. He cites poor conditions at a Nevada whorehouse (citing only one instance he's read) as reason to not regulate. In this case, Brown has taken his self-appointed role as champion of hookers a bit too far. I expected a bit more logic from him after the other points he's made in the book.
Having said that, Brown has given us a book that makes the reader think... about the profession, about laws and about our own morality. His drawing style is clean and not intrusive. One reviewer complained about the lack of expression in Brown's faces in this book, but over exaggerated faces and expressions would only marginalize the experiences this book conveys. Brown is definitely a cartoonist who has mastered his craft and knows what he is doing. The sex scenes are unflinching yet not gratuitous, which is a rare accomplishment, particularly in comics. From subject matter to research and execution, I can't recommend this book highly enough.
Seth called Chester a robot with a limited emotional range. However, the part that hit home was when Seth talked about an argument depicted in the book where Chester comes off better in his book than he did in real life and if Seth wasn't as good of a debater as he could have been it's because he isn't thinking about libertarian politics 24/7 and it's exhausting talking the Chester because Chester thoroughly researches libertarian politics.
This is what kills the book for me. It's a modestly interesting story about a man who decides that he is sick of romantic love but still wants sex. Then it dovetails into these encounters but also the reaction of his friends when he tells them about it.
The problem with the book is that Chester won't keep attempting to argue for the completely unfettered free market in terms of prostitution. Even reasonable arguments like legalization with taxation or legalization with regulation are too much for him.
By the appendix, he's arguing against everything that is not the complete free prostitution and his arguments began to start stretching things. He believes that prostitution is not wrong because even if sex is sacred, churches make money from sacred objects. He then says that prostitution should not be taxed because sex is sacred (and then again invokes the churches as if going to a hooker is the same as going to a priest - insert altar boy joke here) and at one point even quotes a fairly spurious book about how addiction is not a disease (or even a thing) in order to push off arguments about some prostitutes doing it to get a fix. Now he may believe every single argument he makes but that only makes the fact that he's arguing for himself more than an audience that much more obvious.
In truth, reading this book is like being trapped in a room with your libertarian friend who won't shut up about Ron Paul. You know that half of his arguments are stretching it and the other half are redundant, but he's going to talk and talk and talk libertarian politics until your eyes glaze over and you stop disputing his points because frankly, you're bored of the whole argument and wish that it had ended months ago. The entertainment value is minimal and the annoyance factor increases exponentially with every minute.
His story begins with his break-up with his girlfriend, Sook-yin. He continues to live with her and her new boyfriend and though he doesn't seem bothered by jealousy, he does decide he needs sexual companionship so he begins looking into finding a prostitute. We follow him as he has his first encounter. We learn with him about the business--incalls vs. outcalls, pimps, tipping, rating websites. We hear his discussions with his friends as he becomes more vocal about his understanding of prostitution and the reasons it should be legalized. It is an interesting journey.
Of course, I expected to find this interesting because I agree with the concept that prostitution should be legalized, though I discovered that we differ on certain aspects; for example, I feel it should be regulated and taxed. And I was left wondering if Mr. Brown is the best spokesman for the issue since he does come across as a bit odd, particularly in his relationships. I've already mentioned his contentment at living with his old girlfriend and her new boyfriend. There's also the fact that he ends his story in a long-term relationship with a prostitute who he continues to pay even though they're in an exclusive partnership. It's not that I feel these things are wrong. They are just atypical.
And I'm not the only one who thinks so. Make sure to read the appendices and notes at the end of the book. In particular, read appendix 23, "Seth's Notes". Seth is a friend of Mr. Brown's who comments on the scenes in which he appears. It spoke very closely to the feeling I had about the author as I read this book. As Seth writes: "The truth is, Chester seems to have a very limited emotional range compared to most people...That said, he is also the kindest, gentlest and most deeply thoughtful oddball I know." It's well said, as are many of the things it this book.
Unlike most of his past autobiographical works, this time there is a very obvious message beyond the "this is a story from my life I want to try and move other people with" theme. He's grown into a point-of-view he is very adamant about--and he wishes to not only document his experiences, but to also attempt to sway others' opinions with this work. Often, this leads to the most powerful autobiographical works...and this book is certainly in that category.
I won't go into the whole debate of whether I feel Brown is right or wrong about the subject of sex-for-money. My opinion doesn't really matter in regards to YOUR reading this book--what matters is where YOU land, after reading Mr. Brown's rationale and arguments for his beliefs. But, regardless of what your view of sex-for-money--before or after reading this book--I believe it's a worthwhile, thought-provoking read for delving into the reasons behind Brown's convictions.
Unfortunately, my only criticism of the book would have to be the art. I discovered Chester's Brown's work back in the early-to-mid 1990s, during the last few issues of his comic book, Yummy Fur. This was during the period of Yummy Fur where he was branching into autobiographical subjects after spending the first 18 issues on the very surreal, fictional Ed the Happy Clown storyline. But it wasn't the autobigraphical stories that made me buy my first issue--it was the back-up story, which was an illustrated adaptation of the New Testament. I was absolutely enthralled with the artwork. Brown took the New Testament and threw his own unique visuals into his adaption. Many of the characters were weird, creepy, often ugly...but always visually captivating. I quickly bought all the back issues of Yummy Fur (from which I then learned to appreciate both his surreal stories and his autobiographical), and even suffered through his disappointing Underwater comic for the sake of the amazing New Testament back-ups. The point of all of this is, with the start of Underwater, Chester Brown's artwork morphed slightly. While his art was still similar to his older style in most regards, he started drawing people's faces--both fictional and real people--much more simplistic and trite. Gone were the uniquely bizarre, expressive faces...in were relatively non-distinct faces.
This art style continued in Louis Riel and, unfortunately, in Paying For It. I still enjoyed the story in Paying For It and, other than the faces, the art was still enjoyably "Chester Brown" (which is why it didn't impact my 5-star rating)...but I miss the quality and uniqueness his faces used to possess.
The book cover design, however--which I assume was Mr. Brown's work, since the style is so unique to his projects--was beautifully done. The dustjacket was nice but, once I removed the dustjacket and saw the design on the dustjacketless hardcover, I was blown away. Rarely is the actual hardcover of a book more elegant that the dustjacket--but this is one of those exceptions. Brown and Drawn & Quarterly took great steps to produce a high quality design with this book's cover!
[On a note not relevant to this review of Paying For It--but in the off chance Mr. Brown or one of his friends/associates read these reviews--it's my hope Brown will one day return to his more expressive facial art style...and that he'll finally continue/complete his illustrated venture into the New Testament. His autobiographical material is always excellent, but his New Testament adaptations were simply astounding.]