The Sandman Vol. 1 - second hand

From breathtaking stop-action animation to bittersweet modern fairy tales, filmmaker Tim Burton has become known for his unique visual brilliance – witty and macabre at once. Now he gives birth to a cast of gruesomely sympathetic children – misunderstood outcasts who struggle to find love and belonging in their cruel, cruel worlds. His lovingly lurid illustrations evoke both the sweetness and the tragedy of these dark yet simple beings – hopeful, hapless heroes who appeal to the ugly outsider in all of us, and let us laugh at a world we have long left behind (mostly anyway).

Argen­tine author Marce­lo Bir­ma­jer uses his recur­ring char­ac­ter, Javier Mosan, to present a com­pli­cat­ed polit­i­cal tale with roots in his country’s trou­bled past. Mosan, a jour­nal­ist who does his best to avoid writ­ing sto­ries, spends a great deal of time indulging in sex­u­al fan­ta­sy. When his edi­tor asks him to inter­view Elias Traúm, an Argen­tinean who now lives in Israel, he thinks that it is just anoth­er rou­tine assign­ment. Traúm and two dead friends were known as the  “three mus­ke­teers” when they fought in the left-wing Per­o­nist guer­ril­la group, the Mon­toneros. Javier goes to the air­port to meet Traúm and ends up get­ting a severe beat­ing. Traúm is kid­napped. He is lat­er dumped by the side of the road and, Javier, relieved to learn that they both sur­vived, finds him­self drawn to the account of Traúm’s past despite orders from his edi­tor to drop the sto­ry. Read­ers who enjoyed Nathan Englander’s The Min­istry of Spe­cial Cas­es will find this com­pelling, too. It pro­vides insight into the world of Argentina’s Jew­ish com­mu­ni­ty as well as a top-notch con­spir­a­cy plot.