Download PDF Requiem of the Rose King, Vol. 9, by Aya Kanno

Download PDF Requiem of the Rose King, Vol. 9, by Aya Kanno

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Requiem of the Rose King, Vol. 9, by Aya Kanno

Requiem of the Rose King, Vol. 9, by Aya Kanno


Requiem of the Rose King, Vol. 9, by Aya Kanno


Download PDF Requiem of the Rose King, Vol. 9, by Aya Kanno

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Requiem of the Rose King, Vol. 9, by Aya Kanno

Product details

Series: Requiem of the Rose King (Book 9)

Paperback: 192 pages

Publisher: VIZ Media LLC; Translation edition (November 13, 2018)

Language: English

ISBN-10: 1974702251

ISBN-13: 978-1974702251

Product Dimensions:

5 x 0.7 x 7.5 inches

Shipping Weight: 5.6 ounces (View shipping rates and policies)

Average Customer Review:

4.7 out of 5 stars

4 customer reviews

Amazon Best Sellers Rank:

#316,582 in Books (See Top 100 in Books)

I love Kanno Aya! Her work is always unique! Always looking forward for the next volume. O-M-G!! That last chapter got feeling a lot. It's getting hot in here!

Love this manga

Aya Kanno's REQUIEM OF THE ROSE KING is a marvelous achievement. In this episode (vol 9), her skill is still at the high level shown in the earlier volumes.As other reviewer(s) note, what happens here roughly correlates with the events in Act I of Shakespeare's play "RICHARD III", specifically the fall and execution in 1478 of George, Duke of Clarence, older brother of Richard and younger brother of King Edward IV. But there is a great deal more here than in "RICHARD III", Act I. Unlike Shakespeare, she skillfully uses some of the historical events of George's self-destructive behavior and bungling attempts to undermine Edward IV. Shakespeare makes Richard the universal villain, the inhuman monster incapable of sympathy or heart-break or kindness, who murders innocent harmless George simply because he is in the way of Richard's ascent; factual history presents George as the cause of his own destruction, with Richard having little if anything to do with it. But Kanno subtly combines elements of both: she does it very imaginatively: George is his own worst enemy, but there are deeper political plots, spiritual and psychological currents that are moving Richard to view George's semi-treasonous bungling as too serious to tolerate and to use it to "protect the House of York". Raw naked ambition in Richard is masked, even from himself, so that he sees himself as serving the House of York: a kind of image-projection of his subconscious giving himself to a ghost-father, a ghost-king: his father Richard Duke of York who had died in battle eighteen years earlier, spiritually in tune with his youngest son, as if they were inside each other. The ghost of Jeanne d'Arc seems no longer present; she was driven away by the ghost of his father.I love the way she has picked up (in volume 8 as well as this volume 9) on Shakespeare's Richard's denunciation of Jane Shore as a "witch", and made her just that: a subtle and fascinating witch. It blends in beautifully with Richard's mother-induced terrors of being lost in the dark woods and eaten by the forest-witch. She also connects it very aptly with the wild charges (in history) of George that his wife, Isabella, was killed by witchcraft; here, and in the previous REQUIEM (vol. 8) Aya Kanno weaves witchcraft (all the witches are women! - men are excluded) into Isabella's life; and Isabella's servant woman, who is her agent in that, gets misdirected by the sinister and powerful witch Jane Shore, now encircling with witchcraft and sexual madness King Edward IV who has taken her as mistress. Kanno does a fascinating 'joining-up-the-dots' here.She has developed a theme for which the modern-day partisans of Richard (the Richard III Society, and others) will love her: making the Duke of Buckingham into Richard's evil genius. Yet she is not thereby turning Richard into a nice guy, an innocent misled by Buckingham.in this and in the last three volumes, going back at least to the death of the Earl of Warwick at the Battle of Barnet 1471, the emotional intensity she creates is amazing. At times, it's as much as I can take (!).We are given a lot of Richard's tortured inner life: but in chiaroscuro artistic fashion - there are lights, then shadows, then brief flashes that seem to say an enormous amount but are so brief and fleeting that the reader is left in an agony of suspense, a tantalized ecstasy as to what we are being shown: even down to wondering who said what, and was it said aloud or in his dark soul. In Shakespeare's RICHARD III, Richard is a villain, pure and simple: he is not a tragic figure, like Macbeth, but one for whom it is impossible to feel sympathy. For the modern partisans of Richard III, he is a hero: a product of his time, no doubt, no better than many, but no worse either, and one whose incredibly courageous last stand cannot but elicit admiration. Kanno's Richard is neither villain nor hero: not a hero, since the darkness has a big part of him, yet not a villain either, for her presentation of him powerfully draws our sympathy. Her portrayal of him does not "fall between" the other two: it's something quite unique and creative.In volume 8, the one preceding this, it was hard to connect to a Richard who was presented as utterly soul-dead, coldly distant from his wife and child. But here, his soul is stirring again, though in darker ways than earlier. The denial of his body, the tortured complexities of his fears and loves, still exert fascinating power. Apart from his father and namesake, Richard Duke of York, anybody Richard moved towards loving seemed to turn on him and view him as evil; and those who loved him (whether Edward of Lancaster, or Catesby) were unable to get through to him.What Kanno presents us is a tale that is brutal, dark, terrible, and violent: and yet flowing through it all too is longing for acceptance, to painful degree. All that comes instead is Death, as Richard inwardly acknowledge: Aya Kanno has made him, as philosopher Martin Heidegger might put it, a "Being-towards-Death". She has made him so in ways that evoke pity and terror. I am very familiar with Shakespeare's and history's Richard. But plumbing the depths of the Richard she presents still takes me several readings, so rich, dark and deep is that which she gives.

Aya Kanno continues Shakespeare's version of Richard III's life and stays fairly close to that version. In this volume, we have Richard, Duke of Gloucester, still broken over the death of Henry and single-minded in his drive to protect the throne of England. He is even willing to take out his brother in that pursuit - but the secret of his body is starting to become known and those who are looking to manipulate him for their own power will need to take matters in their own hand to protect 'their' king from exposure and ridicule.Story: George, brother to the King and Richard, has become unstable after the loss of his wife Isabelle. Through Buckingham's machinations, Richard comes to the understanding that George is a danger to the stability of the throne. While the King may not do anything against his own brother, Richard can and will. Carefully manipulating the situation around both George and the King, Richard makes each feel he is in their corner as he skillfully gets them to do his bidding. George isset up to make treasonous statements, then arrested and executed. The execution is made to look like a suicide to further drive the king mad as well since he feels he has made a mistake in not forgiving his brother.Of course, much of what was in Shakespeare's historical works of this era have pretty much been proven to be incorrect - a Tudor revisionist history to please King James or Queen Elizabeth. But Aya Kanno can have fun with the Shakespeare version since there is so much intrigue, plotting, and especially underlying supernatural elements. I'd advise against looking up how these characters really looked like in historical paintings since it can be jarring.Of course, Kanno's take on Richard's 'deformity' was written before his body was found in Leicester - so she could have a lot of fun imaging Richard as intersex rather than Shakespeare's hunchback. We know neither was the case but it still makes for a great story.The art is, as always, a treat. Beautifully drawn and full of action. I do always recommend following Wikipedia on the actual events to make the story easier to follow. There are a lot of characters, many of whom share the same name, so it can get confusing at times. But in all it is still an engaging look into the War of the Roses and the events that lead to the Tudors taking the throne. Reviewed from an advance reader copy provided by the publisher.

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