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There are many fine touches in Lennon's tale: the sad, chain-smoking brother Pierce, who takes pills to get rid of the "extra people"; their town's annual FunnyFest, in which visitors can buy Timburgers and Coca-Cola à la Carl; Brad Wurster, the grim-faced artist who teaches Tim how to draw ("'Family Funnies' sounded, on his tongue, like a fraternal order of concentration camp doctors"). But in the end, it's the funnies themselves that stay with you. As Tim works obsessively on the strip, its stylized visual language and bland gags eventually become an object of genuine, capital-M Mystery--weirdly compelling and symbolically fraught. In its own, stubbornly shallow way, the strip is a document of their family, or at least of their father's self-loathing. "Cartoon characters are deformed freaks we are convinced are like us," Wurster tells his reluctant pupil, but in Lennon's hands, it's the American family that looks more freakish than ever. You'll never look at the Sunday comics in quite the same way again. --Mary Park
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