Review: Building Stories

87 billion novels in one.

It is polite, when reviewing a work of fiction, to not spoil the ending too thoroughly. Which is problematic when it comes to discussing Chris Ware's newest work Building Stories, his first full-length publication in over a decade. The graphic novel ships as a box of 14 assorted pamphlets, books, broadsheets and one cardboard screen (resembling, deliberately or not, the thing a Dungeon Master hides behind during a particularly intense game of Dungeons and Dragons), which can be read in any order – the book has no deliberate beginning or end.

That means that what I experienced as the climax of the novel – a wordless overview of four scenes, showing the interconnections between all the characters whose stories I had read up to that point – may for someone else be the opening, allowing them to understand the broad strokes of the characters' relationships before going deeper into their personal stories. And so the story becomes personalised, each reader experiencing a materially different book.

Quick back-of-the-envelope mathematics suggests that there are over 87 billion possible orders in which to read Building Stories, and some of them will inevitably be less successful than others. I pity the person, for instance, who finishes the book with the two "Branford, the Best Bee in the World" sections, which are charming, if odd, tales of a bee who bucks the rules of his hive and goes out searching for pollen himself. Despite being visually interesting, and a clear call-back to Ware's own love of the newspaper cartoons of his childhood, the stories are only very tangentially connected to the bulk of the novel.

As well as the Branford sections, there are a few smaller pieces which are little more than vignettes – short passages showing moments in the life of the protagonist, a woman from Chicago who is the focus of around half the pieces. By having these float freely in the order, rather than ensuring that they are read around the middle of the book, Ware runs the risk that some readers will end up reading them too early, when they would be largely incomprehensible, or too late, when they would dampen the drive of the story.

But for all the pitfalls, the freedom of this book is exhilarating. The knowledge that your last read could be someone else's first forces you to reconsider everything. This is the first book which I have finished and immediately started again, wanting to experience each of the stories with full knowledge of what happens in the rest.

The inventiveness is not limited to the book's form. Its artwork is finely detailed, with even the standard-sized pages containing two or three-times as many panels as you would expect from a more conventional graphic novellist. But it also shows an artist who has become far more comfortable working at a large scale. One of the pieces, an A1-sized broadsheet, opens with a single panel, taking up two-thirds of the page, depicting just a tree-lined suburban street. It gives the reader a rare moment to breathe and take in the scene. 

The number of narrative techniques Ware uses in the novel is giddying. Wordless, diagrammatic pieces show the interplay between the lives of four people (and a bee) sharing a Chicago townhouse; another presents the events of single day, written from the point of view of that same building; another mimics multiple newspaper cartoons. In nearly all of them, he pushes the art forward, presenting not just pastiches of other forms, but whole new ways of writing. Building Stories is a stunning piece of work, proving yet again why Ware is so frequently included in lists of the greatest living cartoonists. 

Building Stories is published on 4 October, £30.00, by Jonathan Cape

A self-portrait by Chris Ware. Image courtesy of Jonathan Cape

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

Home Alone 2: Lost in New York
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The best film soundtracks to help you pretend you live in a magical Christmas world

It’s December. You no longer have an excuse.

It’s December, which means it’s officially time to crack out the Christmas music. But while Mariah Carey and Slade have their everlasting charms, I find the best way to slip into the seasonal spirit is to use a film score to soundtrack your boring daily activities: sitting at your desk at work, doing some Christmas shopping, getting the tube. So here are the best soundtracks and scores to get you feeling festive this month.

A Charlie Brown Christmas (1965)

Although this is a children’s film, it’s the most grown-up soundtrack on the list. Think smooth jazz with a Christmas twist, the kind of tunes Ryan Gosling is playing at the fancy restaurant in La La Land, plus the occasional choir of precocious kids. Imagine yourself sat in a cocktail chair. You’re drinking an elaborate cocktail. Perhaps there is a cocktail sausage involved also. Either way, you’re dressed head-to-toe in silk and half-heartedly unwrapping Christmas presents as though you’ve already received every gift under the sun. You are so luxurious you are bored to tears of luxury – until a tiny voice comes along and reminds you of the true meaning of Christmas. This is the kind of life the A Charlie Brown Christmas soundtrack can give you. Take it with both hands.

Elf (2003)

There is a moment in Elf when Buddy pours maple syrup over his spaghetti, washing it all down with a bottle of Coca Cola. “We elves like to stick to the four main food groups,” he explains, “candy, candy canes, candy corns and syrup.” This soundtrack is the audio equivalent – sickly sweet, sugary to an almost cloying degree, as it comes peppered with cute little flutes, squeaky elf voices and sleigh bells. The album Elf: Music from the Motion Picture offers a more durable selection of classics used in the movie, including some of the greatest 1950s Christmas songs – from Louis Prima’s 1957 recording of “Pennies from Heaven”, two versions of “Sleigh Ride”, Eddy Arnold’s “Santa Claus is Coming to Town” and Eartha Kitt’s 1953 “Santa Baby”. But if a sweet orchestral score is more your thing, the Elf OST of course finishes things off with the track “Spaghetti and Syrup”. Just watch out for the sugar-rush headache.

Harry Potter (2001-2011)

There are some Christmas-specific songs hidden in each of the iconic Harry Potter scores, from “Christmas at Hogwarts” to “The Whomping Willow and The Snowball Fight” to “The Kiss” (“Mistletoe!” “Probably full of knargles”), but all the magical tinkling music from these films has a Christmassy vibe. Specifically concentrate on the first three films, when John Williams was still on board and things were still mostly wonderful and mystical for Harry, Ron and Hermione. Perfect listening for that moment just before the snow starts to fall, and you can pretend you’re as magical as the Hogwarts enchanted ceiling (or Ron, that one time).

Carol (2015)

Perhaps you’re just a little too sophisticated for the commercial terror of Christmas, but, like Cate Blanchett, you still want to feel gorgeously seasonal when buying that perfect wooden train set. Then the subtly festive leanings of the Carol soundtrack is for you. Let your eyes meet a stranger’s across the department store floor, or stare longingly out of the window as your lover buys the perfect Christmas tree from the side of the road. Just do it while listening to this score, which is pleasingly interspersed with songs of longing like “Smoke Rings” and “No Other Love”.

Holiday Inn (1942)

There’s more to this soundtrack than just “White Christmas”, from Bing Crosby singing “Let’s Start The New Year Off Right” to Fred Astaire’s “You’re Easy To Dance With” to the pair’s duet on “I’ll Capture Your Heart”. The score is perfect frosty walk music, too: nostalgic, dreamy, unapologetically merry all at once.

The Tailor of Gloucester (1993)

Okay, I’m being a little self-indulgent here, but bear with me. “The Tailor of Gloucester”, adapted from the Beatrix Potter story, was an episode of the BBC series The World of Peter Rabbit and Friends and aired in 1993. A Christmastime story set in Gloucester, the place I was born, was always going to be right up my street, and our tatty VHS came out at least once a year throughout my childhood. But the music from this is something special: songs “The Tailor of Gloucester”, “Songs From Gloucester” and “Silent Falls the Winter Snow” are melancholy and very strange, and feature the singing voices of drunk rats, smug mice and a very bitter cat. It also showcases what is in my view one of the best Christmas carols, “Sussex Carol.” If you’re the kind of person who likes traditional wreaths and period dramas, and plans to watch Victorian Baking at Christmas when it airs this December 25th, this is the soundtrack for you.

Home Alone (1990-1992)

The greatest, the original, the godfather of all Christmas film soundtracks is, of course, John William’s Home Alone score. This is for everyone who likes or even merely tolerates Christmas, no exceptions. It’s simply not Christmas until you’ve listened to “Somewhere in My Memory” 80,000 times whilst staring enviously into the perfect Christmassy homes of strangers or sung “White Christmas” to the mirror. I’m sorry, I don’t make the rules. Go listen to it now—and don't forget Home Alone 2: Lost in New York, which is as good as the first.

Anna Leszkiewicz is a pop culture writer at the New Statesman.