By Ed Brubaker, Sean Phillips, Jacob Phillips
“What if drugs help you to find the thing that makes you special?”
Ellie and Skip meet in the group therapy sessions at the addiction clinic they’ve been committed to, one of those “circle of truth” approaches many therapists seem to love and pretty much everyone else hates. And like many such groups, the “true” stories the patients are made to share are frequently less true than the therapists would like to think – addicts and their ability to lie to suit their circumstances are an integral part of this tale; you really can’t trust what they say about themselves, their past, their motivations.
Which offers up the reader a pretty interesting dilemma – we’re presented with these oh-so-young characters, and we can’t entirely trust what we learn about them. While that is quite a clever device for generating suspense and intrigue for the reader (no god-like narrator who tells the reader everything, we have to take bits and pieces and try and decide which are true), it could also have been a problem. After all, if you can’t be sure what the characters are really like, how can you start to buy into them, empathise with them?
It’s an approach which could alienate the readers, but this is Brubaker and Phillips we’re talking about, and they take that potentially double-edged approach and use it quite brilliantly; despite, or perhaps even because we can’t trust their accounts of themselves I found these characters utterly irresistible.
To begin with this feels like the classic star-crossed lovers, a young woman, a young man, pushed together by unusual circumstances, bonding not just through their shared youth but the confinement and the rules of the sanatorium, chafing at them, leaving them eager to strike out against those rules and authority figures. Romeo and Juliet by way of One Flew Over the Cuckoo’s Nest. Those rebellions start small – stealing the head doctor’s cigarettes while she is being lectured (a nice touch, the person telling her how to beat her addiction and how wrong it is to indulge thinks nothing of puffing away on her own addictive thrill while doing so), sneaking out of the building at night to smoke, talk, to make out. Romance and an up-yours to the authority figures at the same time.
This is beautifully handled – Phillips brings just perfect little touches to the visuals, such as a close up on Ellie’s face during the group therapy, her inner dialogue contrasting with what is being openly said in the group session, her gaze catching Skip’s as someone else talks, the expression just perfectly rendered, an elfish, knowing smirk that captures in a single panel how she’s feeling at that moment (as she admits to being a bad influence and having no plans to change), then the following visual interchange between them as the group and therapist continue unaware.
That rebellion will grow, however – sure, these are young lovers, full of screw-you attitude, and it is easy to go along with their joie-de-vivre, to hell with the consequences approach. There’s always something intoxicating about that youthful rebellion and we-know-better-than-everyone pose. Except we know there are consequences, and, as noted earlier, these are addicts, we can’t entirely trust their motivations or their life stories. Not everything or everyone is what they seem here, and there will be some revelations, some may not be what you might imagine, although I shall say no more on that front for fear of spoilers.
“I guess Billie Holiday is where it started.”
Threaded through all of this is a love of music, of how important music is in many of our lives, how sometimes it feels like a singer has written those lyrics just for us, the soundtrack to moments of our lives. And particularly here so much of the music Ellie loves was created by performers who struggled with addiction. There is a morbid sort of glamour to that, and come on, any of us who love music know that, we’ve felt it – actually we’ve felt it not just with music but with poetry, prose, pretty much every artform humans have crafted has been touched by those who have indulged, many argue for the better.
There are shades of the late, great Bill Hicks here on his stand-up diatribe on the War On Drugs, where he acknowledges the damage drugs can do but also notes how nobody picks up on the other side of it, like the stunning music that came out of some of that psycho-chemical experimentation, the old kicking open the Doors to Perception. There’s a fascination, even a sort of sick romance about all of that, especially tied to that spirit of youthful rock’n’roll rebellion, most of us have felt it, maybe even flirted with it even if just in imagination while blissing out to that music. Ellie tells the therapist as much when it is her turn to talk in the group sessions.
Like Welsh’s Trainspotting though, this book doesn’t glamorise drug use. It shows the mess it can and does make of lives, but it also, like Trainspotting, shows the highs and why they are so attractive – addictive. My Heroes Have Always Been Junkies doesn’t get on the soap-box to preach condemnation, nor does it paint that lifestyle as overly romantic, it mixes both, showing that just like everything else in our lives the positive and negative aren’t always clearly separated, they can be messy, intertwined. That theme is in itself attractive and compelling, but here it is just the garnish to an engrossing story, with shifting sands beneath the changing characters that draw you in deep.
It’s simply brilliant. And you’re really, really going to want to make a good playlist to go along with your second reading. I’m starting with some Billie…
• My Heroes Have Always Been Junkies is available now from Image Comics in all good physical and online book and comic shops
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