A big part of what makes Nicole Georges’s Calling Dr. Laura an excellent read is that Nicole Georges is a neat, weird human. She loves dogs, rescues chickens, works as a karaoke DJ, and makes badass needlepoint –at one point, she channels her complex emotional response to a long-coming breakup (the reader senses it coming long before the character comes to terms with its inevitability) into a wall hanging that reads “tell that triflin bitch she can have you,” which is accompanied by a cross-stitched zebra. I am personally in love with the protagonist’s overall aesthetic, which probably makes me a fairly biased reader. As you can see from the image above, however, the text operates in a style that is potentially appealing to many- there are generally clean lines and shapes, along with detailed character depiction. In some frames, the use of lighting to texture hair (you can see it here, but there are some frames that center the effect more) gives a strong realist quality to the text, along with good depth of image. What I’m most interested in is Georges’ decision to move between the more realist style pictured above, and a flatter, more cartoony style. For the majority of the text, the switch in styles parallels a switching in timelines between the present moment and the narrator’s (traumatic) past. Towards the end of the text that line is muddied, and the switch seems to have more to do with trauma itself, or perhaps a certain kind of working-through. It is worth noting, I think, that this text is memoir, and while I highly recommend it, it is also very personal, so might not be ideal for every reader.