People who are socially awkward often suffer from a sense of being alienated and not wanted – particularly in environments that are new to them. Most people experience this on some level but it's more acutely felt by certain people. It's difficult to know whether these feelings are self manifested or if this rejection comes from being different and not conforming to common social behaviour. At the start of Drnaso's latest graphic novel, we get snapshots of several such individuals who feel isolated in different ways. They come together in response to a general ad for an acting class which is described as a “unique opportunity” that is seemingly more about building self confidence than training to become a professional actor. The class is lead by John Smith, an affable man with a disturbingly commonplace name. He asks for no payment for the first set of classes and though his motives seem purely altruistic at the beginning his plans for these students become increasingly mysterious. Through a series of scenes which switch between these individuals' outside lives and acting prompts performed in class the line between reality and artifice becomes worryingly blurred. The story raises poignant questions concerning what constitutes an authentic self and the degree to which socialising inhibits or enhances self expression.

Any book that immediately gives short introductions to a wide cast of characters poses a challenge to the reader to remember and keep track of who all these people are while experiencing the story. This difficulty is increased by Drnaso's drawing style where many of the characters appear quite similar to each other. However, this isn't a criticism as this aspect of the book enhances the story's themes which probe the nature of individuality and whether our personalities are innate or self-created. The unsettling anonymous effect is somewhat similar to the film 'Anomalisa' where animated facial features and voices are disturbingly uniform. Naturally, as “Acting Class” continues the identities and personal histories of these characters become clearer as information is revealed through their interactions with each other. We also get a better sense of how these characters variously conceal, evade or manipulate when conversing with others. Equally, their insecurities and earnest desires to be good people spill out as they struggle to connect.

It's visually striking when the characters are acting in a scene and suddenly the background behind them will change from one panel to the next to show an entirely new environment to fit the imaginary space they're inhabiting. This feels like a playful commentary on the way in which we sometimes feel like we create our own reality. As these individuals improvise scenes the characters and situations they invent are naturally inspired by real life and disturbing things sometimes emerge. I enjoyed the ambiguity and discomfort of the moments where the other characters aren't sure if their acting partner is still acting or confessing something true. It explores the degree to which this occurs in real life where constructed social identities break down and real feelings emerge. One of the most poignant relationships in the novel is between a couple who are struggling to maintain their relationship and strategise to reignite the spark by starting over as if they're strangers. It reminds me of the protagonists of Vesna Main's “Good Day?” where a couple write a novel about a couple. Drnaso shows how certain tensions remain even when a long term relationship is reset as if they are meeting for the first time.

The central question of this novel revolves around the choice between fully inhabiting reality or committing to an imagined narrative. This is dramatically represented in a dilemma as the participants engage in a final immersive exercise. Naturally, the line between experience and the imagination is much more blurred in our day to day existence and Drnaso's amplifies the crisis to create an impactful and eerie effect. I found it very moving how the story plays out as the characters become lost in hostile landscapes of their own creations. As in his previous graphic novel “Sabrina”, Drnaso skilfully interjects small visual elements into certain panels such as tiny colourful stars or a frame around the panel which suggest there are deeper emotional changes occurring beneath the surface of certain scenes. It's also impressive how the themes of the novel build to such a degree where panels which show barely anything can become so emotionally charged. This novel is a striking and impressive meditation on the tension between being and becoming.

I’m surprised that some people have found it so controversial that a graphic novel has been longlisted for the Man Booker Prize. I don't believe there's ever been any rules in the prize's guidelines saying a graphic novel can't be submitted and if none have been listed for the prize before I can only assume that publishers haven't submitted many in the past since they are only allowed to submit a very limited number of books. It feels like there's been an elitism and snobbery expressed by some who don't believe graphic novels are as great an art form as pure prose fiction. I get the point if people feel that reading a graphic novel is a totally different experience from reading a novel composed entirely in prose, but I think it's great that the prize is challenging people to read different forms of story telling and it might introduce some to an entirely new genre. I've certainly not read that many graphic novels before, but have really appreciated ones by Art Spiegelman, Alan Moore/Melinda Gebbie, Howard Hardiman and Chris Ware. So I'm glad the prize has introduced me to Nick Drnaso's work because I found “Sabrina” to be quite a powerful and bracingly melancholy read about current American society.

A woman named Sabrina has gone missing. The novel focuses on the lives of Sabrina's sister Sandra and her boyfriend Teddy as they try to deal with her sudden absence and the aftermath when the shocking truth of what happened to her is revealed. The drawings which accompany the dialogue and text are very understated in how they convey the scenes with little detail or facial expressions in the characters. In the context of the story this has the odd effect of imbuing them with even more emotion because its all submerged and the characters are stuck in a state of inaction/confusion. Many of interior and outdoor spaces portrayed are also very muted or stark as if the environment is just as barren and sombre as the characters who are dealing with their grief. The conversations are clipped and awkward as the well meaning people in Sandra and Teddy's lives try to console them. All this evokes a tone of stripped down emotion as the characters are surrounded by a jaded society that's become accustomed to a bombardment of horrific news and a culture rife with conspiracy theories. Ironically, the only colourful and busy images in the book are reproductions of scenes from children's activity books which suggest a world of motion and light that's in stark contrast to the inertness of reality.

The story also involves a man named Calvin who takes his old friend Teddy in and tries to help him deal with his sudden loss. Calvin works in computer security for the US military and is trying to formulate a plan to relocate so he can be closer to his ex-wife and daughter. While his actual job doesn't involve any combat he spends his time out of work playing video games with his colleagues that simulate military battles and he keeps guns locked away in his house so that he's “well-protected if anyone tries anything.” This combined with radio broadcasts and disturbing threatening letters sent to Sandra and Calvin suggest how society has become so consumed with paranoia about intangible threats. But the only threats that are actually portrayed in the stories are the ones which come from within when the characters are under so much anxiety that they appear to contemplate harming themselves or others. As part of his job, Calvin must routinely fill out a medical evaluation survey which is designed to gauge his mental health. While his stress levels fluctuate in his answers portrayed on these forms throughout the book he never admits to thoughts of depression or any personal circumstances which might affect his duties. Why would he when he knows it would risk his employment and possible promotion? So it gives the feeling that there are structures in place to try to support people's emotional health, but in reality little attention is given to the intricacies of their wellbeing.

Small details in the drawings poignantly portray the fraught condition of these character's lives. For instance, Calvin and Teddy basically live off from fast food and its highly suggestive how Calvin often brings home bags with a smiling star on them which could stand in for any generic fast food brand but which you know won't provide them with much nourishment. Also, nighttime or nightmare scenes are drawn in such a way that evocatively invoke a sense of space where the characters are wrestling with the unwieldy complexity of their feelings. While the overall tone of the novel is quite dark and sombre there are some lighter moments as well in the form of a slanket which Calvin has become accustomed to wearing or a vending machine at work which breaks down so much it's become an office gag. There are also many moments of simple kindness shown throughout the story which gives a hopeful sense for our ability to be our best selves in situations where we aren't so physically removed from each other. Running alongside the story of Sabrina's disappearance is that of Calvin's cat who vanishes without the characters noticing. This neglect parallels with the way Calvin has become so estranged from his daughter that his ex-wife tells him not to bother attempting contact anymore. It suggests how we can sometimes be careless about the things and people that matter to us most until we suddenly realise we've lost them for good.