The story is dreamy, cryptic, surreal, rich in atmosphere and enigmatic. His fourth book, The Cage, was the apogee of such thinking. The boovie is in essence a comic, with large graphic designs and minimal text. It exists in time, like the novel and the film, and in space, like the painting and the sculpture. Unlike certain other forms (painting) it is truly democratic for it is a multiple object available to all in the same form at the same price. It is not, any more, an abstract vehicle for ideas or feelings with no existence of its own, but a thing in itself. The book has been transformed into an object in its own right. The Boovie is primarily a visual experience. It is a new form, which, granted, like any new form owes something to those already in existence. The boovie: it is not a book, not a comic-strip, not a de-animated cartoon, not a scenario for a film. Boovie was a portmanteau word, as he later explained: Vaughn-James advertised Elephant as a ‘boovie’ in Canada’s Saturday Night magazine (1887 – 2005), for which he drew illustrations.
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