Imagine losing your sight, followed by your hearing, and having the one person closest to you abandon you through it all. That's what happened to Chong when she had an adverse reaction to a drug, resulting in her diagnosis of "TEN," or toxic epidermal necrolysis. This graphic memoir traces her journey from her onset of symptoms through her time of recovery llowing skin grafts, a coma, and a multitude of invasive procedures the present, in which she adapts her story for a variety of platforms. The work is intimate and unique, effectively conveying a broad range of emotions that follow the ups and downs associated with her starting a new way of life. The drawings are largely monochromatic with splashes of pale blue and sometimes erratic, intending to reflect the collaborative work of two artists, one partially blind and the other sighted. The expressive artwork, varying between loose, sketchy lines and clearer figures, makes a sharp distinction in time in this compelling, uncommon story. Readers interested in disability and/or graphic medicine will value this work.

The process behind this collaborative graphic memoir by Chong and Webber (Dumb: Living Without a Voice) is as noteworthy as its unusual illness narrative, even if the life lessons imparted by Chong don-t quite land. She is vacationing in Saint Martin with her roommate (and ex-boyfriend), Seth, and his family, when Chong has a severe reaction to a medication, leading to Toxic Epidermal Necrolysis syndrome, a coma, protracted and humiliating medical treatments, and scar tissue that causes visual and later hearing impairment. Seth abandons her as soon she is hospitalized. Her current boyfriend, Michael, who finds her after she is air-lifted to Toronto, is more responsible but still no prize. She finally confronts Seth, who oozes self-centered shame, and forgives him during a role-playing exercise in a healing workshop, an activity no doubt more satisfying for the participant than the reader. Chong finds artistic outlets, including stand-up comedy and developing this memoir, which she begins originally as a theatrical endeavor after surgery temporarily restores some of her sight. While uneven in character development, the artistic collaboration is thoughtful-Chong-s shaky and unfinished sketches alternate with Webber-s more professional renditions in firmer lines with teal shading. Webber-s own prior graphic memoir described losing her voice; the dance between their styles illustrates how artists with differing experiences and abilities can partner to make art that-s elevated by the experiment. Chong-s conclusion that -freedom is forgiveness- doesn-t resonate nearly as much as the work-s subtler implication, that freedom is resilience and teamwork. (May)