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Philosophe, essayiste, romancier, Gaspard Koenig a multiplié les expériences et les voyages pour mettre ses idées à l’épreuve du réel. La Désobéissance du radis en est le fruit : une traversée philosophique et personnelle à travers les grands principes qui façonnent nos sociétés, et qui doivent s’articuler aujourd’hui avec la question écologique.Aux côtés du dessinateur Étienne Appert, Gaspard Koenig signe un essai graphique aussi singulier que nécessaire, en mobilisant toute la puissance de la bande dessinée pour partager ses idées.Du cauchemar bureaucratique d’une société régie par les algorithmes aux utopies bien réelles du revenu universel, de la démocratie directe et de l’agroécologie, ce livre dessine une carte incarnée de la Liberté à l’heure où elle se perd, et du Vivant à l’heure où il s’effondre. Les radis comme les humains doivent désobéir !Avec un dispositif narratif original : un prologue intime, un voyage philosophique à cheval, puis une enquête dans le monde réel sur des expériences concrètes.
À l'occasion des obsèques de leur mère, Margot, Louise et Antoine se retrouvent dans la maison familiale : ils doivent gérer les funérailles mais aussi leurs émotions exacerbées et leurs souvenirs. Et si leur deuil passait par leur réconciliation ? Margot, Louise et Antoine se retrouvent en urgence dans la maison familiale : leur mère vient de succomber à une crise cardiaque. Ensemble, ils vont devoir trouver la force de s'occuper des obsèques et de la succession. Mais chaque objet éveille des souvenirs à l'un, réveille la jalousie de l'autre... Même dans une famille unie, chacun a ses blessures, ses rancœurs et ses douleurs. Ils devront s'ouvrir, pardonner et se pardonner pour commencer, chacun à sa manière, leur processus de deuil.
Ce récit autobiographique décrit une dispute virulente entre l’auteur préadolescent et son petit frère, Guillaume. Razmoh raconte comment, excédé par les incessantes provocations infantiles de Guillaume, il en vient à le frapper. Sans filtre, cette chronique explore le ressentiment propre aux relations fraternelles, capable de mener à un comportement violent. Marqué par cet épisode, Razmoh tente ici de restituer des émotions confuses, où immaturité et brutalité s’entremêlent. Dans ce récit, tout semble passer à travers le filtre comique du dessin. Le style outrancier, ainsi que l’usage de couleurs franches, participent à créer un univers volontiers caricatural. En déformant les visages, en exagérant les mouvements, les expressions, en bruitant tout de manière peu naturelle, l’auteur met en scène un véritable théâtre grotesque, qui donne corps aux émotions exacerbées de l’enfance : ennui, injustice, jalousie, jubilation et violence. La fin du récit prend une ampleur presque épique, soulignée par l’évocation de la célèbre valse de Strauss, associée à l’ouverture de « 2001, L’Odyssée de l’espace », qui vient clore en fanfare cette chronique intime. Un CoCo Comics qui devrait évoquer des souvenirs personnels à bien des lecteurs.
