Ranked #47 on Rolling Stone's "50 Best Non-Superhero Graphic Novels"
Praised by The New York Times, Brill's Content and Publisher's Weekly, Safe Area Gorazde is the long-awaited and highly sought after 240-page look at war in the former Yugoslavia. Sacco (the critically-acclaimed author of Palestine) spent five months in Bosnia in 1996, immersing himself in the human side of life during wartime, researching stories that are rarely found in conventional news coverage. The book focuses on the Muslim-held enclave of Gorazde, which was besieged by Bosnian Serbs during the war. Sacco lived for a month in Gorazde, entering before the Muslims trapped inside had access to the outside world, electricity or running water. Safe Area Gorazde is Sacco's magnum opus and with it he is poised too become one of America's most noted journalists. The book features an introduction by Christopher Hitchens, political columnist for The Nation and Vanity Fair.
The new Seventh softcover printing (2008) features an all-new cover design by Adam Grano.
2001 Eisner Award WINNER: Best Graphic Album - New
#60, Top 100 of the 00s, Comicdom
"Joe Sacco is a unique figure in modern comics: there is no one else who combines sheer cartooning chops with a newspaper reporter's sensibility and instincts in quite the same way. ... Safe Area Gorazde [is] an especially powerful document of the effects of war." – Ed Howard, "The Best Comics of the Decade," Only the Cinema
"Harrowing and bleakly humorous, Sacco's account of life during the Balkan conflict is a timeless portrait of ordinary people caught in desperate circumstances. It's also a work of genius in an unlikely genre: journalism in comic book form." – Utne Reader
"Sacco's detailed, personal reporting captures his subject matter more convincingly than photographs or Christiane Amanpour." – Time magazine
"[Demonstrates] how brilliantly comics can serve as reportage." – The New York Times
"Graphic in every sense of the term, Sacco’s account of everyday life in a city under siege puts one of the twentieth century’s least understood catastrophes in perspective; it’s the best argument around for comics as a journalistic medium." – GQ