"Fantagraphics' Crumb project advances into wilder, woolier, scarier, more fantastic, and lewder and still lewder territory... This is definitely X-rated material — make that triple-X! — but it's brilliant, scabrously hilarious, absolutely basic to understanding the 1960s American counterculture, and authentically mind-blowing." – Booklist
"I guess I ought to be talking about my artwork in these introductions, but how th' hell can I talk about my own work?? What can I say about it? My pissant little fame had made my life so completely crazy by this time. Circa 1970 was such a weird time anyway... I'd rather brag about all the fun times I had with different women, kvetch about the craziness they put me through." – from the Introduction by R. Crumb
1991 Harvey Award Winner, Best Domestic Reprint Project
Robert Crumb enters the '70s with this, the sixth volume in Fantagraphics Books' all-inclusive reprint series. This includes a couple of genuine rarities (some of them so obscure they didn't even make the Crumb Checklist), as well as all of Crumb's work from Big Ass #1, Zap #4 (including the legendary, much-busted, X-rated "Joe Blow" teen incest strip), the remarkably offensive Snatch #3 and Jiz #1, the classic Despair, and the second issue of Motor City — classics all. The volume also includes a 16-page color section (with rare covers from the first three Gothic Blimp Works), a sumptuous cover by Crumb, and an insightful intro by the Man himself (no, not Stan Lee). Absolutely indispensible, and now back in print!
"…[A] fascinating treasure trove of an anthology... the book serves as the history of a movement." – Publishers Weekly
"This is altogether riveting stuff, a host of guerilla comics from so many different hands offering an astonishing variety of visual experiences." – Rich Kreiner, The Comics Journal
"Newave! is an astonishing collection... In an era when some cartoonists are learning how to create minicomics as part of a formal art education, Newave! should be a crucial text." – Rob Clough, The Comics Journal
"...[A] gorgeous, utterly essential document ... Newave! is not only an ideal package for such an anthology, it’s done an immeasurable service to the comics medium as a whole. Beyond that, it also just might realign your synapses… [Grade] A" – The A.V. Club
Fantagraphics’ 2010 Newave! The Underground Mini Comix of the 1980s was such an unexpected hit that it inspired this first of a two-volume set chronicling the art of the mini-comic from the late 1960s to present — The Treasury of Mini Comics.
The Treasury of Mini Comics charts the evolution of the art of mini comics over four decades of deliberate cartoon rebellion. This volume reproduces some of the best mini comics ever produced by some of the most creative DIY creators in the world (many of whom, of course, have gone on to become familiar names among contemporary comics connoisseurs): Leonard Rifas, Justin Green, Gary Arlington, Jim Siergey, Larry Rippee, Richard Krauss, Bob Vojtko, Par Holman & Clark Dissmeyer, Matt Feazell, Matt Howarth, Steve Willis, Ronald Russell Roach, Edd Vick, Bruce Chrislip, Brad Johnson, Tim Corrigan, Macedonio Garcia, David Miller, Colin Upton, Robert Pasternak, David Lee Ingersoll, Roberta Gregory, John Porcellino, Dylan Williams, Eric Reynolds, Molly Keily, Blair Wilson, Jim Blanchard, Chris Cilla, David Lasky & Jim Woodring, Marc Bell, Ron Regé Jr., Leela Corman, David Heatley, Laura Wady, Fiona Smyth, Karl Wills, Onsmith, Travis Millard, Mark Campos, Nate Beaty, Peter Thompson, Carrie McNinch, Mark Todd, Esther Pearl Watson, Andy Singer, Noah Van Sciver, Kelly Froh, Aaron Norhanian, Max Clotfelter, and Marc J. Palm.
In a do-it-yourself world, anything goes... boundaries are crossed, envelopes pushed, wounds opened. From the silliest fart or boob jokes to the most deeply felt “EMO” style poetry, mini comics creators have been uninhibited in their efforts to strive for something fresh, raw, and vital. The Treasury of Mini Comics is just as groundbreaking as Newave! was disseminating this creative work to a wider and appreciative public.
“Everybody Is Stupid Except for Me is as combative, iconoclastic, and embittered as its title suggests it would be. It is also smart, thought-provoking, and funny as hell. Disconcertingly, you’ll agree with at least half of what Bagge says. Then, gratifyingly, you’ll realize that everybody is stupid except for you, too.” — Esquire
“Like all good political cartoonists, Bagge can be cruel. But he’s also willing to skewer himself when he deserves it... as libertarian polemicists go, he’s a lot more fun than, say, Ayn Rand.” — The Washington Post
“Bagge has been doing really interesting work, mixing field journalism with humor and opinion in an entirely novel way. As an essayist Bagge is never preachy, and he often points out the shortcomings of his fellow libertarians (his account of meeting Ron Paul is particularly funny). He explores more than he rants, and when he does let loose, he’s got a healthy sense of self-satire. These comics will piss you off, and that’s good.” — Boing Boing
“This collection of satirical rants... is philosophically more about punk individualism than Ayn Rand, and artistically the heir to 1980s indie comics. Indeed, Bagge is an indie star, famous for his wonderfully elastic cartooning style and punk-inflected comedies.” — The Observer
“[This book] finds Bagge as sharp and irate as ever, and still possessed of a great sense of humor, especially about himself — even the title reveals an element of self-mockery among all the self-righteousness.” — The A.V. Club
Fans of Peter Bagge’s generation-defining, satirical fiction may not realize this, but the cartoonist doubles as an opinionated cuss, and has been contributing provocative (but still hilarious) comic-strip opinion pieces to Reason magazine for the last several years... collected in this volume.
Although a libertarian by inclination (hence the Reason gig), Bagge (who lives in the fuzzy-headed, liberal capital of the Northwest, Seattle) is hardly dogmatic, and many of the pieces undermine traditional party lines in favor of a rather personal, rational and informed take on hot-button issues that will force partisan Democrats and Republicans alike to rethink them. And of course, Bagge’s well-researched comic strip “essays” crackle with the same energy and wit that propelled him into the collective Gen X consciousness with his comic book series Hate.
Favorite topics include the erosion of our civil liberties (whether the post-9/11 Bush administration's gradual erosion of the Bill of Rights, the insanity of the war on drugs, or nanny-state meddling), ongoing boondoggles of the American public (for professional sports stadiums or ineffective public transportation systems), the Iraq war (Bagge is vociferously against it), so-called art and so-called entertainment, the homeless, the mall-ification of America, politicians both in general and in particular (including the 2008 presidential race and a revelatory one-on-one with Republican not-so-hopeful Ron Paul that soured Bagge on the candidate forever), the conservative/religious war on sex and drugs, and whether citizens should be allowed to own bazookas. Each piece features the voluble Bagge himself front and center as the puzzled, indignant, or deeply conflicted everyman-on-the-street trying to make sense of this 21st Century.
And of course, every panel is delineated in Bagge’s glorious, laugh-out-loud stretchy 4-color cartoon style, making even his disquisitions on some very serious topics go down as smoothly as Buddy Bradley’s latest escapade.
BONUS: This new edition of the sold-out Everybody Is Stupid features an extra 32 pages of never-before-collected comics, including an epic biography of eccentric libertarian (and Ayn Rand contemporary) Isabel Mary Paterson.
"A detail-rich account of an unfathomably awesome childhood in the epicenter of 1960s - 1970s New York culture, and further evidence of the magnificence of the Friedman genes." – Daniel Clowes
"I always wanted to know what it would be like to grow up with a famous dad. It sounds as awesome as i feared. I really enjoyed reading Kipp Friedman's stories and hating him for having dinner at Groucho Marx's house." – Joel Stein, Time magazine columnist
"Barracuda in the Attic is a poignant and crackling good memoir... and this is coming from someone who doesn't like memoirs." —Ted Heller (Pocket Kings, Funnymen, Slab Rat, West of Babylon)
"If you’re wondering why graphic novel specialist Fantagraphics published a memoir by Friedman, you only have to read 'Comic Book Fever,' an essay about visiting the Jay Bee Back Issue Magazine Store and Kipp’s long-time comic book obsession. These essays about growing up in New York range from feuding with the neighbors in Great Neck, sports obsessions (including the New York Cosmos), the evolution of the horror film genre, and the family to Hollywood when Kipp’s dad, Bruce Jay Friedman, got a development deal. It wound up being not too different from the Lucy and Desi 'Don Juan' story arc. New York-philes will love the period detail, as well folks of a certain age who can sing the Gigantor television theme. But for the rest, you can still get a kick out of a trio of boisterous boys who caused a lot of havoc as they came of age." –
Daniel Goldin, Boswell Book Company, Milwaukee, Wisconsin
Whether shooting pool with the mobster Crazy Joey Gallo, attending a dinner party hosted by an aged but remarkably spry Groucho Marx, or simply playing doctor with a classmate in the former estate of F. Scott Fitzgerald, Kipp Friedman led a colorful childhood. The youngest son of celebrated writer and satirist Bruce Jay Friedman, Kipp looks back fondly on the amusing and sometimes confusing events and encounters that helped shape his early life in this moving tribute to growing up among a family of creative artists — swept up in the whirlwind of the New York arts scene of the 1960s and '70s.
Follow Kipp's exploits as bystander and willing participant as he joins older brothers Josh (writer and musician) and Drew (renowned cartoonist and illustrator) as three musketeers on a youthful quest to discover the scariest low-budget horror movies along 42nd Street and Times Square. Delight in their search for classic comic books, monster magazines (and the occasional "nudie" magazine) at their beloved, dingy "Back-Issue Store" in midtown Manhattan. Encounter his family's bizarre Cold War-like relationship with their new neighbors in an updated suburban Jewish version of the Hatfields vs. the McCoys. Witness their Marx Brothers-like antics while on an all-expenses-paid junket at the Beverly Hills Hotel courtesy of CBS.
The stage shifts from New York City to the Caribbean to the suburbs of Long Island, and from the South of France to Broadway and Hollywood as Kipp retraces his family's defining moments — with the backdrop of his father's meteoric rise from editor of men's adventure magazines to successful novelist, playwright, and screenwriter. Through it all, Kipp paints a loving portrait of a childhood and family life that is both magical and yet familiar and real.
Barracuda in the Attic is truly a family affair, written by Kipp, with a cover illustration by Drew Friedman, an introduction by paterfamilias Bruce Jay Friedman, and an afterword by Josh Friedman, and is copiously illustrated with photos of the family and their literati friends and hangers-on.
“Wandering Son... is a lovely, tactile-y rich object, but it’s also a sweet book in terms of content.... The characters are pleasant to spend time with, the art is emotive and expressive (embarrassment comes up a lot), and there is a gentleness to the whole project that is welcome.” – Hillary Brown, Paste
“[Wandering Son] is a measured, sensible and sensitive series.... Part of Wandering Son’s hook is a distanced view at discomfort with one’s own body. The manga is written to evoke the feeling of being ill at ease in one’s own skin, such that everyone who has went through puberty can sympathize with these characters, regardless of their own relationship with sexual identity issues.... Wandering Son proves to be deeply involving in an unconventional way.” – Scott Green, Ain’t It Cool News
In this volume of the acclaimed series about transgendered kids exploring their unfolding identities, we’ve reached a big event; the junior high school entrance ceremony.
The boys wear black uniforms with stand-up collars based on mid-19th century European military uniforms and the girls wear navy blazers, tan skirts, and red ribbon neckties. Enter our heroes; Nitori-kun is forced to wear a boy’s uniform while Takatsuki-san has to wear a girl's! Yet one girl — Sarashia Chizuru — draws stares, whispers, and pointed fingers, because this long-haired beauty is wearing a boy’s uniform. Both Nitori-kun and Takatsuki-san are awed by the girl's courage, but Takatsuki-san is particularly vexed by their own faintheartedness. They envy more than a few other students who experience such liberty in wearing either uniform and ponder what it ultimately means about themselves.
Envy and jealousy are prominent themes in Volume 5: Chiba-san is jealous of Takatsuki-san, for whom Nitori-kun still carries a torch. Maho envies Anna-chan's professionalism as a model. And Chii-chan’s loyal sidekick, Shiri Momoko, is intensely jealous of anyone in whom Chii-chan shows the slightest interest. And so our protagonists set off on the journey to adolescence....
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