In the 21st century, women cartoonists have more opportunities than ever before: graphic novels in bookstores and libraries, and comics on the Internet, have created audiences for influential books such as Persepolis (Marjane Satrapi), Fun Home (Alison Bechdel), What It Is (Lynda Barry), and Hark! A Vagrant (Kate Beaton). Trina Robbins’ lavishly illustrated Pretty in Ink shows that, although the comics field was dominated by men, beginning in 1896 and throughout the 20th century, more women have been professional cartoonists than people previously thought. Robbins showcases cartoonists such as Lily Renée — an Austrian woman who escaped from Nazis, only to draw action/adventure comics exploits as exciting as her own — and Eva Mirabal, a Native American corporal whose G.I. Gertie strip showed the wacky side of the Women Army Corps (WAC). Trina Robbins is and has been the preeminent scholar of comics “herstory” for more than 30 years, and those new to comics and longtime fans alike will find much to discover in this updated and comprehensive volume.
This glorious compilation of Peanuts Every Sunday is the debut volume that collects, for the first time ever, all the Peanuts strips that ran in everyone’s newspaper on Sundays — each comic strip reproduced in vibrant, warm full color! In this luxurious hardcover reprinting the years 1952 through 1955, Charles Schulz introduces Schroeder, Lucy, and Linus to his archetypal Peanuts cast of Charlie Brown and Snoopy.
"Charles Schulz was an American treasure — an artist, philosopher, and keen observer of human life." — Bill Clinton
Yes yes, y'all! Acclaimed young cartoonist Ed Piskor (Wizzywig) schools you on the old school in this essential, explosively entertaining, encyclopedic cultural chronicle of an American art form that changed the world. Hip Hop Family Tree (originally serialized online at Boing Boing) takes you from the parks and rec rooms of the South Bronx to the night clubs, recording studios and radio stations where the scene started to boom, in panels bursting with obsessively authentic detail.
The vivid personalities and magnetic performances of early stars like Grandmaster Flash, Afrika Bambaataa, Kurtis Blow, DJ Kool Herc, The Sugarhill Gang, and Funky 4+1 come to life, as do the no-less-charismatic players behind the scenes like Russell Simmons, Sylvia Robinson and Rick Rubin. And graffiti master Fab 5 Freddy meets Debbie Harry, Keith Haring, and Jean-Michel Basquiat as the music and culture begin to penetrate downtown Manhattan and the mainstream at large.
The Comics Journal Library series is the most comprehensive series of lavishly illustrated interviews conducted with cartoonists ever published. To celebrate our republication of the legendary EC line, we proudly present the first of a two-volume set of interviews with the artists and writers (and publisher!) who made EC great. Included in the first volume: career-spanning conversations with EC legends Will Elder, John Severin, Harvey Kurtzman, and Al Feldstein, as well as short interviews with EC short-timers Frank Frazetta and Joe Kubert. Also: EC Publisher William Gaines on his infamous Senate subcommittee testimony, and probing conversations between Silver Age cartoonist Gil Kane and Harvey Kurtzman, as well as contemporary alternative cartoonist Sam Henderson and MAD great Al Jaffee.
Part of what made EC the best publisher in the history of mainstream comics was some of the most beautiful drawing ever published in comic books, and every interview is profusely illustrated by pertinent examples of the work under discussion. The EC artists were renowned for their attention to detail, and the reproduction here takes full advantage of the oversized art book format.
"Trina Robbins is one of the icons of the underground comix generation, a cartoonist and creative person always pushing forward in ways that have influenced and inspired her peers and admirers. She has become in the decades since an equally valuable advocate for the recognition of great female cartoonists." – Tom Spurgeon, The Comics Reporter
"A critical work, painstaking, impressive, funny, and moving in the way it shines a tender light on the most anonymous practitioners of the most anonymous art form of the twentieth century — but above all, a pleasure to get lost in. The universe is grateful to Trina Robbins for this book." – Michael Chabon (about The Great Woman Cartoonists)
"I was one of the legion of young girls who adored Wonder Woman back in the 1940s, and am one of the legion of admirers of Neil Gaiman's Death in the 1990s. In between I seemed to have missed a number of fascinating woman superheroes. But thanks to Trina Robbins's wonderful readable book, I now know where to look." – Jane Yolen (about The Great Women Superheroes)
"A Century of Women Cartoonists is eye-opening, inspiring, retroactive of yet another piece of women's history — and funny! So who was it that said feminists have no sense of humor?" – Robin Morgan (about A Century of Women Cartoonists)
With the 1896 publication of Rose O’Neill’s comic strip The Old Subscriber Calls, in Truth Magazine, American women entered the field of comics, and they never left it.
But, you might not know that reading most of the comics histories out there. Trina Robbins has spent the last thirty years recording the accomplishments of a century of women cartoonists, and Pretty in Ink is her ultimate book, a revised, updated and rewritten history of women cartoonists, with more color illustrations than ever before, and with some startling new discoveries (such as a Native American woman cartoonist from the 1940s who was also a Corporal in the women's army, and the revelation that a cartoonist included in all of Robbins's previous histories was a man!)
In the pages of Pretty in Ink you’ll find new photos and correspondence from cartoonists Ethel Hays and Edwina Dumm, and the true story of Golden Age comic book star Lily Renee, as intriguing as the comics she drew. Although the comics profession was dominated by men, there were far more women working in the profession throughout the 20th century than other histories indicate, and they have flourished in the 21st. Robbins not only documents the increasing relevance of women throughout the 20th century, with mainstream creators such as Ramona Fradon and Dale Messick and alternative cartoonists such as Lynda Barry, Carol Tyler, and Phoebe Gloeckner, but the latest generation of women cartoonists — Megan Kelso, Cathy Malkasian, Linda Medley, and Lilli Carré, among many others. Robbins is the preeminent historian of women comic artists; forget her previous histories: Pretty in Ink is her most comprehensive volume to date.
"Charles Schulz was an American treasure — an artist, philosopher, and keen observer of human life." — Bill Clinton
"Charles Schulz was an innovative genius of American comics and also the marathon man, drawing strip after four-panel strip, batch after batch, writing the storyboards for the TV specials, year after year, creating a fantasy world that connected to kids as well as adults and all based on powerful iconic characters who express deep feelings of loneliness and resentment and despair. The feeling that everything is against us. The craving for love. An enormous earnestness about doing the right thing. There is not much in Peanuts that is shallow or heedless." — Garrison Keillor
"His drawings were but scribbles, a few lines scarcely more elaborated than children’s stick figures, but his genius was such that with those short few lines he created a panorama of life's experiences as are suffered, or enjoyed, or tolerated by the inhabitants of a cartoon village." — Walter Cronkite
Since their original publication, Peanuts Sundays have almost always been collected and reprinted in black and white, and generations of Peanuts fans have grown up enjoying this iteration of these strips. But many who read Peanuts in their original Sunday papers remain fond of the striking coloring, which makes for a surprisingly different reading experience.
It is for these fans (and for Peanuts fans in general who want to experience this alternate/original version) that we now present a series of larger, Sundays-only Peanuts reprints, which more closely duplicate that delightful, Sunday-morning reading experience and brings a splash of real color to Schulz's cast of colorful characters. Designed as a series of ten massive coffee-table quality books, each one containing a half-decade’s worth of Sunday strips, Peanuts Every Sunday will be a proud addition to any Peanuts fan's bookshelf.
As with most strips, Peanuts showed by far the quickest and richest development in its first decade, and Peanuts Every Sunday: 1952-1955, by compiling every strip from the first four years, offers a fascinating peek at Schulz's evolving creative process. Not only does the graphic side of the strips change drastically, from the strip's initial stiff, ultra-simple stylizations through a period of uncommonly lush, almost Pogo-ishly detailed drawings to something close to the final, elegant Peanuts style we’ve all come to know and love, but several main characters are gradually introduced — oddly enough, usually as infants who would then grow up to full, articulate Peanut-hood! — and then refined: Schroeder, Lucy, and Linus (Sally will make her very first appearance as a baby in our next volume.)
Following in the footsteps of Fantagraphics' acclaimed presentation of the Carl Barks material in Walt Disney's Donald Duck, Peanuts Every Sunday: 1952-1955 has been scrupulously re-colored to match the original syndicate coloring (including some unusual colors for Charlie Brown's trademark zig-zag shirt, before it was officially yellow), and is being printed using the same process of "mellowing" out of tones to avoid the sharp colors that sometimes mar reprints of syndicated strips — allowing readers once again to plunge back into Charles Schulz's marvelous world.
"Being in an Ed Piskor comic is cool enough to freeze hot water." – Fab Five Freddy
"This is the comic of all time." – Biz Markie
"This is the comic I've been waiting 40 years to read." – Harry Allen (Public Enemy Media Assassin)
"If ever a chapter of modern American history were ripe for the Classics Illustrated comic book treatment, it is hip-hop's first decade. Ed Piskor, a talented writer and artist who has long savored the connections between comic books and hip-hop, has now written that chapter in the seductive and entertaining form of Hip Hop Family Tree. He weaves dozens and dozens of individual stories into an unprecedented book-length narrative encapsulating the out-sized drive, creativity, humor and violence that defined hip-hop culture from its gestation in New York's outer boroughs in the early Seventies to its thrilling first steps onto the world stage via records and tv in the early Eighties. ... It's a great great story and Piskor tells it immaculately well." – Bill Adler, co-author, Def Jam: The First 25 Years of the Last Great Record Label
"They say the story of Jesus is the greatest ever told, but JC didn’t steal a DJ mixer during the New York Blackout of '77 or bomb a subway car with Fab 5 Freddy. With his 'Hip Hop Family Tree,' comics artist Ed Piskor delves into the history of hip-hop and gets straight-up biblical, penning a 'who-begat-whom' with a b-boy twist." – Jonathan Zwickel, MTV.com
Will Elder: "Robert Crumb said that he's gotten everything he needed from me. That son of a gun."
William Gaines: "I've never believed in any kind of censorship against anything in any way for anybody nohow."
Al Feldstein: "It was an industry of a few innovators and a lot of followers."
Johnny Craig: "The Code insisted that we put in the last sentence, about how 'he knew in his heart she could not escape, for he wouldn't rest until she was punished.' And that made me angry at the time…"
Frank Frazetta: "I didn't realize you could actually paint for a living and get paid for it, that kind of thing. I just did it for fun. But you did comics to make a buck, see?"
Joe Kubert: "I did the best I could … and for whatever the reason, it just wasn't up to Harvey [Kurtzman]'s expectations, and I just couldn't see myself twisting myself any more than I already had."
Harvey Kurtzman: "I have many friends and acquaintances who literally were on something when they worked and you can see it in their work, which is not necessarily meant as a compliment."
George Evans: "This was the joy of working for Al [Feldstein]. When you brought in the finished art, he would say, 'Oh geez, I never imagined a picture like that."
Al Jaffee: "Haiti had one subscriber. The whole country. One subscriber. And he did not renew. And they had his address because it was mailed to him. So Bill got the whole Mad crew to go down to his house and ask him why he didn't renew."
"John Severin: "I walked down the line there, went up to Stan Lee, pulled out the gun and stuck it at him and I said, 'Stan. I came in for a raise.'"