In 1953, in conjunction with the fiftieth anniversary of the World Series, legendary cartoonist Willard Mullin created images illustrating one of America's best-loved poems: Ernest Thayer's "Casey at the Bat." These images were then put on a series of drinking glasses that were given away as premiums at various major and minor league ballparks across America. The first set was issued on April 15, 1954, at the very first home game for the modern day Baltimore Orioles.
The illustrations by Mullin were for years thought to have been lost, but were found at an auction in 2002. They have been meticulously reproduced to create this stunning edition of "Casey at the Bat." This edition will include additional Mullin material like the "Fan's Alphabet" from 1953 and the poems "Iron Horse Lou" and "O Brooklyn, My Brooklyn" from 1947. With a preface by Yogi Berra and an essay on the history of both "Casey" and Mullin's images by noted baseball historian Tim Wiles, this edition of "Casey" is the most authentic ever produced. A keepsake for the ages.
Throughout Les McCann's incredible jazz career, he took hundreds of photos — at clubs, studios, and festivals around the world — and unwittingly documented a side of the vibrant cultural life of jazz and soul between 1960 and 1980 that includes a very young Stevie Wonder, Nina Simone, Sammy Davis Jr., John Coltrane, Aretha Franklin, Nancy Wilson, Quincy Jones, Tina Turner, Miles Davis, Cannonball Adderly, Louis Armstrong, Count Basie, B.B. King, Errol Garner, Stanley Clarke, Bill Evans, Lionel Hampton, and other seminal African-Americans, such as Bill Cosby, Richard Pryor, Muhammed Ali, and Stokely Carmichael to name but a few. These photos are characterized by their intimacy, and the cross-section of names listed is merely the tip of the iceberg. The book features candid commentary by McCann himself and is curated by Pat Thomas (Listen, Whitey!: The Sights and Sounds of Black Power 1965-1975) and maverick music producer Alan Abrahams (Pure Prairie League, Joan Baez, Stanley Turrentine, Kris Kristofferson, Taj Mahal).
"Freed from the tiny confines of the black-and-white daily strip, Crane brilliantly exploited the vastly larger canvas of the full newspaper page, wildly varying the sizes, shapes, and arrangement of the panels. His distinctive drawing style, an appealing blend of simplified realism and broad cartooniness, also set Easy apart. While not quite as large as the original newspaper broadsheets, this volume’s oversize pages fully convey the strip's formidable visual impact." – Gordon Flagg, Booklist
"Crane's art is stunning, combining simple cartoony figures with richly detailed backgrounds in clever, colorful layouts. It isn’t even necessary to read the dialogue or captions to follow the action; just scan Crane's dynamic lines, which make every panel look like a unique work of pop art. [Grade:] A-." – The A.V. Club
"Though he was one of the genre's pioneers, Roy Crane's Captain Easy is arguably the most idiosyncratic of all the adventure strips. But it's this blend of loud slapstick, young-boys-styled adventure and blatant sex appeal that make Captain Easy such a winning, fun strip to read." – Chris Mautner, Robot 6
Our tenth volume finds our band of heroes making their way back to the Kingdom of Thule by way of Constantinople and Eastern Russia. Soon they are attacked by a tribe of barbarians who kidnap Aleta for the great Dragada Khan who wants to make her one of his wives. After nearly being killed in battle, Valiant returns to his homeland only to find the threat of hunger hovers over Thule. As Val explores new ways of feeding the kingdom's growing populace, raiders threaten the lives of his family and friends. The volume ends with Val's return to Camelot, a tournament of champions, and the threat of new treachery in Cornwall. This volume also includes an introduction by legendary comics artist Timothy Truman, and a special gallery containing more of Hal Foster's incredible Mountie paintings annotated by comics historian Brian M. Kane.
The seventh annual volume of Love and Rockets: New Stories, the most important and enduring alternative comics series in the history of the medium, finds Gilbert and Jaime Hernandez writing and drawing at the top of their game. In Jaime's stories, Maggie and Hopey take a road trip and much-needed break from their humdrum domestic lives and travel to visit a "sick friend." And, when the cat's away, Ray visits some old sick friends of his own. Plus Tonta's nutty family! Gilbert offers a veritable suite of stories, including "The Magic Voyage of Aladdin," a sweeping epic of derring-do in which Morgan Le Fey (Fritz) teams up with Aladdin to stop the evil Circle from obtaining the magic lamp; "The Golem Suit," a WWII sci-fi thriller starring "Killer"; and "Daughters and Mothers and Daughters," in which flashbacks to Luba's mother Maria reveal how ugly secrets of the past affect their family today.
For everyone interested in the history of underground and alternative comics, Treasury of Mini Comics Volume Two gathers prime examples—more than 800 pages' worth—from a quintessential self-publishing format in this compact but hefty hardcover. Previously only seen in limited-run pamphlets, these comics are startling, visionary, hilarious, profane, and profound. This volume also takes a look back at the wild 8-page sex comics called "Tijuana Bibles" that sprang from the 1930s underworld, as context for the contemporary comics that compose this book. Editor and mini comics pioneer Michael Dowers provides a historical survey of several decades' worth of some of the best that DIY comics has to offer, from some of the medium's most talented independent creators, including: Johnny Ryan, Trina Robbins, R.K. Sloane, Jeffrey Brown, Jim Rugg, Tom Neely, Ellen Forney, Esther Pearl Watson, Renée French, Lisa Hanawalt, J.R. Williams, Pat Moriarity, Souther Salazar, Theo Ellsworth, Nick Bertozzi, Dan Zettwoch, Marc Bell, and many others.
In Ofelia, the sisters, the kids, and the cousins are all settled comfortably in California after leaving Palomar in Luba and Her Family. Luba and her cousin Ofelia’s relationship has always been fraught, but when Ofelia threatens to write a book about Luba, past memories, secrets, resentments, and pain resurface. Meanwhile, Luba’s children—genius Socorro, recently out-and-proud Doralís, and prickly Maricela—show that a talent for trouble may be hereditary. Luba’s sisters, Fritz and Petra, swap lovers (as usual), but…are Fritz and family friend Pipo sittin’ in a tree? These vividly drawn characters are charged with Hernandez’s trademark complexity; they live, love, age, fight— and die—in this sweeping, multigenerational saga.
Saint Cole depicts four days in the life of a twenty-eight-year-old suburbanite named Joe who feels trapped working overtime at a pizza restaurant to support his girlfriend, Nicole, and their infant child. Especially when Nicole invites her troubled mother, Angela, to move into their two-bedroom apartment until she lands on her feet again. Joe reacts to this development by further retreating into alcohol. He thinks he loves Nicole but resents her at the same time. They probably wouldn't still be with each other if she hadn't become pregnant. Joe wants out. He's angry. He's in a position to act rashly. And he does. This sophomore graphic novel from Noah Van Sciver may seem like a left turn from his critically acclaimed debut graphic novel biography of Abraham Lincoln (The Hypo), yet upon closer reflection, it continues Van Sciver’s interest in pathos and the human condition.