It's three more full years of Ernie Bushmiller's beloved comic strip, featuring nearly one thousand meticulously restored daily strips from its post-World-War II graphic high point — superbly crafted but not yet quite stylized into the almost machine-life sleekness of later decades. And what can you say about the jokes in Nancy other than that, contrary to its reputation for a zen-like, ultra-square oddness, many of them are actually just extremely funny?
Nancy Likes Christmas is topped off with a new introduction by Zippy the Pinhead creator Bill Griffith, a lifelong fan of Nancy and admirer of Bushmiller's genius, and once again designed with pop-art snap and crackle by Fantagraphics senior designer Jacob Covey.
As always, a plot summary of the latest installment of Johnny (Angry Youth Comix) Ryan’s hugely popular sci-fi-prison-planet-gore-fest-slugfest-a-thon serial must, in order to be presentable to normal, decent human beings, be cut into fine Belgian lace. And so, with apologies:
“Cannibal F***face discovers the only way to escape the Caligulon is to brainf*** the Slorge and create a giant, brainless oafchild that only knows how to annihilate everything in its path. And what happens when the Slugstaxx show up and use their nightj*** to turn this mindless monster against CF? Total F***ing Mayhem.”
Advance Praise: "You know you're reading Prison Pit when there's a character called Undigestible Scrotum and someone tries to see if he lives up to his name... Prison Pit is what you read when no one is home and you're not eating." – Chris Mautner
In one of the most eagerly-anticipated graphic novels of 2012, Soldier’s Heart concludes the story of Carol Tyler and her delving into her father’s war experiences in a way that is both surprising and devastating — and rather than trying to summarize this episode and thus possibly spoil it for readers, we prefer to simply offer a selection of comments on the first two installments of this autobiographical masterpiece.
Publishers Weekly: “(Starred Review) In the first volume of Tyler’s planned trilogy of graphic memoirs, she dug into the eruptive, violent memories of her father’s WWII experiences while simultaneously dealing with a husband who decided to go find himself and leave her with a daughter to raise. [Book Two] is no less rich and overwhelming. Tyler gets back to the business of detailing her father’s war stories — difficult given that he is ‘one of those guys who closed it off and never talked about it’ — as well as coming to terms with her already touchy parents’ increasingly ornery attitudes. Closing the circle somewhat is Tyler’s concern over her daughter’s troubled nature, which seems to mirror her own wild past. While the language of Chicago-raised and Cincinnati-based Tyler has a winningly self-deprecating Midwestern spareness to it, her art is a lavishly prepared kaleidoscope of watercolors and finely etched drawings, all composed to look like the greatest family photo album of all time. The story’s honest self-revelations and humane evocations of family dramas are tremendously moving. Tyler’s book could well leave readers simultaneously eager to see the third volume, but also nervous about the traumas, home front and war front, that it might contain.”
Booklist: “Tyler’s fluid, expressive linework, complemented by subtly overlaid watercolors, gives ideal visual expression to a narrative that’s at once sensitive and hard-nosed... Decades of drawing mostly autobiographical stories have honed her skills, enabling her to produce a work that ranks in quality with the graphic memoirs of Alison Bechdel (Fun Home) and Marjane Satrapi (Persepolis).”
Within his tiny village, Ralph Azham is considered an insolent good-for-nothing layabout, a virtual pariah — particularly since he was supposed to be a Chosen One. (Things didn’t work out.) Yet his odd azure coloration and a few unique abilities (he can predict births and deaths) suggest that there may be more to him than meets the eye. And when the terrifying Horde stages one of its regular raids on his village, Ralph takes the young Raoul under his wing and sets out for a series of adventures...
Trondheim is already well known to fantasy buffs for the worldwide success Dungeon, the complex set of interlocking series he created with fellow cartoonist Joann Sfar and a raft of artists. While Ralph Azham works within the same genre, this is a far more tightly focused, single-character-starring new series for which Trondheim is solely responsible — that is, except for the stunningly rich coloring, provided by his longtime collaborator Brigitte Findakly working in hand-executed watercolors for the first time in over a decade.
Witty and fleet-footed like all of Trondheim's work, madly inventive in terms of characters, creatures, and events, Ralph Azham is scheduled to run for at least six volumes and is presented in a distinctive "landscape" format.
"Trondheim is a master! Fun, irreverent, and filled with moments of truthiness! Just when you think you know where he's taking you, he suddenly turns sideways and surprises." – Jeff Smith, creator of Bone
In 1970, William S. Burroughs and artist Malcolm McNeill began a small collaborative project on a comic entitled The Unspeakable Mr. Hart, which appeared in the first four issues of Cyclops, England’s first comics magazine for an adult readership. Soon after, Burroughs and McNeill agreed to collaborate on a book-length meditation on time, power, control, and corruption that evoked the Mayan codices and specifically, the Mayan god of death, Ah Pook. Ah Pook Is Here was to include their character Mr. Hart, but stray from the conventional comics form to explore different juxtapositions of images and words.
Ah Pook was never finished in its intended form. In a 1979 prose collection that included only the words from the collaboration, Ah Pook is Here and Other Texts (Calder, 1979), Burroughs explains in the preface that they envisioned the work to be “one that falls into neither the category of the conventional illustrated book nor that of a comix publication.” Rather, the work was to include “about a hundred pages of artwork with text (thirty in full-color) and about fifty pages of text alone.” The book was conceived as a single painting in which text and images were combined in whatever form seemed appropriate to the narrative. It was conceived as 120 continuous pages that would "fold out." Such a book was, at the time, unprecedented, and no publisher was willing to take a chance and publish a “graphic novel.”
However, Malcolm McNeill created nearly a hundred paintings, illustrations, and sketches for the book, and these, finally, are seeing the light of day in The Lost Art of Ah Pook. (Burroughs’ text will not be included.) McNeill himself is an exemplary craftsman and visionary painter whose images have languished for over 30 years, unseen. Even in a context divorced from the words, they represent a stunning precursor to the graphic novel form to come.
Sara J. Van Ness contributes an historical essay chronicling the long history of Burroughs’ and McNeill’s work together, including its incomplete publishing history with Rolling Stone’s Straight Arrow Press, the excerpt that ran in Rush magazine, and the text that was published without pictures.
Observed While Falling is an account of the personal and creative interaction that defined the collaboration between the writer William S. Burroughs and the artist Malcolm McNeill on the graphic novel Ah Pook Is Here. The memoir chronicles the events that surrounded it, the reasons it was abandoned and the unusual circumstances that brought it back to life. McNeill describes his growing friendship with Burroughs and how their personal relationship affected their creative partnership. The book is written with insight and humor, and is liberally sprinkled with the kind of outré anecdotes one would expect working with a writer as original and eccentric as Burroughs. It confirms Burroughs’ and McNeill’s prescience, the place of Ah Pook in relation to the contemporary graphic novel, and its anticipation of the events surrounding 2012. The book offers new insights into Burroughs’ working methods as well as how the two explored the possibilities of words and images working together to form the ambitious literary hybrid that they didn’t know, at the time, was a harbinger of the 21st century “graphic novel.” McNeill expounds on the lessons of that experience to bring Ah Pook into present time. In light of current events, Ah Pook is unquestionably Here now.
Observed While Falling presents a unique view of the creative process that will be of interest to artists, writers and general readers alike. A perspective evoked by a literary experiment that has endured for forty years and still continues to “happen.”
Add Lilli Carré's acclaimed debut The Lagoon to your order for just $9.99 ($5 off)! Use the option menu when ordering.
The creator of 2008’s acclaimed graphic novel The Lagoon — named to many annual critics’ lists including Publishers Weekly and USA Today’s Pop Candy — is back with a stunningly designed and packaged collection of some of the most poetic and confident short fiction being produced in comics today. These stories, created over a period of five years, touch on ideas of flip sides, choices, and extreme ambivalence.
Carré’s elegant short stories read like the gothic, family narratives of Flannery O’Connor or Carson McCullers, but told visually. Poetic rhythms — a coin flip, a circling ferris wheel — are punctuated by elements of melancholy fantasy pushed forward by character-driven, naturalistic dialogue. The stories in Heads or Tails display a virtuosic breadth of visual styles and color palettes, each in perfect service of the story, and range from experimental one-pagers to short masterpieces like "The Thing About Madeline" (featured in The Best American Comics 2008), to graphic novellas like "The Carnival" (featured in David Sedaris’ and Dave Eggers’ 2010 Best American Nonrequired Reading, originally published in MOME), to new work created for this book.
Hey, we got our hands on some more copies of last year's hardcover reprint of Jim Woodring's classic The Frank Book! These went fast when we first offered them and we don't expect these copies to last long either, so get yours while you can.
Okay everybody, here's what we're going to do: since we went on record saying we weren't going to do slipcased Pogo sets when Volume 1 came out, and then we were convinced otherwise (with the first set out soon), we're gonna throw in the slipcase at no extra charge for everybody who orders Volume 2 from our mail-order outfit (unless you opt out). We'll even eat the extra packing and shipping costs! So no matter where you bought your Volume 1 from, you can get a slipcase for FREE, but only if you order Volume 2 from us — you won't be able to purchase the slipcase separately. Deal? Deal! But this is a limited-time offer so don't delay!
"R. Crumb's writing, a dimension of his comics that usually passes underappreciated, receives a welcome spotlight in these sparsely illustrated letters that exhibit the artist's ear for the American vernacular." — Rain Taxi Review of Books
“I feel that my work is but a feeble expression of something that in itself is vague and doubtful... Sometimes when I probe myself I find that my intentions in art aren’t as sincere as they should be... Subconsciously I want to make myself immortal among men, leave my mark on the earth to compensate for social inadequacy... So I draw.” — R. Crumb, 1961
Spanning the most formative era of his life, from the painful years of adolescence to the fame and fortune of early adulthood, this collection of personal correspondences with two near-lifelong friends sheds light on the artistic development, bitter struggle, and ultimate triumph of the world’s greatest living cartoonist.
Crumb writes about many key events in his life: the dissolution of his first marriage, the pain of being separated from his first child, his troubles with the IRS, and his obsessions with comics, music and women (including his earliest experiences with Aline Kominsky-Crumb, now his wife of over 30 years). An entertaining and revealing look into the mind of a great artist and thinker; this is Crumb’s sketchbook of words, featuring scores of rare art, including entire letters drawn in cartoon form.
In 2000, veteran rock 'n' roller Lou Reed, legendary director Robert Wilson, and a cast of singers and actors premiered Reed's musical POEtry in Hamburg's Thalia Theater.
An ambitious combination of Edgar Allan Poe's poems and stories and Reed's reinterpretations of same (with a few classic Reed songs such as "Perfect Day" and "The Bed") integrated for good measure, POEtry bridged the centuries to provide a unique vision of beauty and horror for the dawning 21st century.
In 2003, Reed released (under the title The Raven) a double CD reprising the musical, featuring an all-star cast of singers and actors including Steve Buscemi, David Bowie, Laurie Anderson. Willem Dafoe, and the Blind Boys of Alabama, as well as an edited single-CD version focusing on the songs.
Now, for the definitive book version compiling the songs, verses and narratives that comprise POEtry/The Raven, Reed has personally commissioned legendary Italian illustrator and cartoonist Lorenzo Mattotti (Dr. Jekyll and Mr. Hyde, Stigmata) to visualize this extraordinary collaboration. Mattotti's vivid, abstracted and enigmatic artwork brings out all the terror and beauty of this centuries-spanning masterwork.
For our edition of this book, we enlisted Grammy Award-nominated designer Jesse LeDoux to create the striking jacket design.