A parenthetical aside on the panel above: I was startled by Feiffer's use of "omigod" in this strip dated January 2, 1957 — decades before the word was popularized by the whole "Valley Girl" fad of the 1980s.
(As a reminder, 20/20 Club members receive these previews two weeks before we post them on the website, just one of many great reasons to join up...)
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.
Presenting a unique, stand-alone companion to our Krazy & Ignatz series. The Kat Who Walked In Beauty collects many rare and unique dailies from the 1910s and 1920s. Though many readers are aware of Herriman's dynamic Sunday pages, few know that during 1920, in what must have been an editorially unrestrictive period for Herriman, he drew some of the most graphic and brilliantly conceived daily strips ever created; they look like "mini-Sunday" strips. This nine-month stretch of dailies, never-before-reprinted, is among the treasures included in this collection. The collection includes many other Herriman gems, including the very first stand-alone Krazy & Ignatz strips from 1911, and the illustrations from Herriman"s Krazy Kat Jazz pantomime/ballet, performed to captivated New York audiences in 1922. This book fills in several gaps in the daily strip history, reproduced at close to their original size.
The new 2nd printing features an orange spine and interior spot color; we also still have limited quantities of the first printing, with a green spine and interior spot color. Please indicate your choice when ordering.
Ray Fenwick has pioneered his own medium of storytelling, one best described as "typographical comics." Hall of Best Knowledge is presented as a handsome, personal journal written by an unnamed voice, referred to only as "The Author." Little is known about him; he makes occasional, derogatory references to a twin brother and younger sibling, but reveals little else. He clearly fashions himself a genius, writing with a faux-aristocratic air, and it is presumably his belief in his own genius that leads him to want to share his knowledge with the world. Each page features information such as "It hardly needs mentioning that riding a pony is no intellectual triumph.... If riding a pony is so fantastic, why have I never read of any renowned pony-riding genius? It is because such a person does not exist, making it a foolish waste of time unworthy of attention." These pearls of wisdom are lettered in an elegant, almost obsessive fashion, entirely hand-crafted and bedecked with Ionic columns and fleurs-de-lis.
It becomes obvious to the reader early on that all is not as it seems; only at the end does the picture become completely clear. The ensuing journey is a riotous tour through the narrator's ego and id, and the humor builds accordingly as he is revealed to be not nearly as smart—or sophisticated—as he thinks.
Hall of Best Knowledge is part graphic novel, part art object, part satire, part puzzle. The slow unfolding of the author and his story builds humor with each page, creating a peculiar examination of the idea of genius and the problems that arise in the search and transmission of knowledge.
HOBK is an elegantly designed and packaged book, presented as a found journal, with a belly band and other production/design touches to further solidify and give form to the concept of the book.
NOTE: BECAUSE OF OUR CONTRACT WITH THE LICENSOR THESE BOOKS CANNOT BE SOLD OUTSIDE OF NORTH AMERICA. IF YOU RESIDE ANYWHERE OTHER THAN THE U.S. OR CANADA PLEASE DO NOT TRY TO ORDER THEM FROM OUR WEBSITE; YOUR ORDER WILL NOT BE PROCESSED.
JOHN WATERS TALKS CHARLIE BROWN AS THE '60S WIND DOWN.
As we rush toward the end of Peanuts' second full decade, Snoopy finds himself almost completely engrossed in his persona as the World War I Flying Ace — to the point where he goes to camp with Charlie Brown and maintains his persona throughout the entire two-week period (much to Peppermint Patty's bafflement).
Still, Snoopy looms large, so this volume (a particularly Snoopy-heavy one) sees him arm-wrestling Lucy as the "Masked Marvel" and then taking off for Petaluma for the national arm-wrestling championship; impersonating a vulture and a "Cheshire Beagle"; enjoying golf and hockey; attempting a jaunt to France for an ice-skating championship; running for office on the "Paw" ticket; being traded to Peppermint Patty's baseball team, then un-traded and installed as team manager by a guilt-ridden Charlie Brown; as well as dealing with the return of his original owner, Lila. If you're surprised by that last one, imagine how Charlie Brown feels...
Lila makes only a brief appearance (as does José Peterson, a short-lived — and short — star member of Charlie Brown's baseball team), but this volume sees the appearance of what would be Schulz's most controversial major character: Franklin. (Yes, in 1968 the introduction of a Black character caused a stir.)
Peppermint Patty, working toward her ascendancy as one of the major Peanuts players in the 1970s and 1980s, also has several major turns, including a storyline in which she’s the tent monitor for three little girls (who call her "Sir" — a joke Schulz would pick up later with Peppermint Patty's friend Marcie).
Stories involving other characters include a sequence in which Linus's flippant comment to his Gramma that he'll kick his blanket habit when she kicks her smoking habit backfires; Lucy bullies Linus, pesters Schroeder, and organizes a "crab-in"; plus Charlie Brown copes with Valentine's Day depression, the Little Red-Haired Girl, the increasingly malevolent kite-eating tree, and baseball losses. In other words: Vintage Peanuts!
"The real war," said Walt Whitman, "will never get in the books." During World War II, the closest most Americans ever came to the "real war" was through the cartoons of Bill Mauldin, the most beloved enlisted man in the U.S. Army.
Here, for the first time, Fantagraphics Books brings together Mauldin's complete works from 1940 through the end of the war. This collection of over 600 cartoons, most never before reprinted, is more than the record of a great artist: it is an essential chronicle of America's citizen-soldiers from peace through war to victory.
Bill Mauldin knew war because he was in it. He had created his characters, Willie and Joe, at age 18, before Pearl Harbor, while training with the 45th Infantry Division and cartooning part-time for the camp newspaper. His brilliant send-ups of officers were pure infantry, and the men loved it.
After wading ashore with his division on the first of its four beach invasions in July 1943, Mauldin and his men changed — and Mauldin's cartoons changed accordingly. Months of miserable weather, bad food, and tedium interrupted by the terror of intense bombing and artillery fire took its toll. By the year's end, virtually every man in Mauldin's original rifle company was killed, wounded, or captured.
The wrinkles in Willie and Joe's uniforms deepened, the bristle on their faces grew, and the eyes — "too old for those young bodies," as Mauldin put it — betrayed a weariness that would remain the entire war. With their heavy brush lines, detailed battlescapes, and pidgin of army slang and slum dialect, Mauldin's cartoons and captions recreated on paper the fully realized world of the American combat soldier. Their dark, often insubordinate humor sparked controversy among army brass and incensed General George S. Patton, Jr.
This is the first of several volumes publishing the best of Bill Mauldin's single panel strips from 1940 to 1991 (when he stopped drawing). His Willie & Joe cartoons are presented in a deluxe, beautifully designed two-volume slipcased edition of over 600 pages. The series is edited by Todd DePastino, whose Mauldin scholarship is on full display in a biography of the artist released in February 2008 from W.W. Norton. Willie & Joe contains an introduction and running commentary by DePastino, providing context for the drawings, pertinent biographical details of Mauldin's life, and occasional background on specific cartoons (such as the ones that made Patton howl).
Everyman Glenn Ganges ruminates on the simple times of the dot-com era when the reality of business was propped up by the unreality of addictive technology and hope. Kevin Huizenga cleverly parallels that unreality with the unreality of addictive networked first-person shooter video games, and the attempts of people around him to genuinely connect with each other. Huizenga’s elegant neo-clear-line style brings a crispness and humor to these low-key slice-of-life stories, and the gray-blue duotone he has picked gives the art a new depth and complexity.
The Splitsville series concludes as Fuzz and Pluck struggle to survive after their worlds have been turned upside down. A mad race and a tug of war culminates in a fatal convergence that changes everything!
Funeral of the Heart is Leah Hayes' stylistic tour-de-force and graphic novel debut, featuring a series of short stories by Hayes and illustrated entirely using the otherworldly medium of scratchboard. Hayes creates a world of unease and ambiguity populated by obsessive characters, forlorn animals, and mysterious, inanimate objects; odd occurrences, unnerving deaths and unconventional but genuine love bind these characters and their stories together. In "The Bathroom," a middle-aged couple discover a mysterious tunnel in their poolhouse after a neighbor's child accidentally drowns in their pool — leading to an immaculate bathroom and another drowning. In "The Needle," two sisters suffer the death of their grandmother as well as her possible resurrection at the hands of the woman with the needle.
The stories are hand lettered and juxtaposed against stark, highly stylized, graphically powerful, black and white images. Stories with titles like "The Bathroom," "The Needle," and "The Hair" sound innocuous, but they aren't fables that should be read to one's children — unless your children enjoy being made uneasy by beautiful things.