World War I, that awful, gaping wound in the history of Europe, has long been an obsession of Jacques Tardi’s. (His very first — rejected — comics story dealt with the subject, as does his most recent work, the two-volume Putain de Guerre.) But It Was the War of the trenches is Tardi’s defining, masterful statement on the subject, a graphic novel that can stand shoulder to shoulder with Erich Maria Remarque’s All Quiet on the Western Front and Ernest Hemingway’s A Farewell to Arms.
Tardi is not interested in the national politics, the strategies, or the battles. Like Remarque, he focuses on the day to day of the grunts in the trenches, and, with icy, controlled fury and disgust, with sardonic yet deeply sympathetic narration, he brings that existence alive as no one has before or since. Yet he also delves deeply into the underlying causes of the war, the madness, the cynical political exploitation of patriotism. And in a final, heartbreaking coda, Tardi grimly itemizes the ghastly human cost of the war, and lays out the future 20th century conflicts, all of which seem to spring from this global burst of insanity.
Trenches features some of Tardi’s most stunning artwork. Rendered in an inhabitually lush illustrative style, inspired both by abundant photographic documentation and classic American war comics, augmented by a sophisticated, gorgeous use of Craftint tones, Trenches is somehow simultaneously atypical and a perfect encapsulation of Tardi’s mature style. It is the indisputable centerpiece of Tardi’s oeuvre.
It Was the War of the Trenches has been an object of fascination for North American publishers: RAW published a chapter in the early 1980s, and Drawn and Quarterly magazine serialized a few more in the 1990s. But only a small fraction of Trenches has ever been made available to the English speaking public (in now out of print publications); the Fantagraphics edition, the third in an ongoing collection of the works of this great master, finally remedies this situation.
“‘The war to end all wars’ has become a magisterial comic book to end all comic books. I seldom give blurbs, but this book is an essential classic. Among all of Jacques Tardi's towering achievements as a comics artist, nothing looms larger than this devastating crater of a work. It’s a compulsively readable wail of Existential despair, a kaleidoscope of war’s dehumanizing brutality and of Everyman’s suffering, as well as a deadpan masterpiece of the darkest black humor. The richly composed and obsessively researched drawings — perfectly poised between cartoon and illustration — march to the relentless beats of Tardi’s three horizontal panels per page to dig a hole deep inside your brain. This is one Hell of a book.” —Art Spiegelman
"Tardi’s depiction of the First World War is so impassioned and visceral that it can be compared to the work of the artists who actually served in the trenches." – Joe Sacco
In the rarefied realm of classic cartoon pin-up art, nobody did it better than Jack Cole. With his quirky line drawings and sensual watercolors, Cole, under Hugh Hefner's guiding hand, catapulted to stardom in the 1950s as Playboy's marquee cartoonist, a position he held until his untimely death at the age of 43.
Jack Cole has been justly celebrated as the creator of Plastic Man and an innovative comic book artist of the 1940s (especially in Art Spiegelman and Chip Kidd’s Jack Cole and Plastic Man: Forms Stretched to Their Limits). After finishing his 14-year run on Plastic Man, he found himself looking for something new. According to Cole, his savior was the Humorama line of down-market digest magazines. This girls and gags magazine circuit proved to be the perfect training ground to regain his footing and develop his craft at single panel “gag” cartoons. His ability to render the female form was already without peer. Though he signed his cartoons “Jake,” Cole’s exquisite line drawings and masterful use of ink-wash — a skill he carried over to Playboy — betrayed his pseudonym. In comparison to his contemporaries, however, Cole was probably Humorama’s least prolific artist. Though his images were frequently used for covers, Cole’s cartoons were few and far between, with scarcely a single drawing appearing every five issues.
Along with a foreword by editor Alex Chun, this volume (originally released in a now out-of-print hardcover edition that now fetches high prices on the secondhand market) collects the best of these hidden gems, including several shot from Cole’s stunning original art. Most of these drawings have not seen print elsewhere since their original publication.
"Cole's goddesses were estrogen soufflés who mesmerized the ineffectual saps who lusted after them." – Art Spiegelman
"Jack Cole was a masterful comic book artist who helped define the golden age of his art form." – Village Voice
Newave! is a gigantic collection of the best small press cartoonists to emerge in the 1970s after the first generation of underground cartoonists (such as R. Crumb, Gilbert Shelton, and Art Spiegelman) paved the way. These cartoonists, inspired by the freewheeling creative energy of the underground comix movement, began drawing and printing their own comix. The most popular format was an 8 1/2” x 11” sheet, folded twice, and printed at local, pre-Kinkos print shops on letter-size paper; because of the small size, they were dubbed “mini comix.” As they evolved many different artists, one by one, became interested in this do-it-yourself phenomenon. By the 1980’s they became known as Newave Comix, a term taken from England’s Newave rock ’n’ roll movement. An explosion of do-it-yourself artists emerged. Many talented artists went onto bigger and better things, others have disappeared into the fog never to be heard from again. Inspired by the creative freedom of their underground predecessors and unrestrained by commercial boundaries or editorial edicts, their work was particularly innovative and experimental. Here you will find a group of artists who could not get any attention from the mainstream, who were driven by the inner need to express themselves. This group was a pioneering force that still leaves a wake and an imprint on the alternative comix scene today.
Newave! features over 800 pages of comics (click here to read the full Table of Contents), as well as a historical introduction by editor Michael Dowers (click here to read), and interviews with several of the more prominent artists featured, such as Brad Foster, Artie Romero, Steve Willis, Dennis Worden, Bob X, J.R. Williams, Roger May, Tom Hosier, George Erling, and Bob Vojtko.
“Newave is not about artsploitation. Newave is about ideas. Nothing is taboo. Nothing is censored. No one is told what or what not to draw... Newave is social, political, rebellious, humorous, irreverent, libelous, inane, argumentative, blasé, blatant, belligerent, blasphemous, insane, kinky, ridiculous, absurd, loving, sleazy, and topical. Newave is back talk... Newave is the child of instant printing. Anyone can learn it. Anyone can participate. There are no aristocrats of newave, no comix stars. Newave is communication returned to people. It is out of the control of the mind manipulators...” – Excerpts from Clay Geerdes’ Newave Manifesto, 1983
Download an EXCLUSIVE 36-page PDF excerpt (2 MB) with samples from throughout the book.
(NOTE: For academic/volume discounts on this title, please call toll-free at 1-800-657-1100 or 206-524-1967 outside the U.S.)
Ho Che Anderson’s biography of America’s great civil rights advocate Martin Luther King is both a monumental recreation of his tumultuous public life (and death) and an intimate portrait of the man as politician, friend, lover, husband, and father.
With the triumphant ascendancy of Barack Obama to the Presidency of the United States, Martin Luther King’s advocacy for racial equality and the dignity of all men stands as one of the greatest and most successful achievements toward social justice in the 20th century. Originally published in three volumes (1993-2002), this Special Edition of King includes the original 240 page graphic novel as well many unique and original additions, including an essay by the author on the making of the book, preliminary sketches, pages of the typescript, visual breakdowns, “deleted scenes,” and a prelude about race relations in contemporary America entitled Black Dogs.
Anderson’s biography traces King’s life from his childhood in Atlanta and his education at Booker T. Washington High School, and his centrality to the civil rights movement when, in 1955, he organized the Montgomery Bus Boycott; his founding of the Southern Christian Leadership Conference in 1957; his Nobel Prize in 1964; the 1966 March on Washington and his “I Have a Dream” speech; and the tragic moment on April 4, 1968 when he was shot dead on the balcony of the Lorraine Hotel in Memphis, Tennessee. King brings the man, and a singular moment in American history, vividly to life.
Download an EXCLUSIVE 18-page PDF excerpt (7 MB) covering events from 1960-61.
A swell custom-designed case containing the fifth and sixth volumes of Hank Ketcham's Complete Dennis the Menace with strips from the years 1959 through 1962. (Sorry, case is not peanut butter or root beer resistant.)
(Click the following links for more details on the 1959-1960 volume and the 1961-1962 volume, including preview excerpts.)
Hilarious, frightening, mysterious, adorable and utterly bleak, Chocolate Cheeks has arrived to disgust and delight comic-book readers of all ages. “Sweet” Chubby Cheeks and the Pullapart Boy (a 21st Century Frankenstein’s monster for kids) are driving each other crazy. Forced together by their dating parents, these two bitter enemies have alienated — or otherwise disposed of — most of their social circle, leaving them with plenty of quality time for each other. They go camping, start a business, form a band, join a team, try to make some new friends (including icky new characters Crustache and Lumpy Noodle) and engage in a "holy war." Things go from worse to worst, though, when the two boys find a cat — or is it a bird? — one hot summer day in the harrowing 51-page story "Blue Jay" (as previously serialized at Fantagraphics.com).
Steven Weissman, modern master of light tragedy, is at his most horrible with Chocolate Cheeks. Juxtaposing gag-driven, newspaper-fashioned strips that are just gross enough to delight younger readers and sophisticated enough to be appreciated by grown-ups alongside the symbolically rich extended narrative of "Blue Jay," this is the greatest "Yikes" book yet.
344-page black & white 8.5" x 7" hardcover • $28.99 ISBN: 978-1-60699-345-3
Ships in: March 2010 (subject to change)
Good grief, Charlie Brown, we're halfway there! That’s right! With this volume, The Complete Peanuts reaches the halfway point of Charles M. Schulz’s astounding half-century run on the greatest comic strip of all time.
These years are especially fecund in terms of new canine characters, as Snoopy is joined by his wandering brother Spike (from Needles), his beloved sister Belle (from Kansas City), and... did you know he had a nephew? In other beagle news, Snoopy breaks his foot and spends six weeks in a cast, deals with his friend Woodstock’s case of the “the vapors,” and gets involved in a heated love triangle with Linus over the girl “Truffles.”
The Complete Peanuts 1975-1976 features several other long stories, including a rare “double track” sequence with two parallel narratives: Peppermint Patty and Snoopy travel to participate in the Powderpuff Derby, while Charlie Brown finally gets to meet his idol Joe Shlabotnik. And Peppermint Patty switches to a private school, but commits the mistake of allowing Snoopy to pick it for her; only after graduation does she realize something’s not quite right!
Plus: A burglary at Peppermint Patty’s house is exacerbated by waterbed problems... Marcie acquires an unwanted suitor... Charlie Brown and Peppermint Patty become desk partners... The talking school building collapses... Lots of tennis jokes... and gags starring Schroeder, Lucy, Franklin, Rerun, Sally, and that vicious cat next door. It’s another two years of Peanuts at its finest! Featuring an introduction by comedian Robert Smigel (Triumph the Insult Comic Dog, Saturday Night Live).
"The Complete Peanuts has framed Charles Schulz’s enduring masterpiece about as well any lifelong fan could’ve hoped." – "The Best Comics of the '00s: The Archives", The A.V. Club
Download an EXCLUSIVE 14-page PDF excerpt (1 MB) containing all the strips from January, 1975!
“Five six. Hundred twenty-eight pounds. Forty-three twenty-two thirty-six. High soft lisp. Genius level I.Q.” That’s how motivational speaker Mark Herrera sums up Rosalba “Fritz” Martinez, bombshell, former punkette, former psychiatrist, “Z” movie star — in this supremely sexy, constantly surprising graphic novel.
And Herrera should know, being only one of many to fall under Fritz’s “lithping” spell — others including slobbish rocker Scott “The Hog” and high school nerd turned obsessive bodybuilder Enrique Escobar (and that’s just her husbands).
Hernandez has taken this suite of stories (including the 48-page graphic novelette “High Soft Lisp”), originally serialized in Luba's Comics and Stories and the second volume of Love and Rockets, and fleshed them out with a dozen brand new pages, creating an original and inventive (and very steamy) volume that, through its connections to his main character Luba (Fritz is Luba’s half sister, and characters from the Luba stories pop up here), works both as a standalone graphic novel and a further exploration of Hernandez’s rich world.
Picking up right after Perla La Loca, the third volume of the definitive “Maggie” series repackaging, this compilation of stories from Jaime Hernandez’s solo comic Penny Century and his subsequent return to Love and Rockets (Volume II) charts the further lives of his beloved “Locas.”
But first... wrestling! Penny Century starts off with a blast with “Whoa, Nellie!,” a unique graphic novelette in which Maggie, who has settled in with her pro-wrestler aunt for a while, experiences that wild and woolly world first-hand.
Then it’s back to chills and spills with the old cast of Hopey, Ray Dominguez, and Izzy Ortiz — including Maggie’s romantic dream fantasia “The Race” and the definitive Ray story, “Everybody Loves Me, Baby.”
Penny Century also features two major “flashback” stories: “Bay of Threes” finally reveals the full back story behind Beatriz “Penny Century” Garcia, Maggie’s long-time, bleached-blonde bombshell friend (who gives this volume its name and can be seen as a super-villainess in the first two issues of Love and Rockets: New Stories), while “Home School” is one of Hernandez’s popular looks at his characters’ lives from when they were little kids, drawn in an adorable simplified Dennis the Menace type style. This volume also includes the Maggie & Hopey Color Fun one-shot, reproduced here in glorious black and white.
Sand & Fury is a story of blood, of sex, of death — of sound and retribution. It opens as a girl by the side of a desert road accepts a ride from a stranger. How could she know that behind that wheel sits the angel of death?
Of course, even the angel of death once had a life. During that life, death was a successful business woman, with a great career and an even greater future. It’s true she could be a little cavalier with her innate gifts; she had, after all, broken the heart of everyone who had ever loved her.
And then, one day, the monster entered the woman’s life and changed everything forever.
Inspired by the work of filmmakers like David Lynch and Dario Argento and cartoonists like Richard Sala and Charles Burns, a spiritual cousin to Roman Polanski’s Repulsion and The Tenant, Sand & Fury is at once an homage to those classic horror sources and a contemporary romantic thriller, drawn in a stark, chiseled, expressionistic line that evokes modern attitudes and classic terror at the unknown and unknowable.
Download an EXCLUSIVE PDF excerpt containing the first 10 pages of the story (1.9 MB).
"In Sand & Fury, Ho Che Anderson has done what I would have previously regarded as impossible. He’s found the illegitimate child of Faulkner and Lovecraft buried alive in a paranoiac’s terrified vision of the desert of the American Southwest... in a grave uncovered by the shriek of his own degenerate perversion of a banshee, for fuck’s sake." – Howard Chaykin
"Anderson’s blocky figures and Expressionistic use of caricature are augmented by processed period photography, an approach that calls to mind the minimalist abstractions of Frank Miller. The characters are frequently depicted in high-contrast shadow, wherein features become flattened and skin colour is often difficult to determine. The resulting aesthetic is striking and symbolic." — The Guardian