Chris Wright’s Blacklung is unquestionably one of the most impressive graphic novel debuts in recent years, a sweeping, magisterially conceived, visually startling tale of violence, amorality, fortitude, and redemption, one part Melville, one part Peckinpah. Blacklung is a story that lives up to the term graphic novel, that could only exist in sequential pictures — densely textured, highly stylized, delicately and boldly rendered drawings that is, taken together, wholly original.
In a night of piratical treachery when an arrogant school teacher is accidentally shanghaied aboard the frigate Hand, his fate becomes inextricably fettered to that of a sardonic gangster. Dependent on one another for survival in their strange and dangerous new home, the two form an unlikely alliance as they alternately elude or confront the thieves and cutthroats that bad luck has made their companions and captors. After an act of terrible violence, the teacher is brought before the ship’s captain and instructed to use his literary skills to aid him in writing his memoirs. He is to serve as scribe for a man who, in his remaining years, has made it his mission to commit as many acts of evil as possible in order to ensure that he meet his dead wife in hell. As the captain’s protected confidant, finding his only comfort in the few books afforded him, the teacher bears witness to monstrous brutality, relentless cruelty, strange wisdom, and a journey of redemption through loss of faith.
“I could not have imagined how impressive a work Blacklung would turn out to be. It’s a graphic novel, both in its vernacular term and in a more literal sense, violent and horrible and poetic at the same time – the sort of thing McCarthy might write if he were more interested in pirates than cowboys or Appalachians. Blacklung is a great book; canonically great.” —Chris Schweizer (Crogan’s Adventures)
“A truly organic and interesting way to cartoon, the complete package of verbal cadence and informative visual style.” – Tom Spurgeon, The Comics Reporter
Basil Wolverton is one of the greatest, most idiosyncratic talents in comic book history. Though he is best known for his humorous grotesqueries in MAD magazine, it is his science-fiction character Spacehawk that Wolverton fans have most often demanded be collected. The wait is over, as Spacehawk features every story from Spacehawk’s intergalactic debut in 1940 to his final, Nazi-crushing adventure in 1942.
Spacehawk is the closest thing to a colorfully-costumed, conventional action hero Wolverton ever created, yet the strip is infused with Wolverton’s quintessential weirdness: controlled, organic artwork of strangely repulsive aliens and monsters and bizarre planets, and stories of gruesome retribution that bring to mind Wolverton’s peer, Fletcher Hanks. Spacehawk had no secret identity, no fixed base of operations beyond his spaceship, and no sidekicks or love interests. He had but one mission in life: to protect the innocent throughout the Solar System, and to punish the guilty. He was a dark — yet much more visually playful — counterpart to Buck Rogers and Flash Gordon.
Spacehawk also includes the character’s final and rarely-seen Earthbound adventures. As the U.S. became involved in World War II, Spacehawk returned to 20th Century America to join the United States’ efforts in defeating fascism, which he does by patrolling the Earth’s stratosphere, looking for wrongdoing.
While supplies last, customers who order this volume can also receive the box set slipcase for Vols. 1 and 2 at no extra charge!
Even though Pogo had been in syndication for less than two years as this volume begins, Walt Kelly's long professional experience (including seven years creating Pogo stories for comic books) had him at the peak of his powers, and this book features page after page of gorgeously drawn, hilarious vaudevillian dialogue and action among the swamp denizens, as well as Kelly's increasingly sharp-tongued political satire — especially on display during the 1952 election season.
Kelly was famous for his prolific creation of recurring characters, and by the end of this second volume, the count will already have topped over one hundred. New arrivals include Tammanany the Tiger, the voluble P.T. Bridgeport, the sinister Sarcophagus MacAbre (with his funereal speech balloons), Uncle Antler the bull moose... and Bewitched, Bothered, and Bemildred, the adorable trio of bats.
The two years of daily strips in this volume (all the strips from 1951 and 1952) have been collected before but in now long out of print books; and even there they were not as meticulously restored and reproduced as in this new series. Bona Fide Balderdash also reprints, literally for the first time ever in full color, the two full years of Sunday pages, also carefully restored and color-corrected, shot from the finest copies available.
This second volume is once again edited and designed by the cartoonist’s daughter, Carolyn Kelly, who is also handling much of the restoration work. It includes a new introduction by the legendary author, recording artist, and satirist Stan Freberg, who was not only a friend of Kelly’s but the voice of Albert the Alligator in the I Go Pogo: Pogo for President movie. There are also be more extensive annotations by comic strip historian and expert R.C. Harvey, as well as additional historical information from writer Mark Evanier.
34-page excerpt, including Table of Contents, 16 pages of dailies, 5 Sunday pages, and incidental artwork (download 6.7 MB PDF):
A boxed set of the first and second volumes of Pogo - The Complete Syndicated Comic Strips. Shipping shrinkwrapped, with Volume 1: "Through the Wild Blue Wonder" and Volume 2: "Bona Fide Balderdash" packed in a sturdy custom box designed especially for this set, it's the perfect gift book item. (For more information on the contents of each volume, see the individual product listings linked above.)
Already have Volume 1? Order Volume 2 and we'll include the box set slipcase at no extra charge! (While supplies last.)
The 20th century had hit its exact midpoint. Social upheaval — sexual, social, racial, cultural — was in the air; and the fledgling EC comics line was about to become a vital part of it.
Working within the horror, war, crime, and science fiction genres, publisher William Gaines and editor/writer Al Feldstein combined a deliciously disreputable, envelope-pushing sensibility with moments of genuine, outraged social consciousness, which shone a hard light onto such hot-button topics as racism, anti-Semitism, mob justice, and misogyny and sexism.
The 1950s were also a launching pad for some of the greatest comic book artists in history, many of whom worked for EC — including Wallace Wood, whose hypnotically detailed, lushly expressive brushwork brought to life menacing thugs, ominous cityscapes, and small-town America, as well as Everymen grappling with profound moral issues — not to mention some of the most heart-stoppingly beautiful women ever to sashay across a comic book page.
Came the Dawn collects all 26 Wood-drawn horror and crime stories — including the full baker’s dozen of EC’s most courageous and politically charged dramas.
Taking its title from one of Wood’s all-time classics, the evil little paranoid thriller “Came the Dawn,” this collection features page after page after page of Wood’s sleek and meticulously crafted artwork put in the service of cunning twist-ending stories, most often from the typewriter of EC editor Al Feldstein. These tales range from supernatural shockers from the pages of Tales From the Crypt and The Haunt of Fear (“The Living Corpse,” “Terror Ride,” “Man From the Grave,” “Horror in the Freak Tent”) to often pointedly contemporary crime thrillers from Crime SuspenStories (“The Assault,” “The Whipping,” and “Confession,” which was singled out for specific excoriation in the anti-comics screed Seduction of the Innocent, thus giving it a special cachet), but the breathtaking art and whiplash-inducing shock endings are constants throughout.
Like every book in the Fantagraphics EC line, Came the Dawn features extensive essays and notes on these classic stories by EC experts — but the real “meat” of the matter (sometimes literally, in the grislier stories) is supplied by these ofted lurid, sometimes downright over-the-top, but always compelling and superbly crafted, classic comic-book masterpieces.
The creation of MAD would have been enough to cement Harvey Kurtzman’s reputation as one of the titans of American comics, but Kurtzman also created two other comics landmarks: the scrupulously-researched and superbly-crafted war comics Two-Fisted Tales and Frontline Combat. Here were finally war comics without heroic, cigar-chomping sergeants, wisecracking privates from Brooklyn, or cartoon Nazis and “Japs” to be mowed down by the Yank heroes, but an unflinching look at the horror and madness of combat throughout history.
Kurtzman employed some of the finest of the EC artists including Jack Davis, John Severin, and Wallace Wood, but his vision came through clearest in the dozen or so stories he both wrote and drew himself, in his uniquely bold, slashing, cartoony-but-dead-serious style (“Stonewall Jackson,” “Iwo Jima,” “Rubble,” “Big ‘If ’,” and Kurtzman’s own favorite, “Air Burst”) — as well as his vividly colored, narratively-dense covers, all 23 of which are reproduced here in full color in a special portfolio.
Corpse on the Imjin! is rounded off with a dozen or so stories written and laid out by Kurtzman and drawn by “short-timers,” i.e. cartoonists whose contributions to his war books only comprised a story or two — including such giants as designer extraordinaire Alex Toth, Marvel comics stalwart Gene Colan, and a pre-Sgt. Rock Joe Kubert... and such unexpected guests as “The Lighter Side of...” MAD artist Dave Berg and DC comics veteran Ric Estrada — as well as a rarity: a story by EC regular John Severin inked by Kurtzman.
Like every book in the Fantagraphics EC line, Corpse on the Imjin! features extensive essays and notes on these classic stories by EC experts — but Kurtzman’s stories, as vital, powerful, affecting, and even, yes, modern today as when they were created 60 years ago, are what makes this collection a must-have for any comics reader.
Ron Regé, Jr. is a very unusual yet accomplished storyteller whose work exudes a passionate moral, idealistic core that sets him apart from his peers. The Cartoon Utopia is his Magnum Opus, a unique work of comic art that, in the words of its author, "focuses on ideas that I've become intrigued by that stem from magical, alchemical, ancient ideas & mystery schools." It's part sci-fi, part philosophy, part visual poetry, and part social manifesto. Regé's work exudes psychedelia, outsider rawness, and pure cartoonish joy.
In The Cartoon Utopia, "Utopians" of the future world are attempting to send messages through consciousness, outside of the constricts of time as we understand it. They live in a world of advanced collective consciousness and want to help us understand how to achieve what they have accomplished. They get together to perform this task in a way that evolved out of our current system of consuming information and entertainment. In other words, the opposite of television. Instead, these messages appear in the form of art, music and storytelling.
Praise for Ron Regé, Jr.:
"One of a handful of cartoonists in the history of the medium to not only reinvent comics to suit his own idiosyncratic impulses and inspirations as an artist, but also to imbue it with his own peculiar, ever changing emotional energy. To me, he is unquestionably one of 'the greats.'" – Chris Ware
"Slow down when you read his pictures and ornately lettered words, quivering, scintillating, radiant, and they will leave you awake and awakened." – Paul Gravett
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.
Fantagraphics spotlights the intersection of art and language in this innovative new collection — without peer in English — that gathers the work of visual poets from around the world into one stunning volume. The alphabet is turned on its head and inside-out and the results culminate in a compilation of daring and surprising verbo-visual gems.
The Last Vispo Anthology is composed of vispo (a portmanteau of the words “visual” and “poetry") from the years 1998 to 2008, during a burst of creative activity fueled by file sharing and email, which made it possible for the vispo community to establish a more heightened and sophisticated dialogue with one another. The collection extends the dialectic between art and literature that began with ancient “shaped text,” medieval pattern poetry, and dada typography, pushing past the concrete poetics of the 1950s and the subsequent mail art movement of the 1980s to its current incarnation. Rather than settle into predictable, unchallenged patterns, this vibrant poetry seizes new tools to expand the body of work that inhabits the borderlands of visual art and poetic language.
The Last Vispo Anthology features 148 contributors from 23 countries on five continents. It includes 12 essays that illuminate the abundant history and the state of vispo today. The anthology offers a broad amalgam of long-time practitioners and poets new to visual poetry over the last decade, underscoring the longevity and the continued vitality of the art form.
“The descriptor ‘visual poetry’ cannot begin to hint at the wealth of potent mystery that The Last Vispo contains. It knocked my mind right off its cozy little track and sent it sprawling through a myriad of brand new experiences. I can’t remember the last time I encountered something so charged, mysterious, deep and pleasurably upsetting as this book.” – Jim Woodring
“A delightful cornucopia of imaginary languagescapes, opening the eye to other alphabetic climes, beyond the ho-hum regimentation of linear normalcies. & all from (just about) the past decade. Visual poetries: alive and expanding. It’s positively viral.” – Charles Bernstein
“Staring your way into and through the letter as object — the letter as solitary sign, the letter as crowned king. Staring gives us the keys to the kingdom. This book is a glorious adjunct to the long history of concrete and visual poetry. Long live the king!” – Harry Mathews
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