Carl Barks's Donald Duck and Uncle Scrooge comics are considered among the greatest artistic and storytelling achievements in the history of the medium.
After serving a stint at the Walt Disney studios as an in-betweener and a gag-man, Barks began drawing the comic book adventures of Donald Duck in 1942. He quickly mastered every aspect of cartooning and over the next nearly 30 years created some of the most memorable comics ever drawn — as well as some of the most memorable characters: Barks introduced Uncle Scrooge, the charmed and insufferable Gladstone Gander, the daffy inventor Gyro Gearloose, the bumbling and heedless Beagle Boys, the Junior Woodchucks, and many others.
Barks alternated between longish, sprawling 20- or 30-page adventure yarns filled with the romance of danger, courage, and derring-do, whose exotic locales spanned the globe, and shorter stories that usually revolved around crazily ingenious domestic squabbles between Donald and various members of the Duckburg cast. Barks’s duck stories, famously enjoyed equally by both children and adults, are both evanescent celebrations of courage and perseverance and depictions of less commendable traits — greed, resentment, and one-upmanship.
Our initial volume begins when Barks had reached his peak — 1948-1950. Highlights include:
• The title story, “Lost in the Andes” (Barks’s own favorite). Donald and the nephews embark on an expedition to Peru to find where square eggs come from only to meet danger in a mysterious valley whose inhabitants all speak with a southern drawl, and where Huey, Dewey, and Louie save Unca’ Donald’s life by learning how to blow square bubbles!
• Two stories co-starring the unbearably lucky Gladstone, including the epic “Race to the South Seas,” as Donald and Gladstone try to win Uncle Scrooge’s favor by being the first to rescue him from a desert island.
• Two Christmas stories, including “The Golden Christmas Tree,” one of Barks’s most fantastic stories that pits him and the nephews against a witch who wants to destroy all the Christmas trees in the world.
• In other stories, Donald plays a TV quiz show contestant and ends up encased in a giant barrel of Jell-O, a truant officer who matches wits with his nephews, and a ranch hand who outwits cattle rustlers.
Lost in the Andes also features an introduction by noted Barks scholar Donald Ault, and detailed commentary/annotations for each story at the end of the book, written by the foremost Barks authorities in the world.
These new editions feature meticulously restored and re-colored pages in a beautifully designed, affordable and accessible format. Discover the genius of Carl Barks!
Walt Kelly started his career at age 13 in Connecticut as a cartoonist and reporter for the Bridgeport Post. In 1935, he moved to Los Angeles and joined the Walt Disney Studio, where he worked on classic animated films, including Pinocchio, Dumbo, and Fantasia. Rather than take sides in a bitter labor strike, he moved back east in 1941 and began drawing comic books.
It was during this time that Kelly created Pogo Possum. The character first appeared in Animal Comics as a secondary player in the “Albert the Alligator” feature. It didn’t take long until Pogo became the comic’s leading character. After WWII, Kelly became artistic director at the New York Star, where he turned Pogo into a daily strip. By late 1949, Pogo appeared in hundreds of newspapers. Until his death in 1973, Kelly produced a feature that has become widely cherished among casual readers and aficionados alike.
Kelly blended nonsense language, poetry, and political and social satire to make Pogo an essential contribution to American “intellectual” comics. As the strip progressed, it became a hilarious platform for Kelly’s scathing political views in which he skewered national bogeymen like J. Edgar Hoover, Joseph McCarthy, George Wallace, and Richard Nixon.
Walt Kelly started when newspaper strips shied away from politics — Pogo was ahead of its time and ahead of later strips (such as Doonesbury and The Boondocks) that tackled political issues. Our first (of 12) volume reprints approximately the first two years of Pogo — dailies and (for the first time) full-color Sundays.
This first volume also introduces such enduring supporting characters as Porkypine, Churchy LaFemme, Beauregard Bugleboy, Seminole Sam, Howland Owl, and many others. And for Christmas, 1949, Kelly started his tradition of regaling his readers with his infamously and gloriously mangled Christmas carols.
Special features in this sumptuous premiere volume, which is produced with the full cooperation of Kelly’s heirs, include a biographical introduction by Kelly biographer Steve Thompson, an extensive section by comics historian R.C. Harvey explaining some of the more obscure current references of the time, a foreword by legendary columnist Jimmy Breslin, and more.
Download and read a 29-page PDF excerpt (7.7 MB) including the Editors' Notes and Table of Contents; 16 pages of daily strips; and 4 Sunday strips.
The hardcover reprint and new softcover edition of Jim Woodring's The Frank Book are headed to comic shops this week (and the hardcover print run is already sold out from the distributor — and from us — so grab it if you see it!), and PREVIEWSworld presents a 7-page sneak peek from the book!
When ten Oregonians travel to the Gulf Coast in August 2010 to plumb the devastation wrought by the Deepwater Horizon spill, they discover that “Oil and Water” is just the first of the insoluble contradictions. Between the tarred sands of Grand Isle and the fouled waters of the Louisiana bayou, they come to find out that Gulf Coast residents are economically dependent upon the very industry that is wreaking havoc on their environment. In the shadow of the greatest ecological disaster of our time, they are forced to reassess their roles as witness, critic and environmental steward.
In this 144-page graphic novel — written by Steve Duin, a columnist for The Oregonian, and illustrated by Eisner-winning New Yorker cartoonist Shannon Wheeler — readers will tour the shark-pocked beach at Grand Isle with the local head of Homeland Security; step aboard the crabbing boat of a 20-year-old Mississippian who works 16-hour days and spends his nights dreaming of M.I.T.; enter the “Hot Zone” where volunteers work desperately to save brown pelicans drenched in British petroleum; and hear shrimpers, Vietnamese and good ol’ boys alike, describe what happens to their livelihood when 200 million gallons of oil flood the scene. The readers’ perspective on what hope and what mission remains along a ravaged coastline, and one awash in both seafood and oil, will be changed as irrevocably as that of these ten Oregonians.
"Duin and Wheeler offer a penetrating perspective on what many considered to be the worst environmental disaster in United States history. With a resolutely unsentimental voice, they capture many of the complex and deep tragedies of the 2010 Deepwater Horizon event in post-Katrina coastal Louisiana. Through accessible images and writing, they portray the spirit of real people in real places imperiled by a disaster of global proportions. As a documentary of visiting, engaging and learning from these communities, their work illustrates how Louisiana and its people are defining the legacy (writ large) of energy and the environment in contemporary society." – Dr. Michael J. Blum, Assistant Professor, Department of Ecology and Evolutionary Biology, Tulane University
"Reporter Steve Duin and cartoonist Shannon Wheeler visited Louisiana to investigate the Deepwater Horizon oil disaster, and their legwork shows. By contrasting the perspectives of out-of-state do-gooders and hard-bitten locals, Duin and Wheeler tell a nuanced story that goes a long way to evoking what the catastrophe means to those who still live with it." – Joe Sacco
"Oil and Water is smart, informative and completely engaging. We experience the disaster through the eyes of Duin and Wheeler's richly developed, beautifully illustrated characters and the result is a stunning graphic novel not to be missed." – Jeff Lemire
Any journey with Alexander Theroux is an education. Possessed of a razor-sharp and hyperliterate mind, he stands beside Thomas Pynchon as one of the sharpest cultural commentators of our time. So when he decided to accompany his wife — the artist Sarah Son-Theroux — on her Fulbright Scholarship to Estonia, it occasioned this penetrating examination of a country that, for many, seems alien and distanced from the modern world.
For Theroux, the country and its people become a puzzle. His fascination with their language, manners, and legacy of occupation and subordination lead him to a revelatory examination of Estonia’s peculiar place in European history. All the while, his trademark acrobatic allusions, quotations, and digressions — which take us from Hamlet through Jean Cocteau to Married… with Children — render his travels as much internal and psychical as they are external and physical. Through these obsessive references to Western culture, we come to appreciate how insular the country has become, yet also marvel at its fierce individuality and preternatural beauty — such is the skill of Theroux’s gaze.
This travelogue of his nine months abroad also brims with anecdotes of Theroux’s encounters with Estonian people and — in some of its most bitterly comedic episodes — his fellow Americans whom he at times feels more alienated from than the frosty, humorless Europeans.
Estonia: A Ramble Through the Periphery is as biting and satirical as it is witty and urbane; as curious and lyrical as it is brash and irreverent. It marks a new highlight in an already stellar career and a book that continues Fantagraphics’ exceptional line of prose works.
Download and read a 37-page PDF excerpt (176 KB) with the Table of Contents and first 6 chapters.