Joyce Farmer’s memoir chronicles the decline of the author’s parents’ health, their relationship with one another and with their their daughter, and how they cope with the day-to-day emotional fragility of the most taxing time of their lives.
Elderly parents Lara and Rachel, who have enjoyed a long and loving married life together, are rendered in fine, confident pen lines. Set in southern Los Angeles (which makes for a terrifying sequence as blind Rachel and ailing Lars are trapped in their home without power during the 1992 Rodney King riots), backgrounds and props are lovingly detailed: these objects serve as memory triggers for Lars and Rachel, even as they eventually overwhelm them and their home, which the couple is loathe to leave. Special Exits is laid out in an eight-panel grid, which creates a leisurely storytelling pace that not only helps to convey the slow, inexorable decline in Lars’ and Rachel’s health, but perfectly captures the timbre of the exchanges between a long-married couple: the affectionate bickering; their gallows humor; their querulousness as their bodies break down.
Though Lars and Rachel are the protagonists of Special Exits, Farmer makes her voice known through creative visual metaphors and in her indictment of the careless treatment of the elderly in nursing homes. Special Exits gracefully deals with the hard reality of caring for aging loved ones: those who are or who have been in similar situations might find comfort in it, and those who haven’t will find much to admire in the bravery and good humor of Lars and Rachel.
Joyce Farmer, best known for co-creating the Tits ’n Clits comics anthology in the 1970s, a feminist response to the rampant misogyny in underground comix, spent 11 years crafting Special Exits, a graphic memoir in the vein of Alison Bechdel’s Fun Home or Harvey Pekar, Joyce Brabner, and Frank Stack’s Our Cancer Year, about caring for her dying father and stepmother.
"One of the best long-narrative comics I've ever read, right up there with Maus... I actually found myself moved to tears. – R. Crumb
With its long-awaited second volume, this witty and sublimely drawn fantasy eases into a relaxed comedy of manners as Lady Jain settles into her new life in Castle Waiting.
Unexpected visitors result in the discovery and exploration of a secret passageway, not to mention an epic bowling tournament. A quest for ladies’ underpants, the identity of Pindar’s father, the education of Simon, Rackham and Chess arguing about the “manly arts,” and an escape-prone goat are just a few of the elements in this delightful new volume.
The book also includes many flashbacks that deepen the stories behind the characters, including Jain’s earliest romantic entanglements and conflicts with her bratty older sisters, the horrific past of the enigmatic Dr. Fell, and more.
A matching volume to 2009’s Almost Silent, What I Did collects three of Jason’s acclaimed 1990s graphic novels into a handsome, definitive omnibus format.
"Hey, Wait...," which was the first of Jason's books to be translated to English, tells the story of two childhood friends. A dreadful event midway through the story changes their lives forever, and the story becomes the summary of lives lived, wasted, and lost. Jason's sparse dialogue, dark wit, and supremely bold use of "jump-cuts" from one scene to the next make "Hey, Wait..." a surprising and engaging debut.
"Sshhhh!" is one of Jason’s virtuoso silent performances, the cradle-to-grave life of one of his bird-headed characters. A sharp suite of short tales, ranging from funny to terrifying to surreal to touching, all told entirely in pantomime. Jason's clean, deadpan art style hides a wealth of emotion and human complexity, leavened with a wicked wit.
And the one Jason fans have been waiting for is the long-out-of-print "The Iron Wagon," an ingenious, atypically (for Jason) talky murder mystery set in early-20th-century Norway, adapted from a classic Norwegian novel by Stein Riverton — albeit starring Jason’s patented blank-eyed animal-headed characters and told in moody two-color panels.
Download an EXCLUSIVE 23-page PDF excerpt (864 KB) with pages from each story.
Loosely based on a teenager’s diary from the 1980s found in a gas-station bathroom, Unlovable is the remarkable story of Tammy Pierce, as filtered through the pen and brush of Los Angeles artist Esther Pearl Watson. This boxed set collects the complete, acclaimed two-volume saga of Tammy’s sophomore year of high school in 1989.
Tammy has built a devoted following over the last several years in the pages of BUST magazine, where Unlovable continues to be serialized on the magazine’s back page, and this beautifully produced, slipcased collection features all 832 pages of her sometimes ordinary, sometimes humiliating, often poignant and always hilarious exploits. Her hopes, dreams, agonies and defeats are brought to vivid, comedic life by Watson’s lovingly grotesque drawings, filled with all the eighties essentials — too much mascara, leg warmers with heels and huge hair, etc. — as well as timeless teen concerns like acne, dandruff, and the opposite sex (or same sex, in some cases). Unlovable addresses the mysteries of adolescence through Tammy’s naivete; girls and women in particular will find much that resonates, but men will also relate to Unlovable’s universal humor and wide cast of characters. Tammy’s life isn’t pretty, but it is endlessly charming and hilarious.
This complete edition is handsomely packaged in a specially designed, sturdy slipcase, making it an ideal gift item.
For decades they have roamed the seas, this shipload of undead pirates. They are desperate to die, but every time they try to dash their ship to splinters and end their miserable existence, a malevolent God scoops them out of danger. And so they have no choice but to continue to sail the seas, looting and killing.
Until one day, having exterminated yet another ship of the living, they come across a little pink baby. Adopting him as their mascot and dubbing him their "Littlest King," they continue their journeys. But eventually the King begins to grow up...
Adapted by David B., the acclaimed creator of Epileptic, from a short story by Pierre Mac Orlan (which was published decades before the release of the Pirates of the Caribbean movies, thank you very much), The Littlest Pirate King is David B.'s first full-color graphic novel to be released in English, and his vivid palette combines with his stunningly elegant graphics to create a magical yarn that can be enjoyed by young and old alike.
32-page full-color 8.5" x 11.25" hardcover • $14.99 ISBN: 978-1-60699-402-3
Ships in: November 2010 (subject to change) — Pre-Order Now http://www.fantagraphics.com/toysinthebasement
With appearances in such anthologies as Zero Zero, Blab! and Kramer's Ergot, Stéphane Blanquet has been delighting and terrifying American readers with his superslick, ultradetailed creepiness.
So it makes perfect sense that his first graphic novel to be published in the U.S. would be... a children's book? Yes indeed.
Our hero, attending a Halloween party in an embarrassing pink bunny costume (he wanted to be a pirate) stumbles across a secret underground society of damaged, forgotten, and pissed-off toys in the basement of his friend's house — including the terrifying Amelia, a towering sentient assemblage of broken toy parts out for revenge!
Imagine Toy Story as reimagined by David Lynch and Charles Burns and you'll have a good idea of what this story is like. And yes, it is for kids!
We had a handful of our trademark video & photo previews from Summer 2009 that we regrettably never had a chance to upload at the time; we've been adding them one by one over the last couple of months and the final one is now up, for Giraffes in My Hair: A Rock 'n' Roll Life by Bruce Paley and Carol Swain. (The hot pink design elements and rock 'n' roll subject matter pair well with this morning's Destroy All Movies!!! preview, no?) It's embedded above and at slightly higher resolution on the book's product page; for best viewing, view full screen or click here to open it in a new window. Whew! Feels good to finally be caught up.
The most dazzlingly insane film reference book of all time, Destroy All Movies!!! is an informative, hilarious, and impossibly complete guide to every goddamn appearance of a punk (or new waver!) to hit the screen in the 20th Century. This wildly comprehensive eyeball-slammer features A-to-Z coverage of over 1100 feature films from around the world, as well as dozens of exclusive interviews with the creators and cast of essential titles such as Repo Man, Return of the Living Dead, The Decline of Western Civilization and Valley Girl. Everyone from Richard Hell to Penelope Spheeris to Ian MacKaye contributes his or her uncensored reminiscences from the front lines of a revolution. Other interviewees include Alex Cox, Nick Zedd, Lech Kowalski, Mary Woronov and Circle Jerks frontman Keith Morris. Also examined are hundreds of prime examples of straight-to-VHS slasher trash, Brooklyn junkie masterpieces, Filipino breakdancing fairytales, no-budget post-apocalyptic epics, and movies that shouldn’t even have been released, many of which have never been written about online or in print!
In the late ’70s, Punk Rock and its followers ambushed the world with nuclear force. It was an unprecedented phenomenon that infested radios, print, and culture as a whole. Of all its shell-shocked witnesses, the least prepared was Hollywood, who viewed the movement as a walking epidemic of self-abusive, garbage-eating, candy-colored manimals ripe for marketable stereotyping. The results were hilarious, as lowbrow cinema was forever altered in the shadows of 20-inch mohawks and steel-spiked wardrobes. Meanwhile, punk participants like Spheeris and Alex Cox managed to document the emerging outbreak in a more humanistic light, creating enduring visions of a new breed of youth through blazing music documentaries and innovative narrative assaults.
Destroy All Movies!!! nails down both ends of the spectrum with superhuman research, vicious precision, and electrically charged stills and images, and is the first and final definitive armchair roadmap to punk and new wave on celluloid. Five years in the making, this pulse-bursting monument to lowbrow cultural obsession is a must for all film fanatics, music maniacs, anti-fashion mutants, ’80s nostalgists, sleazoids, cop-killers, and spazzmatics!