Camp X-Ray in the U.S. military base in Guantanamo, Cuba, opened in January, 2002 in the wake of the 9-11 attacks to house alleged terrorists — off the American mainland, unaccountable to the U.S. judiciary — in "indefinite detention." Newer and more permanent prisons were later built miles away, and continue to house terrorist suspects today.
The United States government does not allow photographs of the military trials at Guantanamo, but beginning in 2006, Janet Hamlin went to Guantanamo as a courtroom sketch artist to serve as a visual witness to the courtroom proceedings and provide worldwide media with artwork drawn during them. She has been the only sketch artist covering these trials from 2006 to the present time.
Sketching Guantanamo is both a collection of her most potent and revealing sketches drawn during this period, as well a chronicle of her experience at Guantanamo.
Before entering the viewing booth behind multi-paneled soundproof glass in the back of the court, Hamlin is daily subjected to thorough searches, wanding, and metal detecting in three separate checkpoints. The U.S. government and even detainees can demand that certain details be "smudged" or even changed. When one detainee who had just pled guilty demanded that sketches of him not be released, Hamlin staged a four-hour sit-in until the authorities relented.
Hamlin's drawings and her accompanying text provide rare insight into the military courts of Guantanamo. The trials are considered notorious and historic, among the most carefully censored trials in recent U.S. history, and sketches are the only visuals the world is allowed to see.
Sketching Guantanamo features nearly 150 drawings, as well as photographs of the surrounding facilities that enhance the artist's illustrations and her running commentary. It also includes a foreword by Robert F. Kennedy Journalism Award winner Carol Rosenberg, a member of a reporting team that won a 2001 Pulitzer Prize.
Love and Rockets enters its fourth decade with this installment of its acclaimed graphic novel-format iteration, featuring both old friends and new faces, and some genuine surprises...
The cover shows Gilbert's new star Killer in a pose and milieu that will bring back memories for long-time fans — imitating the hammer-wielding Luba in her adopted Palomar. That’s because Killer has discovered that her great-grandmother Maria (Luba's mother) starred in a late 1950s crime movie, and begins to delve into the details of her family's twisted history. Complicating things is the fact that Luba's half-sister Fritz played Maria in an amped-up bio-pic version of her life, creating a postmodern alternate version of the classic "Poison River" which originally told Maria's story (in a tie-in release, see the graphic novel version of this movie, Maria M. Book One)! In the other half of the book, Jaime continues to explore his intriguing new character Tonta: In "Fuck Summer," Tonta is talked into joining the summer swim team but can't figure out why the brand new swim coach knows her — so, with help from friends, she sets out to find the answer. Meanwhile, something far more sinister is brewing behind the scenes...
Veteran Joe Krueger is drifting in 1950s California, looking for work wherever he can find it. Tired after a long drive, he stops at a boardinghouse and meets sweet — and sexy — Ida, who rents him a room. That very night, Ida tells him "Mother" and "Father" have run their auto over a cliff, then seduces him in the teary aftermath. Smitten now, Joe starts helping out around the boardinghouse, and the two marry. The honeymoon is over when a shocking series of events force the Kruegers down to San Francisco, where Ida is injured in a bus accident. Soon enough, insurance investigators have chased them out of the city to another town where Ida schemes to swindle a motel owner out of her property. Next, the motel owner and her crippled husband are missing, a water softener salesman is shot, and workmen are digging holes in Joe Krueger's basement.
Schulz shifts gears from his recent Jazz Age Trilogy, combining the exquisitely wrought language of those novels and a straight-for-the-throat pulpy narrative. Imagine the pathology laid bare in Don DeLillo's Libra fused with the sordid and desperate criminality of Jim Thompson's The Getaway, and the black humor of Bruce Jay Friedman.
Based on the true story of Iva Kroeger and her husband Ralph, who were indicted for the murders of Mildred and Jay Arneson in 1962, Naughty culminates in a trial: Ida, whose crimes have (only just) begun to catch up to her, is at her zenith, pleading insanity and playing the part to the hilt. The reader learns Joe's and Ida's fates via excerpts from authentic court documents. Naughty explores exactly what happens when "a swell-looking babe" is unleashed on real life, leaving marks, patsies, and bodies in her wake.
This 20th volume is particularly dense with romantic intrigue, as Marcie and Charlie Brown end up at camp together, sending Peppermint Patty into mad jealousy (especially since Marcie can't resist teasing her)... and an old friend of Charlie Brown's attempts to look him up again but confuses him with Snoopy and goes on a date with him instead.
But the most crucial event in romance is Charlie Brown's romance with Peggy Jean — even though he's so flustered in his first conversation with her that he ends up stuck with the name "Brownie Charles" for the duration of her relationship ("I kind of like it...").
This volume also introduces yet another Snoopy sibling, Olaf, who is humiliatingly invited to enter an ugly-dog contest (and, even more humiliatingly, wins). Plus lots of Zen-like Spike-and-cactus strips, Sally Brown non sequiturs, D-minuses for Peppermint Patty, and wise thoughts from Franklin's grandpa... Snoopy treks through the wilderness as the Beagle Scoutmaster and through the desert as the World Famous Sergeant of the Foreign Legion, Woodstock takes a whack at being the King of the Jungle, Lucy enjoys Michael Jackson on her boom box, Marcie's perfectionism leads to a crack-up, Pigpen runs for class president, Snoopy gets called to jury duty... and for a change, Lucy pulls the football out from under Charlie Brown.
For the past 20 years or so, Jim Woodring’s beloved trilobular chuckbuster Frank has enjoyed one mindbending catastrophe after another in the treacherous embrace of The Unifactor, the land into which he was born and from which escape seemed neither desirable nor likely. And then, abruptly, in 2011’s acclaimed Congress of the Animals (the second Woodring orginal graphic novel, following Weathercraft) Frank did leave the Unifactor for uncharted lands beyond — where, after a string of trials, he acquired a soulmate named Fran.
This development raised far more questions than it answered. Would Frank become placid and domesticated? Would he be jilted? Would he turn out to be a dreadful cad? Would he become a downtrodden and exhausted paterfamilias staring vacantly into the dimming fire of life as obnoxious grandchildren pulled his peglike ears and stole his porridge?
The answers to these fruitless speculations and many more are delivered in a devastatingly unpredictable fashion in Fran, which is in effect part two of Congress of the Animals. Fans of Frank, connoisseurs of bizarre romance, and spelunkers in the radiant depths of graphic metaphysical psychodrama will want to add this singular cartoon adventure story to their lifetime reading list.
136-page black & white/color 8.5" x 11" softcover • $19.99 ISBN: 978-1-60699-684-3
New 2013 printing! Ships in Ocbober 2013 (subject to change) — Pre-Order Now
The 17th volume of the comprehensive and multiple award-winning Complete Crumb Comics series — nominated for both 2003 Harvey and Eisner Awards — completes the 1980s and leads into the 1990s. This was a creatively fertile period for Crumb, who had given up the editorial reins of his own legendary Weirdo magazine, allowing him to get back to the proverbial drawing board. Included are Crumb's contributions to Weirdo from this period, as well as work from Whole Earth Review, Zap Comix, Premiere magazine, as well as many other rare gems. Featured are classics including "Cave Wimp" — the story of the first nerd — and "A Short History of America," amongst other Crumb classics. This volume, as with all volumes, includes a new introduction by Crumb as well as a new cover. The Complete Crumb series leaves no stone unturned, publishing everything from Crumb's most well-known comics to little-seen commercial art and rarely-if-ever seen treasures from private collections and the artist's archives.
Robert Crumb enters the '70s with this, the sixth volume in Fantagraphics Books' all-inclusive reprint series. This includes a couple of genuine rarities (some of them so obscure they didn't even make the Crumb Checklist), as well as all of Crumb's work from Big Ass #1, Zap #4 (including the legendary, much-busted, X-rated "Joe Blow" teen incest strip), the remarkably offensive Snatch #3 and Jiz #1, the classic Despair, and the second issue of Motor City — classics all. The volume also includes a 16-page color section (with rare covers from the first three Gothic Blimp Works), a sumptuous cover by Crumb, and an insightful intro by the Man himself (no, not Stan Lee). Absolutely indispensible, and now back in print!
Fantagraphics’ 2010 Newave! The Underground Mini Comix of the 1980s was such an unexpected hit that it inspired this first of a two-volume set chronicling the art of the mini-comic from the late 1960s to present — The Treasury of Mini Comics.
The Treasury of Mini Comics charts the evolution of the art of mini comics over four decades of deliberate cartoon rebellion. This volume reproduces some of the best mini comics ever produced by some of the most creative DIY creators in the world (many of whom, of course, have gone on to become familiar names among contemporary comics connoisseurs): Leonard Rifas, Justin Green, Gary Arlington, Jim Siergey, Larry Rippee, Richard Krauss, Bob Vojtko, Par Holman & Clark Dissmeyer, Matt Feazell, Matt Howarth, Steve Willis, Ronald Russell Roach, Edd Vick, Bruce Chrislip, Brad Johnson, Tim Corrigan, Macedonio Garcia, David Miller, Colin Upton, Robert Pasternak, David Lee Ingersoll, Roberta Gregory, John Porcellino, Dylan Williams, Eric Reynolds, Molly Keily, Blair Wilson, Jim Blanchard, Chris Cilla, David Lasky & Jim Woodring, Marc Bell, Ron Regé Jr., Leela Corman, David Heatley, Laura Wady, Fiona Smyth, Karl Wills, Onsmith, Travis Millard, Mark Campos, Nate Beaty, Peter Thompson, Carrie McNinch, Mark Todd, Esther Pearl Watson, Andy Singer, Noah Van Sciver, Kelly Froh, Aaron Norhanian, Max Clotfelter, and Marc J. Palm.
In a do-it-yourself world, anything goes... boundaries are crossed, envelopes pushed, wounds opened. From the silliest fart or boob jokes to the most deeply felt “EMO” style poetry, mini comics creators have been uninhibited in their efforts to strive for something fresh, raw, and vital. The Treasury of Mini Comics is just as groundbreaking as Newave! was disseminating this creative work to a wider and appreciative public.
Fans of Peter Bagge’s generation-defining, satirical fiction may not realize this, but the cartoonist doubles as an opinionated cuss, and has been contributing provocative (but still hilarious) comic-strip opinion pieces to Reason magazine for the last several years... collected in this volume.
Although a libertarian by inclination (hence the Reason gig), Bagge (who lives in the fuzzy-headed, liberal capital of the Northwest, Seattle) is hardly dogmatic, and many of the pieces undermine traditional party lines in favor of a rather personal, rational and informed take on hot-button issues that will force partisan Democrats and Republicans alike to rethink them. And of course, Bagge’s well-researched comic strip “essays” crackle with the same energy and wit that propelled him into the collective Gen X consciousness with his comic book series Hate.
Favorite topics include the erosion of our civil liberties (whether the post-9/11 Bush administration's gradual erosion of the Bill of Rights, the insanity of the war on drugs, or nanny-state meddling), ongoing boondoggles of the American public (for professional sports stadiums or ineffective public transportation systems), the Iraq war (Bagge is vociferously against it), so-called art and so-called entertainment, the homeless, the mall-ification of America, politicians both in general and in particular (including the 2008 presidential race and a revelatory one-on-one with Republican not-so-hopeful Ron Paul that soured Bagge on the candidate forever), the conservative/religious war on sex and drugs, and whether citizens should be allowed to own bazookas. Each piece features the voluble Bagge himself front and center as the puzzled, indignant, or deeply conflicted everyman-on-the-street trying to make sense of this 21st Century.
And of course, every panel is delineated in Bagge’s glorious, laugh-out-loud stretchy 4-color cartoon style, making even his disquisitions on some very serious topics go down as smoothly as Buddy Bradley’s latest escapade.
BONUS: This new edition of the sold-out Everybody Is Stupid features an extra 32 pages of never-before-collected comics, including an epic biography of eccentric libertarian (and Ayn Rand contemporary) Isabel Mary Paterson.
In this volume of the acclaimed series about transgendered kids exploring their unfolding identities, we’ve reached a big event; the junior high school entrance ceremony.
The boys wear black uniforms with stand-up collars based on mid-19th century European military uniforms and the girls wear navy blazers, tan skirts, and red ribbon neckties. Enter our heroes; Nitori-kun is forced to wear a boy’s uniform while Takatsuki-san has to wear a girl's! Yet one girl — Sarashia Chizuru — draws stares, whispers, and pointed fingers, because this long-haired beauty is wearing a boy’s uniform. Both Nitori-kun and Takatsuki-san are awed by the girl's courage, but Takatsuki-san is particularly vexed by their own faintheartedness. They envy more than a few other students who experience such liberty in wearing either uniform and ponder what it ultimately means about themselves.
Envy and jealousy are prominent themes in Volume 5: Chiba-san is jealous of Takatsuki-san, for whom Nitori-kun still carries a torch. Maho envies Anna-chan's professionalism as a model. And Chii-chan’s loyal sidekick, Shiri Momoko, is intensely jealous of anyone in whom Chii-chan shows the slightest interest. And so our protagonists set off on the journey to adolescence....
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