In this month's issue of Booklist you can find reviews of three of our recent releases, excerpted below:
Amazing Mysteries: The Bill Everett Archives Vol. 1, edited by Blake Bell: "Dating from 1938–42, most [stories] feature superheroes designed to compete with the then-new Superman, such as Amazing-Man, who gained his powers from the Tibetan monks who raised him; the Flash Gordon-derived Skyrocket Steele; and Hydroman, who could transform himself into a waterspout. The stories and artwork are laughably crude by modern standards, although no more so than those in other comic books from the period. But even the earliest ones show traces of the sleek polish that would become Everett’s hallmark. By the later stories, his mature style is firmly in place, a sign that future volumes in the series will be of even greater interest." – Gordon Flagg
Krazy & Ignatz 1922-1924: At Last My Drim of Love Has Come True by George Herriman: "Herriman’s graphically dazzling, ineffably beguiling creation remains unequaled a century after its first appearance, and the 13 volumes amassing his three decades’ worth of fanciful Sunday funnies are mandatory purchases for any comics-art collection. This volume is filled out with Herriman rarities, including his first daily comic strips, from 1903, and the full run of Us Husbands, a far-more-conventional Sunday strip about married life that Herriman drew throughout 1926." – Gordon Flagg
The Sincerest Form of Parody: The Best 1950s MAD-Inspired Saritical Comics, edited by John Benson: "MAD historian Benson presents 32 stories and nine covers from the copycats fielded by nine publishers, and at the end of the book discusses them. If you read the stories before the notes and you’re a devotee of the early MAD, you’ll have recognized the imitative qualities Benson points out, such as how MAD’s Jack Davis and Bill Elder had the drawing styles that were aped, and how Elder’s habit of adding what he called chicken fat — jokey signs, bits of business going on in the background, incongruous decoration — to every panel was swallowed whole by the knockoffs. But as Benson tells us, none of the pretenders quite 'got' MAD or, more important, its nearly sole writer, Harvey Kurtzman, whose all-important 'touch' lay in his jaundiced, derisive, smart attitude toward American commercial culture. Prime Americana." – Ray Olson
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