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Books : Comics & Graphic Novels : Publishers : Fantagraphics
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The first of four volumes collecting Feiffer's landmark Village Voice strips.
"My aim was to take the Robert Benchley hero and launch him into the Age of Freud."—Jules Feiffer
In 1956, a relatively unknown cartoonist by the name of Jules Feiffer started contributing a strip to the only alternative weekly published in the US, a small radical newspaper called The Village Voice. It was originally titled Sick Sick Sick, but Feiffer changed the name to, simply, Feiffer, because he got tired of explaining that the title referred to the society he was commenting on, not the nature of his humor, which, he insisted, was not sick.
Politically, the '50s was dominated by the insipid Presidency of Dwight D. Eisenhower; the backwash of Joe McCarthy; and the Cold War, which was in full swing. Culturally, the Beats were revolutionizing literature, Marlon Brando was changing the face of acting, and Elvis Presley was altering the public's perception of pop music. The post-war suburban bliss of the country was being challenged by sociologists and economists in books like The Lonely Crowd, The Other America, and The Afflulent Society. The civil rights movement was gaining momentum. Camelot was just around the corner, and would be shattered by the assassinations of JFK, RFK, and MLK. The Vietnam War would polarize the country. It was into this scrambled political-cultural climate that Jules Feiffer flung himself full throttle for the next ten years.
His strip tackled just about every issue, private and public, that affected the sentient American: relationships, sexuality, love, family, parents, children, psychoanalysis, neuroses, presidents, politicians, media, race, class, labor, religion, foreign policy, war, and one or two other existential questions. It was the first time that the American public had been subjected to a weekly dose of comics that so uncompromisingly and wittily confronted individuals' private fears and society's public transgressions. Explainers is the first of four volumes collecting Feiffer's entire run of weekly strips from The Village Voice. This edition contains approximately 500 strips originally published between 1956 and 1966 in a brick-like landscape hardcover format.
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Presenting the complete WWII cartoons of Bill Mauldin, the greatest cartoonist of the Greatest Generation.
"The real war," said Walt Whitman, "will never get in the books." During WW II, the closest most Americans ever came to the "real war" was through the cartoons of Bill Mauldin, the most beloved enlisted man in the U.S. Army. Here, for the first time, Fantagraphics Books brings together Mauldin's complete works from 1940 through the end of the war. This collection of over 600 cartoons, most never before reprinted, is more than the record of a great artist: it is an essential chronicle of America's citizen-soldiers from peace through war to victory.
Bill Mauldin knew war because he was in it. He had created his characters, Willie and Joe, at age 18, before Pearl Harbor, while training with the 45th Infantry Division and cartooning part-time for the camp newspaper. His brilliant send-ups of officers were pure infantry, and the men loved it.
After wading ashore with his division on the first of its four beach invasions in July 1943, Mauldin and his men changed—and Mauldin's cartoons changed accordingly. Months of miserable weather, bad food, and tedium interrupted by the terror of intense bombing and artillery fire took its toll. By the year's end, virtually every man in Mauldin's original rifle company was killed, wounded, or captured.
The wrinkles in Willie's and Joe's uniforms deepened, the bristle on their faces grew, and the eyes—"too old for those young bodies," as Mauldin put it—betrayed a weariness that would remain the entire war. With their heavy brush lines, detailed battlescapes, and pidgin of army slang and slum dialect, Mauldin's cartoons and captions recreated on paper the fully realized world of the American combat soldier. Their dark, often insubordinate humor sparked controversy among army brass and incensed General George S. Patton, Jr.
This is first of several volumes publishing the best of Bill Mauldin's single panel strips from 1940 to 1991 (when he stopped drawing). His Willie & Joe cartoons will be presented in a deluxe, beautifully designed two-volume slipcased edition of over 600 pages. The series is edited by Todd DePastino, whose Mauldin scholarship will be on full display in a biography of the artist coming in February 2008 from W. W. Norton. Willie & Joe will contain an introduction and running commentary by DePastino, providing context for the drawings, pertinent biographical details of Mauldin's life, and occasional background on specific cartoons (such as the ones that made Patton howl).
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As they have the previous three holiday seasons, Fantagraphics are offering a boxed set collecting the current (1965-66) and previous (1963-64) volumes, in a new slipcase designed by the award-winning graphic novelist, Seth. It's the perfect gift book item of the season!
In The Complete Peanuts 1963-64: this volume is particularly rich in never-before-reprinted strips: Over 150 (more than one fifth of the book!) have never seen the light of day since their original appearance over 40 years ago, so this will be a trove of undiscovered treasures even for avid Peanuts collectors. These "lost" strips include Linus making a near-successful run for class president that is ultimately derailed by his religious beliefs (two words: "great" and "pumpkin"), and Snoopy getting involved with a group of politically fanatical birds. One wonders: Was it the political edge in these stories that got them consigned to oblivion for so long? Also worthy of note is an extended, never-reprinted sequence in which Snoopy gets ill and heads to the veterinarian hospital...Also in this volume: Lucy's attempts at improving her friends branches out from her increasingly well-visited nickel psychiatry booth to an educational slideshow of Charlie Brown's faults (it's so long there's an intermission!). Also, Snoopy's doghouse begins its conceptual expansion, as Schulz reveals that the dog owns a Van Gogh, and that the ceiling is so huge that Linus can paint a vast (and as it turns out unappreciated) "history of civilization" mural on it.
And baseball continues to be a mainstay: Charlie Brown suffers from pitcher's elbow and is replaced by Linus, who turns out to be a vast improvement; he also blows several more crucial matches through various screw-ups (one with the little red haired girl in attendance); and adding insult to injury, his favorite baseball player is demoted to the minor league. The Complete Peanuts 1963-64 features a new introduction by animator Bill Melendez, producer of over 75 Peanuts animated specials and movies, including the classic A Charlie Brown Christmas.
In The Complete Peanuts 1965-66: We are now in the mid-1960s, one of Schulz's peak periods of creativity (and one third of the way through the strip's life!). Snoopy has become the strip's dominant personality, and this volume marks two milestones for the character: the first of many "dogfights" with the nefarious Red Baron, and the launch of his writing career ("It was a dark and stormy night..."). Two new characters—the first two from outside the strip's regular little neighborhood—make their bows. Roy (who befriends Charlie Brown and then Linus at summer camp) won't have a lasting impact, but upon his return from camp he regales a friend of his with tales of the strange kids he met, and she has to go check them out for herself. Her name? Peppermint Patty. The Complete Peanuts 1965-66 features a new introduction by Hal Hartley, writer/director of acclaimed independent films Trust, Henry Fool, Kimono, Simple Men, The Unbelievable Truth, and Fay Grim.
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Koncluding The Komplete Krazy Kat Kolor Sundays!
Krazy and Ignatz 1943-1944 covers the last two years of Herriman's masterpiece. With this volume, Fantagraphics and its precursor Eclipse will have reprinted the entire 29-year run of the Krazy Kat Sundays! Like Charles Schulz, George Herriman was a cartoonist to the very end. Aside from collecting the last masterful year and a half of "Krazy Kat," this new volume will offer a retrospective look at Herriman's life at the drawing table, offering many never before seen samples of his original art (which the cartoonist often lovingly hand-colored for friends). Gathered from many scattered collections, these pages testify to Herriman's invererate passion for drawing. Rounding out the volume are scores of Krazy Kat daily strips also from Herriman's last years, further testament to the cartoonists vitality. Series editor and veteran comics historian, Bill Blackbeard, also provides a concluding, wide-ranging essay on the life and art of Herriman. More than a simple reprint collection, Krazy and Ignatz 1943-1944 portrays the full range of a cartoonist who remained an artist all his life.
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Love and Rockets: New Stories #1 reboots the ongoing "Love and Rockets" comic to a fat, all-new annual graphic-novel length package that will be available in bookstores. Jaime launches the new format with a superhero yarn: Penny Century has acquired superpowers, but is half-mad with grief and rampaging through the galaxy. A motley group of superheroes assemble to try to stop her. Only the first half of the saga, it combines Jaime's razor-sharp characterization and superlative art with wildly inventive, Kirby-style action. Gilbert Hernandez has these stories: "Tamanny" (rookie cop vs. demonic drug users); "Papa" (a turn-of-the-century story involving a traveling businessman); "The New Adventures of Duke and Sammy" (superpowered Martin and Lewis impostors in outer space); "The Tender Room" (Into the Wild as re-imagined by Beto); "Chiro el Indio" (written by third brother Mario Hernandez); and "Never Say Never" (a kangaroo gets lucky in Las Vegas).
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A gift set of the third and fourth Complete Peanuts volumes.
A boxed set of the third and fourth volumes, just in time for the holidays, designed by the Award-winning graphic novelist, Seth! The collection of books identical to the individual volumes ships shrinkwrapped, with Vols. 1955-1956 and 1957-1958 packed in a sturdy custom box designed especially for this set. The perfect gift item.
The Complete Peanuts 1955-1956 takes us into the mid-1950s as Linus learns to talk, Snoopy begins to explore his eccentricities (including his hilarious first series of impressions), Lucy's unrequited crush on Schroeder takes final shape, and Charlie Brown becomes…well, even more Charlie Brown-ish! Over half of the strips in this volume have never been printed since their original appearance in newspapers a half-century ago! Even the most dedicated Peanuts collector/fan is sure to find many new treasures.
In The Complete Peanuts 1957-1958, Peanuts definitively enters its golden age. Linus, who had just learned to speak in the previous volume, becomes downright eloquent and even begins to fend off Lucy's bullying; even so, his security neurosis becomes more pronounced, including a harrowing two-week "Lost Weekend" sequence of blanketlessness. Charlie Brown cascades further down the hill to loserdom, with spectacularly lost kites, humiliating baseball losses (including one where he becomes "the Goat" and is driven from the field in a chorus of BAAAAHs); at least his newly acquired "pencil pal" affords him some comfort. Pig-Pen, Shermy, Violet, and Patty are also around, as is an increasingly Beethoven-fixated Schroeder. But the rising star is undoubtedly Snoopy. He's at the center of the most graphically dynamic and action-packed episodes (the ones in which he attempts to grab Linus's blanket at a dead run). He even tentatively tries to sleep on the crest of his doghouse roof once or twice, with mixed results. And his imitations continue apace, including penguins, anteaters, sea monsters, vultures and (much to her chagrin) Lucy. No wonder the beagle is the cover star not only of this volume but also of the beautiful collector's slipcase to this set!
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The newest collection of the classic strip.
As we rush toward the end of Peanuts' second full decade, Snoopy finds himself almost completely engrossed in his persona as the World War I Flying Ace—to the point where he goes to camp with Charlie Brown and maintains his persona throughout the entire two-week period (much to Peppermint Patty's bafflement).
Still, Snoopy looms large, so this volume (a particularly Snoopy-heavy one) sees him arm-wrestling Lucy as the "Masked Marvel" and then taking off for Petaluma for the national arm-wrestling championship; impersonating a vulture and a "Cheshire Beagle"; enjoying golf and hockey; attempting a jaunt to France for an ice-skating championship; running for office on the "Paw" ticket; being traded to Peppermint Patty's baseball team, then un-traded and installed as team manager by a guilt-ridden Charlie Brown; as well as dealing with the return of his original owner, Lila. If you're surprised by that last one, imagine how Charlie Brown feels...
Lila makes only a brief appearance (as does Josè Peterson, a short-lived—and short—star member of Charlie Brown's baseball team), but this volume sees the appearance of what would be Schulz's most controversial major character: Franklin. (Yes, in 1968 the introduction of a Black character caused a stir.)
Peppermint Patty, working toward her ascendancy as one of the major Peanuts players in the 1970s and 1980s, also has several major turns, including a storyline in which she's the tent monitor for three little girls (who call her "Sir"—a joke Schulz would pick up later with Peppermint Patty's friend Marcie).
Stories involving other characters include a sequence in which Linus's flippant comment to his Gramma that he'll kick his blanket habit when she kicks her smoking habit backfires; Lucy bullies Linus, pesters Schroeder, and organizes a "crab-in"; plus Charlie Brown copes with Valentine's Day depression, the Little Red-Haired Girl, the increasingly malevolent kite-eating tree, and baseball losses. In other words: Vintage Peanuts!
NOTE: Good grief! Through a printer's error one strip (May 3, 1967) from this period is missing and one (May 1, 1967) is duplicated in this edition. All copies of this book contain this mistake; there are no "good" ones available, sorry. The missing strip will be printed in the next volume (1969-1970) and is available here: http://tinyurl.com/6bwf7r
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The first critical retrospective of the work of the reclusive Spider-Man co-creator.
In the wake of the astonishing success of Sam Raimi's three Spider-Man movies, Steve Ditko has become known as the co-creator, with Stan Lee, of the early 1960s character that helped propel Marvel Comics' popularity on college campuses and gave it much of its cultural cachet throughout that decade. But, in the context of Steve Ditko's 50-year career in comics, his creative involvement with Spider-Man is merely the tip of the iceberg.
Ditko is known among the cartooning cognoscenti as one of the supreme visual stylists in the history of comics, as well as the most fiercely independent cartoonist of his generation. His unique style and innovative spatial designs moved from the imaginatively hallucinatory landscapes of Dr. Strange to the almost plebeian earthiness of The Amazing Spider-Man.
Ditko began his career in the 1950s drawing comics for the notorious low-budget Charlton Comics (the Roger Corman Productions of the comics industry) where he developed his craft on various genre titles. He started working for Stan Lee at Marvel Comics in 1958, churning out monster/horror stories, until he was conscripted to work on Marvel's new super-hero line, for which he provided the visual conceptions of The Hulk, Spider-Man, and Dr. Strange, and plotted and drew these characters' adventures between 1962 and 1966. By 1966, Spider-Man had become a pop culture icon, and it was then that Ditko quit drawing the character over mysterious circumstances that will, for the first time, be investigated here.
He immediately created his Ayn Rand-inspired character, Mr. A, whose first story appeared in Witzend, a black-and-white pre-underground independent comics magazine edited and published by Wally Wood, another talented stylist who chafed under the constraints of the mainstream comics publishers of the time. Ditko went on to work at various publishing companies such as DC Comics, Warren Publishing, and even Marvel Comics (albeit steadfastly refusing to ever draw Spider-Man again), writing and drawing his didactic Mr. A stories, relentlessly extolling the philosophical precepts of Ayn Rand, and, more recently, bitter visual jeremiads against the moral status quo of the comics industry.
Strange & Stranger: The World of Steve Ditko is a coffee table art book tracing Ditko's life and career, his unparalleled stylistic innovations, his strict adherence to his own (and Randian) principles, with lush displays of obscure and popular art from the thousands of pages of comics he's drawn over the last 55 years.
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A stand-alone graphic novel from the Locas universe.
It starts with a barely-glimpsed slaying ("Life Through Whispers") and ends with a funeral ("Male Torso Found in L.A. River").
Even though (or perhaps because) he's still carrying the torch for Maggie, Ray diligently pursues the dangerous and annoying "Frogmouth," an aspiring actress and full-time train wreck, from seedy bars and back alleys through comic book conventions...all the way to the ultimate, and unexpected, consummation. Meanwhile, Hopey spends an eventful week during which she undergoes a couple of major life changes, both personal and professional...and for that matter cosmetic.
New characters include Hopey's long-suffering on-the-side squeeze Grace; Maggie's new roommate, the sweet-natured jockette "Angel of Tarzana;" and the live-wire would-be gangsta Elmer—while such classic Love and Rockets characters as the hard-living Doyle, the ageing but still-rocking Terry, and the mysterious super-heroine Alarma pop up in the margins...As does Maggie, well off stage but visible as Ray's resentful ex, Angel's roommate, and (forever and still) Hopey's best friend.
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Our third volume (of six) of the acclaimed hit all-ages series collecting the entirety of E.C. Segar's original Popeye (a.k.a. Thimble Theatre) comic strips features work from 1932 to 1934. In addition to the daily and Sunday strips, this volume will present a true collector's item: Segar's never-reprinted two-week "World's Fair" continuity. This sequence has never been republished since its original publication 75 years ago. This volume will also contain the conclusion of Donald Phelps's incisive and articulate critical essay on Segar's work "Real People, Real Theatre," and Richard Marschall's insightful analysis of Segar's continuity and story techniques. E.C. Segar blended complex narratives, slapstick traditions, brilliant characterization, and an inimitable cartooning style to create the most exciting and profound humor of his era.
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Fantagraphics Books is pleased to present, for the first time, a single-volume collection of this 288-page landmark of journalism and the artform of comics. Interest in Sacoo has never been higher than with the release of his critically acclaimed book, Safe Area Gorazde.Based on several months of research and an extended visit to the West Bank and Gaza Strip in the early 1990s (where he conducted over 100 interviews with Palestinians and Jews), Palestine was the first major comics work of political and historical nonfiction by Sacco, who has often been called the first comic book journalist.
Sacco's insightful reportage takes place at the front lines, where busy marketplaces are spoiled by shootings and tear gas, soldiers beat civilians with reckless abandon, and roadblocks go up before reporters can leave. Sacco interviewed and encountered prisoners, refugees, protesters, wounded children, farmers who had lost their land, and families who had been torn apart by the Palestinian conflict.
In 1996, the Before Columbus Foundation awarded Palestine the seventeenth annual American Book Award, stating that the author should be recognized for his "outstanding contribution to American literature," while his publisher, Fantagraphics, is "to be honored for their commitment to quality and their willingness to take risks that accompany publishing outstanding books and authors that may not prove 'cost-effective' in the short run."
This new edition of Palestine also features a new introduction from renowned author, critic, and historian Edward Said, author of Peace and Its Discontents and The Question of Palestine and one of the world's most respected authorities on the Middle Eastern conflict.
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The Complete Pogo, at last!
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 the 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 boogeymen like J.Edgar Hoover, Joseph McCarthy, George Wallace, and Richard Nixon.
Walt Kelly started Pogo 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 volume reprints approximately the first two years of Pogo—Sundays and dailies. The earliest strips embrace a kind of broad farce that reflected Kelly's interest in vaudeville, slapstick humor, and the kind of mistaken identity plotlines that were a staple of screwball comedies of the '30s and '40s. But by the second year of the strip—halfway through our first volume—Kelly dips his toes gently into the satirical waters that Pogo would become famous for in a sequence in which Howland Owl researches atomic power. By June of 1950, Kelly is tackling the red-baiting junior Senator from Wisconsin, Joe McCarthy, in a mock trial of Albert, who is accused of devouring a puppy who just arrived in the Okefenokee Swamp—and Kelly is on his way to becoming the first great satirical political cartoonist of the second half of the 20th century. This first volume also introduces such enduring supporting characters as Porkypine, Churchy LaFemme, Houn'dog, Seminole Sam, Mr. Truant Officer, and many others. And for Christmas, 1949, Kelly started his tradition of regaling his readers with his infamously and gloriously mangled Christmas carols.
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A major new graphic novel from a major new talent.
The Bottomless Belly Button is a comedy-drama that follows the dysfunctional adventures of the Loony Family.
After 40-some years of marriage, Maggie and David Loony shock their children with their announcement of a planned divorce. But the reason for splitting isn't itself shocking: they're "just not in love any more." The announcement sparks a week long Loony family reunion at Maggie and David's creepy (and possibly haunted) beach house.
The eldest child, Dennis, struggles with his parents' decision while facing difficulties of his own in his recent marriage. Believing that his parents are hiding the true reasons behind their estrangement, Dennis embarks on a quest to discover the truth and searches through clues, trap doors, and secret tunnels in attempt to find an answer. Claire, the middle child, is a single mother whose 16-year-old daughter, Jill, is apathetic to the divorce but confounded by Claire and troubled by her own "mannish" appearance. The youngest child, Peter, is a hack filmmaker suffering from paralyzing insecurities who establishes an unorthodox romance with a mysterious day care counselor at the beach.
In a six-day period rich with atmospheric sequences, these characters stumble blindly around one another, often ignoring their surroundings and consumed by their own daily conflicts. Visually, Shaw employs a leisurely storytelling pace that allows room for exploring the interconnecting relationships among the characters and plays to his strength as a cartoonist—small gestural details and nuanced expressions that bring the characters to vivid and intimate life.
If the controversial R.D. Laing wrote an episode of The Simpsons, it might read something like The Bottomless Belly Button.
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In the tradition of The Complete Peanuts, re-introducing the brilliance of E. C. Segar and his famous sailor man to a new generation.
Most folks are familiar with Popeye through a variety of incarnations that have ensconced the character in the public consciousness for almost 80 years—the animated Popeye cartoons, the feature film Popeye, etc.—but far fewer have been exposed to the original brilliance of Popeye's creator, E.C. Segar. Now, comic strip fans can experience Segar's original comic strips through this new six-volume series.
In 1929, Segar took his eccentric Thimble Theatre comic strip (which began in 1919) and introduced Popeye, transforming the strip almost overnight into one of the most popular works of art in American history. Segar's entire cast of characters, such as Olive Oyl, Wimpy, Eugene the Jeep, the Sea Hag, and Alice the Goon became a part of American culture. This outwardly farcical gaggle of vaudevillian-esque antiheroes, bumbling about on picaresque chases was one of the most sophisticated—and hilarious—comic strips in history.
Fantagraphics' Popeye will collect the complete run of Segar's Thimble Theatre comic strip (dailies and color Sundays) featuring Popeye, re-establishing Segar as one of the first rank of cartoonists who have elevated the comic strip to art. He was the most popular cartoonist of his day, his sense of humor coming straight out of Mark Twain, who also balanced exaggerated tall tales and a perfect ear for everyday speech with dark themes that undercut his laugh-out-loud stories.
In this first volume, covering 1928-1930, Popeye's initial courtship of Olive Oyl takes center stage while Olive's brother Castor Oyl discovers the mysterious Whiffle Hen. Also, the entire cast meets the Sea Hag for the first time in their pursuit of the "Mystery House" (Popeye's first extended daily narrative), and Castor Oyl attempts to turn Popeye into a boxing champion in a series of hilarious Sunday strips.
These strips are masterpieces of comic invention. Popeye's omnipotence pre-figures the rise of superheroes in the 1930s and 1940s, though Popeye is a much more sympathetic character, and his very name announces his vibrant personality. He's a scoundrel with a heart of gold, and a tongue of silver: "My sweet patootie loves me because I yama high-voltage poppa, and she is my hotsy-totsy momma!" His mangled English pulsated with the vital spirit of immigrant America, its rhythm poetic in its own vulgar way: 'I yam what I yam and tha's all I yam.'"
Segar blended complex narrative, slapstick traditions, brilliant characterization, and an inimitable cartooning style to create the most exciting and profound humor of its era, rivaling even the great film comics of his era, such as Charlie Chaplin and the Marx Brothers.
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A landmark work of New Journalism is now available in softcover.Safe Area Gorazde is Joe Sacco's 240-page opus about the war in the former Yugoslavia. Sacco spent four months in Bosnia in 1995-1996, immersing himself in the human side of life during wartime, researching stories rarely found in conventional news coverage. The book focuses on the Muslim enclave of Gorazde, which was besieged by Bosnian Serbs during the war. Sacco spent four weeks in Gorazde, entering before the Muslims trapped inside had access to the outside world, electricity or running water.
The hardcover edition of Safe Area Gorazde put Sacco on the map as one of the pre-eminent journalists of his time, and the softcover edition will present his work to a wider audience. The book has been prominently featured in The New York Times, The New York Times Book Review, Time, Utne Reader, Spin, The London Times, The Washington Post, Brill's Content, several NPR programs, The Boston Globe, The San Francisco Chronicle, The Economist, The Atlantic Monthly, and other media. The book also led to Sacco being named a recipient of a 2001 Guggenheim Fellowship. Safe Area Gorazde features an introduction by Christopher Hitchens, political columnist for The Nation and Vanity Fair.
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A literary anthology...with a twist.
Since its inception in 2005, MOME has bridged the gap between the contemporary graphic novel scene and the current cutting-edge literary scene, serving as a perfect sampler of today's best young graphic novelists in a quarterly format that sits as handsomely on the newsstand alongside journals like McSweeney's and Paris Review as it does in the graphic novels section.
Volume 12 welcomes back renowned graphic novelist David B. (Epileptic) for the first time since the fourth volume. MOME also features returning regulars Jonathan Bennett, Sophie Crumb, Andrice Arp, Paul Hornschemeier, Kurt Wolfgang, Eleanor Davis, Zak Sally, Tom Kaczynski, Dash Shaw, Joe Kimball, and Ray Fenwick. Tim Hensley also returns with more of his brilliant "Wally Gropius" strips, as do fan favorites Al Columbia and R. Kikuo Johnson! Plus, several other surprises from some of the best new talent in comics.
MOME is an accessible, reasonably priced quarterly running approximately 120 pages per volume, mostly in color, and spotlighting the most exciting new storytellers in comics along with special surprises. MOME is quickly earning a reputation as one of the premier literary anthologies on the shelves, and the only one comprised almost entirely of comics.
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Wimpy joins the most popular strip reprint series since The Complete Peanuts!
Fantagraphics's second volume (of six) of the acclaimed hit series collecting the entirety of E.C. Segar's original Popeye (a.k.a. Thimble Theatre) comic strips begins with a foreword by Beetle Bailey creator Mort Walker and continues with an introduction by noted film and cartooning critic Donald Phelps. This second volume features work from 1930 to 1932, and most notably includes the debut of Segar's second greatest character: J. Wellington Wimpy. Wimpy stands as a one-of-a-kind icon some 70 years after his creation, the most likeable lowdown cad ever to grace the comics page.
Popeye Vol. 2 includes the stories: "Clint Gore" (continued from the cliffhanger last volume); "A One-Way Bank," in which Popeye opens a bank that allows withdrawals but no deposits; a long war story featuring King Blozo that begins with "The Great Rough-House War"; and "Skullyville," which wraps up the daily strips for this volume.
E.C. Segar blended complex narratives, slapstick traditions, brilliant characterization, and an inimitable cartooning style to create the most exciting and profound humor of his era, rivaling the great film comics of his era, such as Charlie Chaplin and the Marx Brothers. Discover this American treasure in this handsomely designed series perfect for all ages.