Part illustrated biography, part comics adaptation, R. Crumb's Kafka is a vibrant biography that examines this Czech writer and his works in a way that a bland texbook never could! R. Crumb's Kafka goes far beyond being explication or popularization or survey. It's a work of art in its own right, a very rare example of what happens when one very idiosyncratic artist absorbs another into his worldview without obliterating the individuality of the absorbed one. Crumb's art is filled with Kafka's insurmountable neuroses. They are all there: Gregor Samsa's sister, the luscious Milena Jesenska, the Advacate's "nurse" Leni, Olda and Frieda, and the ravishing Dora Diamant-drawn in that mixture of self-commandtantalizing knowingness, and sly sexuality, that amazonian randines and thick-limbed physicality that is Crumb.Crumb's idiosyncratic illustrations add a new dimension to the already idiosyncratic world of Kafka. Includes adaptations of "The Judgment," "The Trial," "The Castle," "A Hunger Artist," and "The Metamorphosis."

Welcome to Ice Haven! “It’s not as cold here as it sounds,” declares Random Wilder, our reluctant guide to this sleepy Midwestern town. He’s also its would-be poet laureate. Would-be, that is, were it not for the “florid banalities” of his archrival, Ida Wentz, pub­lished ad nauseam in the Ice Haven Daily Progress. Among Wilder’s other fellow Ice Havians are the love­lorn Violet Vanderplazt and Vida Wentz; the adorable interracial moppets Carmichael and Paula; the Blue Bunny, newly sprung from prison and the bitterest rabbit in town; and poor little David Goldberg, miss­ing for more than a week now. . . .  The lives of the men and women of Ice Haven are woven into a multilayered tale that, while it owes a debt to Our Town, is ultimately based on and inspired by . . . Leopold and Loeb. No kidding.  Only Daniel Clowes could do it and, luckily for us, he has.

Adrian Tomine's cult comix series Optic Nerve is finally collected into one sharp-looking hardcover volume. Described as the Raymond Carver of comix, Tomine constructs tales of emotional disconnection with an ear for painfully real dialogue. Combined with his deft black and white depictions of urbane lifestyles, Tomine's fans have often accused him of eavesdropping in on their most intimate moments and, with forensic skill, laying their lives bare. The conflicts between emotional gratification, narcissistic neediness and moral discernment mark the title story in which a socially crippled man nurses an obsessive crush on a young woman. He watches close up, paralyzed by his guilt, as her beauty catches the eye of his neighbor: a hip, selfish young man with a short attention span. One of Optic Nerve's most popular stories, `Hawaiian Getaway,` features Hilary, telephone service rep who is having the worst week of her life. She lost her job, her apartment, and her grandmother. Close to the edge, she is losing her grip. Reaching out to random strangers on the phone, Hilary is looking for someone to help her. In "Alter Ego" a successful young author has writer`s block. He can`t, or won`t, decide between another ghostwriting gig and finishing his second "real" novel. He stalls on committing to his novel and his girlfriend when a chance postcard leads him to flirt with fantasies of changing the past. Finally, "Bomb Scare" documents the early unease of his generation by setting this coming-of-age story during the tense months of the Gulf War, the event that ushered in the 1990s.

Black Is the Color begins with a 17th-century sailor abandoned at sea by his shipmates, and as it progresses he endures, and eventually succumbs to, both his lingering death sentence and the advances of a cruel and amorous mermaid. The narrative also explores the experiences of the loved ones he leaves behind, on his ship and at home on land, as well as of the mermaids who jadedly witness his destruction. At the heart of the story lie the dubious value of maintaining dignity to the detriment of intimacy, and the erotic potential of the worst-case scenario. Julie Gfrörer’s delicate drawing style perfectly complements the period era of Black Is the Color, bringing the lyricism and romanticism of Gfrörer’s prose to the fore. Black Is the Color is a book as seductive as the sirens it depicts.

Jenny, post-breakup, becomes obsessed with the mirror Facebook of herself seeing a life that could be hers. An anonymous music file surfaces on the internet and a cult springs up in its wake. A group of city animals briefly open their minds to us. Helen finds her clothes growing baggy, her shoes looser, and as she shrinks, the world around her recedes. A lifetime of romantic relationships are charted against the rise and fall of the celebrity cast of a classic film.Jillian Tamaki brings her characteristic blend of realism and humor to her first collection of short stories. Boundless explores the lives of women and how the expectations of others influence their real and virtual selves. Mixing objective reality, speculative fiction, out-and-out fantasy, and a deep understanding of the contemporary world's contradictions, Tamaki shows herself to be a short story talent equal to her peers Adrian Tomine and Eleanor Davis. Tamaki's styles shift from story to story, each delicately setting the mood for her characters' inner turmoil: thick chunky blocks of ink become hyper-realist detailing which become brushy drawings of plants, all effortlessly rendered in Tamaki's distinctive hand.

World War I, that awful, gaping wound in the history of Europe, has long been an obsession of Jacques Tardi’s. (His very first—rejected—comics story dealt with the subject, as does his most recent work, the two-volume Putain de Guerre.) But It Was the War of the Trenches is Tardi’s defining, masterful statement on the subject, a graphic novel that can stand shoulder to shoulder with Erich Maria Remarque’s All Quiet on the Western Front and Ernest Hemingway’s A Farewell to Arms.Tardi is not interested in the national politics, the strategies, or the battles. Like Remarque, he focuses on the day to day of the grunts in the trenches, and, with icy, controlled fury and disgust, with sardonic yet deeply sympathetic narration, he brings that existence alive as no one has before or since. Yet he also delves deeply into the underlying causes of the war, the madness, the cynical political exploitation of patriotism. And in a final, heartbreaking coda, Tardi grimly itemizes the ghastly human cost of the war, and lays out the future 20th century conflicts, all of which seem to spring from this global burst of insanity.Trenches features some of Tardi’s most stunning artwork. Rendered in an inhabitually lush illustrative style, inspired both by abundant photographic documentation and classic American war comics, augmented by a sophisticated, gorgeous use of Craftint tones, trenches is somehow simultaneously atypical and a perfect encapsulation of Tardi’s mature style. It is the indisputable centerpiece of Tardi’s oeuvre.It Was the War of the Trenches has been an object of fascination for North American publishers: RAW published a chapter in the early 1980s, and Drawn and Quarterly magazine serialized a few more in the 1990s. But only a small fraction of Trenches has ever been made available to the English speaking public (in now out of print publications); the Fantagraphics edition, the third in an ongoing collection of the works of this great master, finally remedies this situation.

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    The second installment of the epic historical trilogy\
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    The second volume of Jason Lutes’s historical epic finds the people of Weimar Berlin searching for answers after the lethal May Day demonstration of 1929. Tension builds along with the dividing wall between communists and nationalists, Jews and Gentiles, as the dawn of the Second World War draws closer. Meanwhile, the nightlife of Berlin heats up as many attempt to distract themselves from the political upheavals within the city. The American jazz band Cocoa Kids arrives and quickly becomes a fixture. The lives of the characters within Lutes’s epic weave together to create a seamless portrait of this transitory city. Marthe Muller follows her lover Kurt Severing as he interviews participants in the May Day demonstration, but she moonlights in the city’s lesbian nightlife.Severing acts as a window through which the political shifts within the city and its participants can be seen. As with Berlin Book One: City\
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So here's what sums up why this book failed to impress me: Halfway through, Delisle is showing a western journalist/illustrator around Burma/Myanmar. He points out how people carry their umbrellas stuffed into the back of their longyis (or lungis as we call them in India) and also sometimes hanging from the backs of their shirt collars - which he calls 'weird'. I don't know man. Walking through crowded chaotic streets - makes sense you'd want your hands free. But because that's not how they do it back in Canafrancadapolis, it's 'weird'. A few pages later, Delisle and the other white guy are stuck under a tree in a rural area, stranded in the rains. A villager comes running up to them twice, to bring an umbrella each for them. He then invites them back to his house to warm up and eat something. Someone who speaks English is found to interpret. Delisle explains that a government worker also has to be present to report on their conversations. In all this, Delilsle fails to note the selfless compassion shown by a man who at least once walked back to his home without an umbrella to help out two grown men who were incapable of making their way through the same rain. In fact, looking at the drawings (in Delisle's crude but moderately effective style), it is clear that their host never used an umbrella himself. You know what's 'weird' Delisle? The fact that you take this incredible act of gallantry totally for granted. that's fucking weird.

Famously referred to as one of the "Axis of Evil" countries, North Korea remains one of the most secretive and mysterious nations in the world today. In early 2001 cartoonist Guy Delisle became one of the few Westerners to be allowed access to the fortress-like country. While living in the nation's capital for two months on a work visa for a French film animation company, Delisle observed what he was allowed to see of the culture and lives of the few North Koreans he encountered; his findings form the basis of this graphic novel.Guy Delisle was born in Quebec City in 1966 and has spent the last decade living and working in the South of France with his wife and son. Delisle has spent ten years, mostly in Europe, working in animation, an experience that taught him about movement and drawing. He is now currently focusing on his cartooning. Delisle has written and drawn six graphic novels, including "Pyongyang," his first graphic novel in English.

In one of the best graphic novels published in recent years, Chester Brown tells the story of his alienated youth in an almost detached, understated manner, giving the book an eerie, dream-like quality. For the new 2002 definitive softcover edition Brown has designed new layouts for the entire book, using "white" panel backgrounds instead of the black pages of the first edition. 

In the Nebula Award winning Red Mars, Kim Stanley Robinson began his critically acclaimed epic saga of the colonization of Mars, Now the Hugo Award winning Green Mars continues the thrilling and timeless tale of humanity's struggle to survive at its farthest frontier.Nearly a generation has passed since the first pioneers landed, but the transformation of Mars to an Earthlike planet has just begun. The plan is opposed by those determined to preserve the planet's hostile, barren beauty. Led by rebels like Peter Clayborne, these young people are the first generation of children born on Mars. They will be joined by original settlers Maya Toitovna, Simon Frasier, and Sax Russell. Against this cosmic backdrop, passions, rivalries, and friendships explode in a story as spectacular as the planet itself.

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