The gorgeous evolution continues in the second color volume, which includes the Sunday strips from all of 1937 and 1938. The color format opens the floodgates for a massive amount of spectacular rare color art from series editor Bill Blackbeard and designer Chris Ware's files. Krazy Kat is a love story, focusing on the relationships of its three main characters. Each of the characters was ignorant of the others' true motivations, and this simple structure allowed Herriman to build entire worlds of meaning into the actions, building thematic depth and sweeping his readers up by the looping verbal rhythms of Krazy Co.'s unique dialogue.Most of these strips in this volume have not seen print since originally running in Hearst newspapers over 70 years ago. With a full 104 Sunday pages this time around, this particular book is jam packed with little room for extras, but we did squeeze in a half-dozen or so pages' worth of never-before-seen Herriman memorabilia (all in color), including a spectacular full-color New Year's card illustration done for a friend.

    It was discovered by a seven-year-old boy named Al Ledicker, and the story that followed is one that veteran underground cartoonist Kim Deitch (Boulevard) has chronicled for the last 20 years in a series of interrelated stories that have appeared in a variety of magazines. Collected for the first time, Shadowland offers a narrative which ranges from the late 19th century to (more or less) the present day. Delineated in Deitch's charming, uniquely retro style, Shadowland is a tumble down the rabbit hole of sexy Hollywood starlets, little green (actually, gray) aliens, flying pigs and performing elephants, incest, murder, and eternal youth.

    Ten years later, Billy, age thirty, returns from an extended stay at St Vitus' Hospital for the Mentally Ill to discover a world full of unimaginable strangeness: office buildings vanish without reason, small animals turn up without their heads, and cruel villains ride city buses to complete their evil schemes." Lost within this unwelcoming place, Billy finds the companionship of two lonely children, Effie and Gus Mumford - one a science fair genius, the other a charming, silent bully. With a nearly forgotten bravery, Billy confronts the monotony of his job in telephone sales, the awkward beauty of a desperate pickpocket named Penny Maple, and the seemingly impossible solution to the mystery of his sister's death. Along the path laden with hidden clues and codes that dare to be deciphered, the boy detective may learn the greatest secret of all: the necessity of the unknown.

    Next, meet Gregory, whose home now includes a non-existing room. Add in a neighbor who screams for no apparent reason, the joys of purchasing photographs of events that never happened, and attempts to read the book, What You'll Never Finish, and you might begin to fathom this journey that describes the circle of life and death, isolation and romantic infatuation, and the discovery of who, or what, God really is. Like a modern day Alice in Wonderland for grown-ups. Ray Fracalossy is an absurdist and author of bizarro fiction from New Jersey. He says, "I want to dissolve the barriers separating reality and dream states." "Wow...this is f**cking rad...who is this writer?" --kurt k. heasley, fountainhead of acid rock legends LILLYS "Ray Fracalossy's ability to seamlessly blur the line between the irreal and real has made him one of the defining writers of the new absurdist movement. He possesses something rarely found in art today, a unique voice. Tales is a novel that will more than likely outlast us all." --polycarp kusch, author & founder of both oBook.org and the new absurdist website "Though Ray Fracalossy's work has an absurdist core reminiscent of the old school, it has a decidedly modern heart that makes you laugh and think at the same time." --Kevin Donihe, author of Shall We Gather at the Garden? and Grape City

    The award winning Bizarro is an edgier, more inventive version of The Far Side, with every panel taking on original characters and themes. The book also discusses Piraro's strong feelings about animal rights and politics, both of which are the favoured topics of his paintings and one-man comedy show.

    "All of Krzhizhanovsky's stories depict something aberrant, which is strongly rooted in something true."--"Bookforum""It is now clear that Krzhizhanovsky is one of the greatest Russian writers of the last century."--"Financial Times""A natural storyteller, striking intellect, and deeply creative soul are found all in one--a rare combination."--"Complete Review"

    Delving deeply into the Mormon ritual of blood sacrifice used in the murders, Rudd, along with his newly discovered half-brother, Lael, becomes swept up in the psychological and atavistic effects of this violent, antique ritual. As the past and the present become an increasingly tangled knot, Rudd is found at the scene of a multiple murder at a remote campsite with minor injuries and few memories. Lyndi, the daughter of the victims, tries to help Rudd recover his memory and, together, they find a strength unique to survivors of terrible tragedies. But Rudd, desperate to protect Lyndi and unable to let the past be still, tries to manipulate their Mormon wedding ceremony to trick the priests (and God) by giving himself and Lyndi new secret names—names that match the killer and the victim in the one hundred-year-old murder. The nightmare has just begun . . .

    Perhaps this is the art of the twenty-first century.”—Michael Bonesteel, The Outsider“A wonderful book…”—David Bowie“(A) fascinating, timely book.”—Publishers Weekly“Recommended for all art collections.”—Library JournalOriginally a landmark exhibition at the American Visionary Art Museum, The End is Near! presents the largest collection of visionary art ever assembled on the subjects of Apocalypse, Millennium, and Utopia. With essays by Stephen Jay Gould, Reverend Howard Finster, Adam Parfrey, and His Holiness the Dalai Lama.Winner of the Benjamin Franklin Book Award.

    Back home, he stays in Zerostrata, a treehouse in the backyard. The Nothing family is as dysfunctional and depressed as ever. His mother keeps a cat on her head and incessantly munches prescription medication. His father has left the house to pursue a career as a superhero. His brother has become a shut-in, brooding in the darkened basement. Hansel realizes, after a life of sadness, a life only half-remembered, the only thing he wants is for himself and his family to be happy. But what type of bizarre world must he enter to obtain this happiness?

    Conceived as a meticulously compiled and compendious miscellany, a grimoire or instruction manual without referent, as a delirious carnival of sobriety, Collapse operates its war against good sense not through romantic flight but through the formal insanity secreted in the depths of the rational ("the rational is not reasonable").Collapse aims to force unforeseen conjunctions, singular correspondences, and unnatural cross-fertilisations; to diagram abstract regions as yet unnamed.The first volume of Collapse investigates the nature and philosophical uses of number through interviews with philosophers scientists and mathematicians, essays on the mathematics of intensity, terrorism, the occult and information theory, and graphical works of multiplicity.