no matter the name, they have been a powerful medium across four continents for decades. This is the history of comics around the world from the late 1960s to the dawn of the 21st century. Comics is a richly illustrated narrative of extraordinary scope. Examples from all over the world include everything from Crumb and Kirby to RAW; from Metal Hurlant to Marjane Satrapi to nouvelle manga; from both the American mainstream and underground to the evolving and influential British scene. The images here are bright and colorful, dark and brooding, arresting and pleasant, all at the same time. An unprecedented collection includes around 260 expertly chosen illustrations, many reproduced in full-page format for more sophisticated analysis.The authors, two uniquely positioned and knowledgeable authorities, are the first to write a broadly comprehensive history of this most accessible, democratic, and occasionally subversive modern popular art form, displaying an intimate familiarity with schools and styles, writers, artists, and companies across countries and generations. In showing us both post-apocalyptic dreamscapes and portraits of the everyday, Comics looks at this thirty-plus year period through a very unique lens.

    Tolkien, whose timeless fantasy classics have literally taken readers to another place.And what a place it is! The Middle-earth so graphically depicted in The Hobbit, The Rings Trilogy, and The Silmarillion is a breathtaking world of misty valleys and craggy tors, placid lakes and raging rivers, steamy bogs and glad green glades -- a magical kingdom inhabited by such unforgettable characters as the Great Goblin, Smaug the dragon, and the great wizard Gandolf. Small wonder this wonderland has provided such a rich source of inspiration for artists!In this book nine talented painters contribute powerful interpretations of Middle-earth, each one accompanied by the text that inspired it. Artists include Inger Edelfeldt, Tony Galuidi, Roger Garland, Robert Goldsmith, Michael Hague, John Howe, Alan Lee, Ted Nasmith, and Carol Emery Phenix.

    Fuller expresses what may well be his penultimate view of the human condition. Here, in a mood at once philosophical and involved, Mr. Fuller traces man's intellectual evolution and weighs his capability for survival on this magnificent craft, this Spaceship Earth, this superbly designed sphere of almost negligible dimension in the great vastness of space.Mr. Fuller is optimistic that man will survive and, through research and development and increased industrialization, generate wealth so rapidly that he can do very great things. But, he notes, there must be an enormous educational task successfully accomplished right now to convert man's tendency toward oblivion into a realization of his potential, to a universe-exploring advantage from this Spaceship Earth.It has been noted that Mr. Fuller spins ideas in clusters, and clusters of his ideas generate still other clusters. The concept spaceship earth is Mr. Fuller's, and though used by Barbara Ward as the title of a work of her own the idea was acknowledged by her there as deriving from Mr. Fuller. The brilliant syntheses of some fundamental Fuller principles given here makes of this book a microcosm of the Fuller system.

    She guides us through the ruins and construction sites of post-communist cities--St. Petersburg, Moscow, Berlin, and Prague--and the imagined homelands of exiles-Benjamin, Nabokov, Mandelstahm, and Brodsky. From Jurassic Park to the Totalitarian Sculpture Garden, Boym unravels the threads of this global epidemic of longing and its antidotes.

    Carter takes particular interest in noting the stories where particular aspects of Mythos lore first appeared, and tracing their reappearances in later tales.The book takes pains to establish whether each Lovecraft story "belongs to the Cthulhu Mythos" or not. His requirement for including a story on the list of Mythos stories is that it must "present us with a significant item of information about the background lore of the Mythos, thus contributing important information to a common body of lore."

    Built from aphorisms and reflections, he shifts in register from personal experience to the most general theoretical problems.

    "An important text in the rethinking of sexuality and sexual politics spurred by the feminist and gay liberation movements".--Margaret Cerullo, Hampshire College.

    Like civilization, play requires structure and participants willing to create within limits. Starting with Plato, Huizinga traces the contribution of Homo Ludens, or "Man the player" through Medieval Times, the Renaissance, and into our modern civilization. Huizinga defines play against a rich theoretical background, using cross-cultural examples from the humanities, business, and politics. Homo Ludens defines play for generations to come."A happier age than ours once made bold to call our species by the name of Homo Sapiens. In the course of time we have come to realize that we are not so reasonable after all as the Eighteenth Century with its worship of reason and naive optimism, though us; "hence moder fashion inclines to designate our species asHomo Faber Man the Maker. But though faber may not be quite so dubious as sapiens it is, as a name specific of the human being, even less appropriate, seeing that many animals too are makers. There is a third function, howver, applicable to both human and animal life, and just as important as reasoning and making--namely, playing. it seems to me that next to Homo Faber, and perhaps on the same level as Homo Sapiens, Homo Ludens, Man the Player, deserves a place in our nomenclature. "--from the Foreward, by Johan Huizinga

    This book is a record of those seminars, which took the form of informal discussions between Borges, Norman Thomas di Giovanni--his editor and translator, Frank MacShane--then head of the writing program at Columbia, and the students. Borges's prose, poetry, and translations are handled separately and the book is divided accordingly.The prose seminar is based on a line-by-line discussion of one of Borges's most distinctive stories, "The End of the Duel." Borges explains how he wrote the story, his use of local knowledge, and his characteristic method of relating violent events in a precise and ironic way. This close analysis of his methods produces some illuminating observations on the role of the writer and the function of literature.The poetry section begins with some general remarks by Borges on the need for form and structure and moves into a revealing analysis of four of his poems. The final section, on translation, is an exciting discussion of how the art and culture of one country can be "translated" into the language of another.This book is a tribute to the brilliant craftsmanship of one of South America's--indeed, the world's--most distinguished writers and provides valuable insight into his inspiration and his method.