The next morning, he said goodbye to his 7½-months-pregnant wife, Alissa, and headed out the door.In an instant, Alissa's world was thrown into chaos. Forced to deal with unimaginable challenges, Alissa suddenly found herself cast into the role of 9/11 widow, tossed into a storm of bureaucracy, politics, patriotism, mourning, consolation, and, soon enough, motherhood.Beautifully and thoughtfully illustrated, American Widow is the affecting account of one woman's journey through shock, pain, birth, and rebirth in the aftermath of a great tragedy. It is also the story of a young couple's love affair: how a Colombian immigrant and a strong-minded New Yorker met, fell in love, and struggled to fulfill their dreams. Above all, American Widow is a tribute to the resilience of the human heart and the very personal story of how one woman endured a very public tragedy.

    Seuss was drawing biting cartoons for adults that expressed his fierce opposition to anti-Semitism and fascism. An editorial cartoonist from 1941 to 1943 for PM magazine, a left-wing daily New York newspaper, Dr. Seuss launched a battle against dictatorial rule abroad and America First (an isolationist organization that argued against U.S. entry into World War II) with more than 400 cartoons urging the United States to fight against Adolf Hitler and his cohorts in fascism, Benito Mussolini, Pierre Laval, and Japan (he never depicted General Tojo Hideki, the wartime prime minister, or Togo Shigenori, the foreign minister). Dr. Seuss Goes to War, by Richard H. Minear, includes 200 of these cartoons, demonstrating the active role Dr. Seuss played in shaping and reflecting how America responded to World War II as events unfolded.As one of America's leading historians of Japan during World War II, Minear also offers insightful commentary on the historical and political significance of this immense body of work that, until now, has not been seriously considered as part of Dr. Seuss's extraordinary legacy.Born to a German-American family in Springfield, Massachusetts, in 1904, Theodor Geisel began his cartooning career at Dartmouth College, where he contributed to the humor magazine. After a run-in with college authorities for bootlegging liquor, he had to use a pseudonym to get his work published, choosing his middle name, Seuss, and adding "Dr." several years later when he dropped out of graduate school at Oxford University in England. He had never planned on setting poison political pen to paper until he realized his deep hatred of Italian fascism. The first editorial cartoon he drew depicts the editor of the fascist paper Il Giornale d'Italia wearing a fez (part of Italy's fascist uniform) and banging away at a giant steam typewriter while a winged Mussolini holds up the free end of the banner of paper emerging from the roll. He submitted it to a friend at PM, an outspoken political magazine that was "against people who push other people around," and began his two-year career with the magazine before joining the U.S. Army as a documentary filmmaker in 1943.Dr. Seuss's first caricature of Hitler appears in the May 1941 cartoon, "The head eats, the rest gets milked," portraying the dictator as the proprietor of "Consolidated World Dairy," merging 11 conquered nations into one cow. Hitler went on to become one of the main caricatures in Seuss's work for the next two years, depicted alone, among his generals and other Germans, and with his allies Benito Mussolini and Pierre Laval. He is also drawn alongside "Japan," which Dr. Seuss portrays quite offensively, with slanted, bespectacled eyes and a sneering grin. While Dr. Seuss was outspoken against antiblack racism in the United States, he held a virulent disdain for the Japanese and rendered sinister and, at times, slanderous caricatures of their wartime actions even before the bombing of Pearl Harbor. But Dr. Seuss's aggression wasn't solely reserved for the fascists abroad. He was also loudly critical of America's initial apathy toward the war, skewering isolationists like America First advocate Charles Lindbergh, the Chicago Tribune's Colonel Robert McCormick, Eleanor Medill Patterson of the Washington Times-Herald, and Joseph Patterson of the New York Daily News, whom he considered as evil as Hitler. He encouraged Americans to buy war savings bonds and stamps and to do everything they could to ensure victory over fascism.Minear provides historical background in Dr. Seuss Goes to War that not only serves to contextualize these cartoons but also deftly explains the highly problematic anti-Japanese and anticommunist stances held by both Dr. Seuss and PM magazine, which contradicted the leftist sentiments to which they both eagerly adhered. As Minear notes, Dr. Seuss eventually softened his feelings toward communism as Russia and the United States were united on the Allied front, but his stereotypical portrayals of Japanese and Japanese-Americans grew increasingly and undeniably racist as the war raged on, reflecting the troubling public opinion of American citizens. Minear does not attempt to ignore or redeem Dr. Seuss's hypocrisy; rather, he shows how these cartoons evoke the mood and the issues of the era. After Dr. Seuss left PM magazine, he never drew another editorial cartoon, though we find in these cartoons the genesis of his later characters Yertle the dictating turtle and the Cat in the Hat, who bears a striking resemblance to Uncle Sam. Dr. Seuss Goes to War is an astonishing collection of work that many of his devoted fans have not been able to see until now. But this book is also a comprehensive, thoughtfully researched, and exciting history lesson of the Second World War, by a writer who loves Dr. Seuss as much as those who grow up with his books do.

    "The Hunting Accident" is the true life story of a Chicago gangster who is blinded during a shootout and is sent to Stateville Prison where he learns to navigate life under the tutelage of real life thrill killer Nathan Leopold.

    The life of a gay and Jewish Nazi-fighter. A gender reveal party that tears apart reality. These are the just some of the comics you'll find in this massive queer comics anthology from The Nib.Be Gay, Do Comics is filled with dozens of comics about LGBTQIA experiences, ranging from personal stories to queer history to cutting satire about pronoun panic and brands desperate to co-opt pride. Brimming with resilience, inspiration, and humor, an incredible lineup of top indie cartoonists takes you from the American Revolution through Stonewall to today's fights for equality and representation.Featuring more than 30 cartoonists including Hazel Newlevant, Joey Alison Sayers, Maia Kobabe, Matt Lubchansky, Breena Nuñez, Sasha Velour, Shing Yin Khor, Levi Hastings, Mady G, Bianca Xunise, Kazimir Lee, and many, many more!

    In the next installment of her graphic travelogue series, Displacement, Knisley volunteers to watch over her ailing grandparents on a cruise. (The book s watercolors evoke the ocean that surrounds them.) In a book that is part graphic memoir, part travelogue, and part family history, Knisley not only tries to connect with her grandparents, but to reconcile their younger and older selves. She is aided in her quest by her grandfather s WWII memoir, which is excerpted. Readers will identify with Knisley s frustration, her fears, her compassion, and her attempts to come to terms with mortality, as she copes with the stress of travel complicated by her grandparents frailty."

    In the time of Lewis Carroll it was the greatest shipbuilding port in the world. To this city that gave the world the electric light bulb, the stars and stripes, the millennium, the Liberty Ships and the greatest British dragon legend came Carroll in the years preceding his most famous book, Alice in Wonderland, and here are buried the roots of his surreal masterpiece. Enter the famous Edwardian palace of varieties, The Sunderland Empire, for a unique experience: an entertaining and epic meditation on myth, history and storytelling and decide for yourself - does Sunderland really exist?

    In spare and elegant detail, they share memories of her middle class childhood touching on cultural practices, the education system, Saddam Hussein's state control, and her family's history as Orthodox Christians in the arab world. Poppies of Iraq is intimate and wide-ranging; the story of how one can become separated from one's homeland and still feel intimately connected yet ultimately estranged.Signs of an oppressive regime permeate a seemingly normal life: magazines arrive edited by customs; the color red is banned after the execution of General Kassim; Baathist militiamen are publicly hanged and school kids are bussed past them to bear witness. As conditions in Mosul worsen over her childhood, Brigitte's father is always hopeful that life in Iraq will return to being secular and prosperous. The family eventually feels compelled to move to Paris, however, where Brigitte finds herself not quite belonging to either culture. Trondheim brings to life Findakly's memories to create a poignant family portrait that covers loss, tragedy, love, and the loneliness of exile.

    This sweeping historical narrative traces the spark of invention from the laboratories of nineteenth-century Europe to the massive industrial and scientific efforts of the Manhattan Project. Along the way, Fetter-Vorm takes special care to explain the fundamental science of nuclear reactions. With the clarity and accessibility that only a graphic book can provide, Trinity transports the reader into the core of a nuclear reaction—into the splitting atoms themselves.The power of the atom was harnessed in a top-secret government compound in Los Alamos, New Mexico, where some of the greatest scientific minds in the world gathered together to work on the bomb. Fetter-Vorm showcases J. Robert Oppenheimer, Enrico Fermi, and General Leslie Groves, the fathers of the atomic bomb, whose insights unleashed the most devastating explosion known to humankind. These brilliant scientists wrestled daily with both the difficulty of building an atomic weapon and the moral implications of actually succeeding.When the first bomb finally went off at a test site code-named Trinity, the world was irreversibly thrust into a new and terrifying age. With powerful renderings of the catastrophic events at Hiroshima and Nagasaki, Fetter-Vorm unflinchingly chronicles the far-reaching political, environmental, and ethical effects of this new discovery. Richly illustrated and deeply researched, Trinity is a dramatic, informative, and thought-provoking book on one of the most significant and harrowing events in history.

    It collects episodes from her award-winning series Lucky, in which she travels to Tokyo, Paris, the South of France, and all over the United States, but remains anchored by her beloved Brooklyn, where sidekick Tony provides ongoing insight, offbeat humor, and enduring friendship.“The Voyeurs is the work of a mature writer, if not one of the most sincere voices of her literary generation. It’s a fun, honest read that spans continents, relationships and life decisions. I loved it.”— Chris Ware, Acme Novelty Library“As she watches other people living life, and watches herself watching them, Bell’s pen becomes a kind of laser, first illuminating the surface distractions of the world, then scorching them away to reveal a deeper reality that is almost too painful and too beautiful to bear.”— Alison Bechdel, Fun Home“A master of the exquisite detail, Bell provides a welcome peephole into our lives.”— Françoise Mouly, The New Yorker“I don’t think I could tolerate her if she wasn’t so talented.”— Michel Gondry, Eternal Sunshine of the Spotless MindGabrielle Bell’s work has been selected for the 2007, 2009, 2010, and 2011 Houghton-Mifflin Best American Comics and the Yale Anthology of Graphic Fiction, and has been featured in McSweeney's, The Believer, and Vice magazines. ‘Cecil and Jordan In New York,’ the title story of her most recent book, was adapted for the screen by Bell and director Michel Gondry in the film anthology Tokyo! She lives in Brooklyn, New York.

    Oakland in the late seventies is a cheap and quirky haven for eccentrics, and Mimi Pond folds the tales of the fascinating sleazeball characters that surround young Madge into her workaday waitressing life. Outrageous and loving tributes and takedowns of her co-workers and satellites of the Imperial Cafe create a snapshot of a time in Madge's life where she encounters who she is, and who she is not.Employing the same brash yet earnest style as her previous memoir Over Easy, Pond's storytelling gifts have never been stronger than in this epic, comedic, standalone graphic novel. Madge is right back at the Imperial with its great coffee and depraved cast, where things only get worse for her adopted greasy-spoon family while her career as a cartoonist starts to take off.

    In this graphic masterpiece, John Porcellino uses only the words of Thoreau himself to tell the story of those two years off the beaten track. The pared-down text focuses on Thoreau's most profound ideas, and Porcellino's fresh, simple pictures bring the philosopher's sojourn at Walden to cinematic life. For readers who know Walden intimately, this graphic treatment will provide a vivid new interpretation of Thoreau's story. For those who have never read (or never completed!) the original, it presents a contemporary look at a few brave words to live by.

    In addition, 6,200 homes and 8,900 structures and were destroyed. Author Brian Fies’s firsthand account of this tragic event is an honest, unflinching depiction of his personal experiences, including losing his house and every possession he and his wife had that didn’t fit into the back of their car. In the days that followed, as the fires continued to burn through the area, Fies hastily pulled together A Fire Story and posted it online. It immediately went viral. He is now expanding his original web-comic to include environmental insight and the fire stories of his neighbors and others in his community. A Fire Story is an honest account of the wildfires that left homes destroyed, families broken, and a community determined to rebuild.

    When a sudden medical incident lands Tomine in the emergency room, he begins to question if it was really all worthwhile: despite the accolades, awards, and opportunities of a seemingly charmed career, it's the gaffes, humiliations, slights, and insults he's experienced (or caused) within the industry that loom largest in his memory.But as those memories are delineated in excruciatingly hilarious detail, a different, parallel narrative plays out in the background. In between chaotic book tours, disastrous interviews, and difficult interactions with other artists, life happens: Tomine fumbles his way into marriage, parenthood, and an indisputably fulfilling existence. While mining his conflicted relationship with comics and comics culture, Tomine illustrates the amusing absurdities of life and how we choose to spend our time. Through these cringe-inducing moments, a deeper emotional story emerges, and we see Tomine’s life develop into something much more robust than the blunders. In a bold departure in style from his award-winning Killing and Dying, Tomine distills his art to the loose, lively essentials of cartooning. His stripped-down lines communicate effortlessly, with each pen stroke economically imbued with human depth. Designed as a sketchbook complete with place-holder ribbon and an elastic band, The Loneliness of the Long-Distance Cartoonist shows an acclaimed artist at the peak of his career.

    Kurt Severing, a journalist, and Marthe Muller, an art student, are the central figures in a broad cast of characters intertwined with the historical events unfolding around them. City of Stones covers eight months in Berlin, from September 1928 to May Day, 1929, meticulously documenting the hopes and struggles of its inhabitants as their future is darkened by a glowing shadow.

    The titular story “Hot Comb” is about a young girl’s first perm - a doomed ploy to look cool and to stop seeming “too white” in the all-black neighborhood her family has just moved to. Realizations about race, class, and the imperfections of identity swirl through these stories, which are by turns sweet, insightful, and heartbreaking.“Following in the rich tradition of Lynda Barry, Ebony Flowers addresses the sometimes harsh, sometimes devastating pangs of childhood ending. She pays beautiful homage to the struggle to find your place in a world that has such rigid rules about who we are,” Drawn & Quarterly Publisher and acquiring editor Peggy Burns commented. “Hot Comb explores the poetry in everyday life, all the while centering the lives and stories of black women. Ebony’s ease with the comics language is remarkable. Her black and white drawings, as well as her colour collage work, are both equally stunning.”