A decade later, his brother Olivier was told he had the same disease. For the past thirty years the Martini family has struggled to comprehend and cope with a devastating illness, frustrated by a health care system lacking in resources and empathy, the imperfect science of medication, and the strain of mental illness on familial relationships.Throughout it all, Olivier, an accomplished visual artist, drew. His sketches, comic strips, and portraits document his experience with, and capture the essence of, this all too frequently misunderstood disease. In "Bitter Medicine," Olivier's poignant graphic narrative runs alongside and communicates with a written account of the past three decades by his younger brother, award-winning author and playwright Clem Martini. The result is a layered family memoir that faces head-on the stigma attached to mental illness.Shot through with wry humour and unapologetic in its politics, "Bitter Medicine" is the story of the Martini family, a polemical and poetic portrait of illness, and a vital and timely call for action.

    Jared Yates Sexton alternates between an examination of his working class upbringing and historical, psychological, and sociological sources that examine the genesis of toxic masculinity and its consequences for society.As progressivism changes American society, and globalism shifts labor away from traditional manufacturing, the roles that have been prescribed to men since the Industrial Revolution have been rendered as obsolete. Donald Trump's campaign successfully leveraged male resentment and entitlement, and now, with Trump as president and the rise of the #MeToo movement, it’s clearer than ever what a problem performative masculinity is.Deeply personal and thoroughly researched, The Man They Wanted Me to Be examines how we teach boys what’s expected of men in America, and the long term effects of that socialization—which include depression, suicide, misogyny, and, ultimately, shorter lives. Sexton turns his keen eye to the establishment of the racist patriarchal structure which has favored white men, and investigates the personal and societal dangers of such outdated definitions of manhood.

    Gut-wrenchingly sad at times, her graphic memoir is an unforgettable portrayal of trauma and our reaction to it – and, especially, the humor or absurdity so often involved in our responses. As Streeten’s story unfolds and we follow her and her partner’s heroic efforts to cope with well-meaning friends and day-to-day realities, we begin to understand what she means by her aim to create a "dead baby story that is funny."

    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.

    Like anyone faced with a life-altering personal trauma, she sought out a coping mechanism. While fellow patients championed the benefits of support groups and hypnotherapy, Engelberg found her greatest comfort in drawing, her lifelong passion.Cancer Made Me a Shallower Person puts Engelberg's life in focus the best way she knows how - with cartoons. Her graphic approach to a very serious subject follows in the tradition of Art Spiegelman's award-winning Maus, but in her own offbeat, on-target, and darkly, devastatingly humorous style. From sex and wigs to nausea and causes - Was it overzealous cheese consumption or not enough multivitamins? - Engelberg leaves no aspect of cancer unexamined.

    By examining sex from a subjective perspective, he uncovers new ideas on how we can achieve that balance.

    Each page offers a unique perspective on how to lead a more mindful life, with captivating ink illustrations and encouraging words like, "it's okay if the only thing you did today was breathe." From simple ways to get rid of a bad mood to instructions for making your intentions come true, her lessons will inspire you to become more aware of the present moment and find stillness no matter where you go.With Yumi's uplifting guidance, you will dig deeper into your soul to discover the tranquility already surrounding you.

    Beautifully illustrated, these stories are an emotional and enlightening journey through magic realism, serial killings, psychic battles, and time travel. See how Indigenous peoples have survived a post-apocalyptic world since Contact.This is one of the 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter initiative. With this $35M initiative, the Council supports the creation and sharing of the arts in communities across Canada.

    This beautifully illustrated compendium of first-person comics about the trials of the single life, school, stress, junk food, shaving, and maintaining a healthy self-image. Cassandra Calin's comics frequently highlight the humorous gap between expectations and reality, especially when it comes to appearance and how much she can accomplish in one day.

    Spanning the last several years of their lives and told through four-color cartoons, family photos, and documents, and a narrative as rife with laughs as it is with tears, Chast's memoir is both comfort and comic relief for anyone experiencing the life-altering loss of elderly parents.When it came to her elderly mother and father, Roz held to the practices of denial, avoidance, and distraction. But when Elizabeth Chast climbed a ladder to locate an old souvenir from the "crazy closet"—with predictable results—the tools that had served Roz well through her parents' seventies, eighties, and into their early nineties could no longer be deployed.While the particulars are Chast-ian in their idiosyncrasies—an anxious father who had relied heavily on his wife for stability as he slipped into dementia and a former assistant principal mother whose overbearing personality had sidelined Roz for decades—the themes are universal: adult children accepting a parental role; aging and unstable parents leaving a family home for an institution; dealing with uncomfortable physical intimacies; managing logistics; and hiring strangers to provide the most personal care.An amazing portrait of two lives at their end and an only child coping as best she can, Can't We Talk about Something More Pleasant will show the full range of Roz Chast's talent as cartoonist and storyteller.

    Whether you are a professional artist or designer, a student pursuing a creative career, a person of faith, someone who likes walks on the beach, or a dreamer who sits on the front porch contemplating life, this collection of one- and two-page comics will provide insight into the joys and frustrations of creativity, inspiration, and process—no matter your age or creative background.

    Harkness, who has been self publishing work in Minnesota for a number of years now. Tinderella is an autobiographical comic about online dating, living poor and being a dumb 20-something. Over confident and crude, Harkness's work is hilarious and emotionally agonizing to sit through.

    Other kids are into punk or ska, but Una is learning to play "Mull of Kintyre" by Wings on the guitar, and she thinks it’s a really good song. There's another song, chanted on the terraces by Leeds United fans. It might not have made it on to Top of the Pops, but the boys all sing it on the walk home from school: "One Yorkshire Ripper . . . There’s only one Yorkshire Ripper . . . One Yorkshire Ri-pper . . ."  A serial murderer is at large in West Yorkshire and the police—despite spending more than two million man-hours hunting the killer and interviewing the man himself no less than nine times—are struggling to solve the case. As this national news story unfolds around her, Una finds herself on the receiving end of a series of violent acts for which she feels she is to blame. Unbecoming explores gender violence, blame, shame, and social responsibility. Through image and text Una asks what it means to grow up in a culture where male violence goes unpunished and unquestioned. With the benefit of hindsight Una explores her experience, wonders if anything has really changed and challenges a global culture that demands that the victims of violence pay its cost.

    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.

    And that's why in Shameless, Pastor Nadia sets out to reclaim the conversation for a new generation. In the spirit of Martin Luther, Bolz-Weber calls for a reformation of the way believers understand and express their sexuality. To make her case, Bolz-Weber draws on experiences from her own life as well as her parishoners', then puts them side by side with biblical narrative and theology to explore what the church has taught and about sex, and the harm that has often come as a result. Along the way, Bolz-Weber reexamines patriarchy, gender, and sexual orientation with candor but also with hope--because, as she writes, "I believe that the Gospel can heal the pain that even the church has caused."