Whether he's playing practical jokes on his son or trying to trick his daughter into eating sugary cereal, Delisle's comic timing and wry wit are delightfully showcased in these vignettes.

    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.

    Venturing first to the Great Socialist People's Libyan Arab State and then joining the family tribe in Homs, Syria, they hold fast to the vision of the paradise that always lies just around the corner. And hold they do, though food is scarce, children kill dogs for sport, and with locks banned, the Sattoufs come home one day to discover another family occupying their apartment. The ultimate outsider, Riad, with his flowing blond hair, is called the ultimate insult… Jewish. And in no time at all, his father has come up with yet another grand plan, moving from building a new people to building his own great palace.Brimming with life and dark humor, The Arab of the Future reveals the truth and texture of one eccentric family in an absurd Middle East, and also introduces a master cartoonist in a work destined to stand alongside Maus and Persepolis.

    It’s the story of his art thrown against heavy anxiety attacks; of a really cute woman in his small town who seems to take to him against all odds; of the old neighbor, a peaceful likable fellah until you get to know his disturbing role in the war...

    Trondheim’s typically graceful, confident cartooning shows him wrestling with his own demons (sometimes, in dream sequences, literally) and an often malevolent world, while trying to maintain his rising career as one of Europe’s most beloved cartoonists.Approximate Continuum finally brings American readers the first portion of the “Trondheim autobio trilogy” that also comprises the Eisner nominated “At Loose Ends” meditation serialized in Mome (which will be released as a graphic novel in 2012) and the ongoing “Little Nothings” series of short slice-of-life stories (three to date from NBM Publishing).This volume contains the first three chapters serialized in the Nimrod comic book, the last three (never-before-translated) chapters, and a hilarious “rebuttal” section in which Trondheim’s family and cartoonist friends (including Epileptic creator David B. and Trondheim’s mom) dispute (or ruefully agree with) Trondheim’s depictions.

    The characters here appear to be well-adjusted on the surface, but Tomine takes us deeper into their lives, subtly examining their struggle to connect with friends and lovers.

    While trying to understand his dissatisfaction with the present, Seth discovers the life and work of Kalo, a forgotten New Yorker cartoonist from the 1940s. But his obsession blinds him to the needs of his lover and the quiet desperation of his family. Wry self-reflection and moody colours characterize Seth's style in this tale about learning lessons from nostalgia. His playful and sophisticated experiment with memoir provoked a furious debate among cartoon historians and archivists about the existence of Kalo, and prompted a Details feature about Seth's "hoax".

    Noted as a "book-lover's cartoonist," Gauld's weekly strips in The Guardian, Britain's most well-regarded newspaper, stitch together the worlds of literary criticism and pop culture to create brilliantly executed, concise comics. Simultaneously silly and serious, Gauld adds an undeniable lightness to traditionally highbrow themes. From sarcastic panels about the health hazards of being a best-selling writer to a list of magical items for fantasy writers (such as the Amulet of Attraction, which summons mainstream acceptance, Hollywood money, and fresh coffee), Gauld's cartoons are timely and droll--his trademark British humour, impeccable timing, and distinctive visual style sets him apart from the rest.Lauded both for his frequent contributions to New Scientist, The Guardian and The New York Times, and his Eisner-nominated graphic novels, Tom Gauld is one of the most celebrated cartoonists working today. In Baking with Kafka, he proves this with one witty, sly, ridiculous comic after another.

    The taste of cherries, the cool shade, the smell of the river... That was how we lived, in a vale among the hills—sheltered from storms, ignorant of the world, as though on an island, peaceful and untroubled.And then...And then everything changed.Can you ever escape your fate?Three shadows stand outside the house—and Louis and Lise know why the spectral figures are there. The shadows have come for Louis and Lise’s son, and nothing anyone can do will stop them. Louis cannot let his son die without trying to prevent it, so the family embarks on a journey to the ends of the earth, fleeing death.Poignant and suspenseful, Three Shadows is a haunting story of love and grief, told in moving text and sweeping black and white artwork by Cyril Pedrosa.

    In one of the first contemporary graphic novels, Doucet abruptly packs her bags and moves to New York. Trouble follows her in the form of a jealous boyfriend, insecurity about her talent, her worsening epilepsy, and a tendency to self-medicate with booze and drugs.

    One summer night at a house party, Fred met Cati. Though they barely spoke, he vividly remembered her gracefulness and abandon. They meet again years later, and this time their connection is instantaneous. But when things become serious, a nervous Cati tells him that she and her three-year-old son are both HIV positive. With great beauty and economy, Peeters traces the development of their intimacy and their revelatory relationship with a doctor whose affection and frankness allow them to fully realize their passionate connection.

    As in his Pulitzer Prize-winning Maus, cartoonist Spiegelman presents a highly personalized, political, and confessional diary of his experience of September 11 and its aftermath. In 10 large-scale pages of original, hard-hitting material (composed from September 11, 2001 to August 31, 2003), two essays, and 10 old comic strip reproductions from the early 20th century, Spiegelman expresses his feelings of dislocation, grief, anxiety, and outrage over the horror of the attacks—and the subsequent "hijacking" of the event by the Bush administration to serve what he believes is a misguided and immoral political agenda. Readers who agree with Spiegelman's point of view will marvel at the brilliance of his images and the wit and accuracy of his commentary. Others, no doubt, will be jolted by his candor and, perhaps, be challenged to reexamine their position.The central image in the sequence of original broadsides, which returns as a leitmotif in each strip, is Spiegelman's Impressionistic "vision of disintegration," of the North Tower, its "glowing bones...just before it vaporized." (As downtown New Yorkers, Spiegelman and his family experienced the event firsthand.) But the images and styles in the book are as fragmentary and ever-shifting as Spiegelman's reflections and reactions. The author's closing comment that "The towers have come to loom far larger than life...but they seem to get smaller every day" reflects a larger and more chilling irony that permeates In the Shadow of No Towers. Despite the ephemeral nature of the comic strip form, the old comics at the back of the book have outlasted the seemingly indestructible towers. In the same way, Spiegelman's heartfelt impressions have immortalized the towers that, imponderably, have now vanished. —Silvana Tropea

    With lush watercolors and his characteristic wit, Evens details the fumbling, amateurish foibles of the participants of a small art festival in the Flemish countryside. Pieterjan is invited to the festival as an honored guest. From the moment he arrives, things start going wrong, and since no one seems ready to step in, Pieterjan takes over the show. He decides to build a giant garden gnome as a symbol of Flemish identity, but the construction process brings buried tensions to the surface as the other artists become jealous of Pieterjan’s authority. In The Making Of, Evens delves deep into the petty tensions, small misunderstandings, and deadpan humor that pervade modern relationships. With a keen eye for the subtleties of body language, Evens’s The Making Of builds on the iconic visual style showcased in The Wrong Place. Sweeping watercolors jump off the page, surrealist scenery intermingles with crowds of people, and small suburban plot homes have never looked so lovely.

    Only one small village of indomitable Gauls still holds out against the invaders. But how much longer can Asterix, Obelix and their friends resist the mighty Roman legions of Julius Caesar? Anything is possible, with a little cunning plus the druid Getafix's magic potions! Their effects can be truly hair-raising...

    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.