Peter, her husband, was a fanatical Serbian nationalist who had been forced to leave his country at the end of World War II and migrate to Canada. But even there he continued his activities, joining a terrorist group that planned to set off bombs at the homes of Tito sympathisers and at Yugoslav missions in Canada and the USA. Then in 1977, while his family were still in Yugoslavia, a telegram arrived to say that a bomb had gone off prematurely and Peter and two of his comrades had been killed.Nina Bunjevac tells her family’s story in superb black-and-white artwork. Fatherland will be recognised as a masterpiece of non-fiction comics, worthy to stand beside Persepolis and Palestine.

    The latter three-quarters will collect his acclaimed short stories from MOME, as well as several little-seen stories from elsewhere, and a new 20-page story.The Unclothed Man in the 35th Century A.D. is Shaw’s first book since his breakthrough graphic novel of 2008, Bottomless Belly Button, which was named Publishers Weekly’s best graphic novel of 2008, one of Entertainment Weekly’s top ten books of 2008, and one of Amazon.com’s top ten graphic novels of the year, amongst numerous other accolades.The book also collects Shaw’s acclaimed, genre-bending short stories from MOME, including “Look Forward, First Son of Terra Two,” a remarkable story of two lovers traveling in opposite directions… in time. Also featured: “Galactic Funnels,” the 2008 Ignatz Award nominee for “Outstanding Story,” about the parasitic relationship between an artist and his lover/mentor; “Satellite CMYK,” a sci-fi mindwarp that ingeniously drives the narrative through Shaw’s masterful control of color, and “Making the Abyss,” a fictionalized story of a surreal film set filled with nuclear tanks, hot tubs, and blind ambition.“Like the very best illustrated fiction, Shaw’s work moves between pathos and humor, between the fantastic and the familiar.”—The Christian Science Monitor“Shaw’s style deftly combines cartoon drawings with a slavish attention to detail…Masterfully using the comics medium to juggle all the different characters, weaving their stories together seamlessly.”—Publishers Weekly

    You might know Al from his zines Burn Collector and Natural Disasters or from the band Milemarker or his so-true-it-kicks-your-face-off column in Punk Planet. This, however, is Al's collection of comics published in the late '90s by designer and fellow zinester Ian Lyman. From Portland to Providence, Al patrols his world with a dark, stoic humor. He's a Saul Bellow-ian everyman, up against the wall, suffering the blows, looking for love and loving the metal. Like Al's latest issue of Burn Collector, the comic-heavy #14, the drawing here is simple but it's the kind of simple that doesn't come with beginner's luck. The stuff here is the result of years of fighting and trouble-making, of mistakes made and a life scratched out among the sticks and stones. As says Al, "These are things drawn on napkins in airports, xeroxed illicitly during work." So goes the work and world of Al Burian.

    Mother, Come Home is Hornschemeier's graphic novel debut—the quietly stunning tale of a father and son struggling, by varying degrees of escapism and fantasy, to come to terms with the death of the family's mother. The story seamlessly weaves through the surreal and the painfully factual, guided by the careful, somber colors and inventive pacing unique to Hornschmeier's storytelling. Mother, Come Home extracts almost tangible drama from the most tranquil of moments, making that which is unspoken in each panel easily audible, and almost uncomfortably experienced.

    As with Chris Ware’s selections for his best-selling McSweeney’s anthology, Brunetti’s choices make for a highly personal book (“my criteria were simple: these are comics that I savor and often revisit”) that serves as a broad historical overview of the medium and a round-up of some of today’s best and most interesting North American comic artists. Included here are works from such well-known artists as Robert Crumb, Kim Deitch, Art Spiegelman, Chris Ware, Ben Katchor, Charles Burns, Gary Panter, Seth, Phoebe Gloeckner, Daniel Clowes, Lynda Barry, Joe Sacco, and Jaime and Gilbert Hernandez, as well as many other pioneers whose names may be less familiar.Brunetti offers selections from the works of more than seventy-five avant-garde comic artists.  His selections are arranged by genre and grouped thematically. Luxuriously produced and printed in four-color throughout, the book is a must-have for collectors, aficionados, readers of comics, and those generally interested in cutting-edge art and literature.

    Honest, unflinching, and sometimes humorous, it is a look at the practical and emotional effect that serious illness can have on patients and their families. In the end, it is a story of hope--uniquely told in words and illustrations.

    Reprint.

    Eight years, four cats, and three moves are chronicled in this gorgeous hardcover omnibus, which includes a foreword by Raina Telgemeier (Smile, Ghosts). Hirsh and Ota's charming reverie about new adulthood will appeal to fans of Kate Beaton, Bryan Lee O'Malley, and Jeffrey Brown along with anyone who's just winging it."

    But then her beloved cat Tibia disappeared. She and her partner, illustrator Wendy MacNaughton, mourned his loss. Yet weeks later, Tibia waltzed back into their lives. His owners were overjoyed. But they were also...jealous? Betrayed? Where had their sweet anxious cat disappeared to? Had he become a swashbuckling cat adventurer? Did he love someone else more? His owners were determined to find out.Using GPS technology, cat cameras, psychics, the web, and animal communicators, the authors of Lost Cat embarked on a quest to discover what their cat did when they weren't around. Told through writer Caroline Paul's rich and warmly poignant narrative and illustrator Wendy MacNaughton's stunning and hilarious 4-color illustrations, Lost Cat is a book for animal lovers, pet owners, and anyone who has ever done anything desperate for love.

    This book celebrates this vibrant artistic underground by gathering together a collection of excellent stories that can be enjoyed by all.No Straight Lines showcases major names such as Alison Bechdel (whose book Fun Home was named Time Magazine's 2006 Book of the Year), Howard Cruse (whose groundbreaking Stuck Rubber Baby is now back in print), and Ralf Koenig (one of Europe's most popular cartoonists), as well as high-profile, cross-over creators who have dabbled in LGBT cartooning, like legendary NYC artist David Wojnarowicz and media darling and advice columnist Dan Savage. No Straight Lines also spotlights many talented creators who never made it out of the queer comics ghetto, but produced amazing work that deserves wider attention.Until recently, queer cartooning existed in a parallel universe to the rest of comics, appearing only in gay newspapers and gay bookstores and not in comic book stores, mainstream bookstores or newspapers. The insular nature of the world of queer cartooning, however, created a fascinating artistic scene. LGBT comics have been an uncensored, internal conversation within the queer community, and thus provide a unique window into the hopes, fears, and fantasies of queer people for the last four decades.These comics have forged their aesthetics from the influences of underground comix, gay erotic art, punk zines, and the biting commentaries of drag queens, bull dykes, and other marginalized queers. They have analyzed their own communities, and their relationship with the broader society. They are smart, funny, and profound. No Straight Lines will be heralded by people interested in comics history, and people invested in LGBT culture will embrace it as a unique and invaluable collection.

    It follows them through the process of choosing a clinic, reaching out to friends, partners, and/or family, and eventually the procedure(s) itself. It simply shows what happens when a woman goes through it, no questions asked. Despite the fact that so many women and girls have abortions every day, in every city, all around us, it can be a lonely experience. Not Funny Ha-Ha is a little bit technical, a little bit moving, and often funny, in a format uniquely suited to communicate. The book is meant to be a non-judgmental, comforting, even humorous look at what a woman can go through during an abortion. Although the subject matter is heavy, the illustrations are light. The author takes a step back from putting forth any personal opinion whatsoever, simply laying out the events and possible emotional repercussions that could, and often do occur.

    One time machine, one frustrated girl, one sexy futuristic jumpsuit... infinite possibilities!

    Now, here is the first book to provide a comprehensive and detailed look at the process involved in creating a successful graphic novel.

    In vivid pictures and intensely autobiographic words, graphic artists celebrate the skyscraper heroes who still sustain us. Contributors include Frank Miller, Dave McKeon, Jeph Loeb, Will Eisner, Trina Robbins, Mike Diona, and dozens of others.

    Utterly shameless and completely self-absorbed, Joe Matt writes with an exhibitionist's enthusiasm for his favorite subject, himself.The first incarnation of Peepshow was these one-page strips in which Joe shows off virtuosity for shocking self-revelation. He is an immature, womanizing, cowardly, cheap, porn freak. He also has crack comic timing and a remarkable gift for (self) caricature.The books of Joe Matt provokes this confession from guys over beer: Oh my god, he's just like me. I think those things but I never say them because my girlfriend would leave me.This diary collection made Joe Matt the hero he is today.