So prepare yourself for such not-ready-for-prime-time heroes as Bee Man (Batman, but with bees), the Clown (circus-themed crimebuster), the Eye (a giant, floating eyeball; just accept it), and many other oddballs and oddities. Drawing on the entire history of the medium, The League of Regrettable Superheroes will appeal to die-hard comics fans, casual comics readers, and anyone who enjoys peering into the stranger corners of pop culture.

    What if animals could talk? Would some of them form a militant group in reaction to how humans treat them? Would humans treat them different?

    "A rich and readable introduction to the whole sweep of Russian cultural and intellectual history from Kievan times to the post-Khruschev era." --Library Journal.Complete with Illustrations, references and 32 pages of index, this is an exhaustive history of Russia and its peoples.

    . . Anya Ulinich is the David Sedaris of Russian-American cartoonists.”—Gary ShteyngartAnya Ulinich turns her sharp eye toward the strange, often unmooring world of “grown-up” dating in this darkly comic graphic novel. After her fifteen-year marriage ends, Lena Finkle gets an eye-opening education in love, sex, and loss when she embarks on a string of online dates, all while raising her two teenage daughters. The Vampire of Bensonhurst, the Orphan, Disaster Man, and the Diamond Psychiatrist are just a few of the unforgettable characters she meets along the way. Evoking Louis C. K.’s humor and Amy Winehouse’s longing and anguish, and paying homage to Malamud and Chekhov, Lena Finkle’s Magic Barrel is a funny and moving story, beautifully told.

    A small Nordic team of explorers heads out on the first official research mission.A light-hearted journey of friendship and camaraderie, with elements of Nordic mythology and some horror.

    Anaële, a writer, leaves for Palestine volunteering in an aid program, swinging between her Palestinian friends and her Israeli friends. Delphine is an artist, left behind in Liege, Belgium. From their different sides of the world, they exchange letters.Green Almonds: Letters from Palestine is a personal look into a complex reality, through the prism of the experience of a young woman writing letters to her sister about her feelings and adventures in the occupied territories. Green Almonds is an intimate story with big implications.A young woman discovers a country, works there, makes friends, lives a love story, and is confronted with the plight of the Palestinians, the violence on a daily basis that we see on our screens and read in our newspapers. Anaële's story is brought to life by Delphine's simple and evocative drawings, which give full force to the subject and evoke the complexity of this conflict, creating a journey to the everyday life of Palestinians.Green Almonds: Letters from Palestine received the Doctors Without Borders Award for best travel diary highlighting the living conditions of populations in precarious situations when it was published in France in 2011.

    Snapshots of the prison are juxtaposed with the narrator’s letters to Igor Markovich of Hermitage Press in which he urges Igor to publish the very book we’re reading. As Igor receives portions of the prison camp manuscript, so too does the reader.Arguably Dovlatov’s most significant work, The Zone illuminates the twisted absurdity of the life of a prison guard: “Almost any prisoner would have been suited to the role of a guard. Almost any guard deserved a prison term.” Full of Dovlatov’s trademark dark humor and dry wit, The Zone’s narrator is an extension of his author, and the book fittingly begins with the following disclaimer: “The names, events, and dates given here are all real. I invented only those details that were not essential. Therefore, any resemblance between the characters in this book and living people is intentional and malicious. And all fictionalizing was unexpected and accidental.” What follows is a complex novel that captures two sides of Dovlatov: the writer and the man.

    Living alongside her young grandmother and other Japanese-American citizens in internment camps, Kiku gets the education she never received in history class. She witnesses the lives of Japanese-Americans who were denied their civil liberties and suffered greatly, but managed to cultivate community and commit acts of resistance in order to survive.

    Oh, and it also has a lot of sex.

    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.

    It is essentially a complete and up–to–date course in college level Modern World History, but presented as a graphic novel. In an engaging and humorous graphic style, Larry Gonick covers the history, personalities and big topics that have shaped our universe over the past five centuries, including the Industrial Revolution, the American Revolution, the Russian Revolution, the evolution of political, social, economic, and scientific thought, Communism, Fascism, Nazism, the Cold War, Globalization––and much more.Volume I of the Cartoon History of the Modern World picks up from Gonick's award winning Cartoon History of the Universe Series. That series began with the Big Bang and ended with Christopher Columbus sailing for the New World. This book starts off with peoples that Columbus "discovered" and ends with the U.S. Revolution.

    Huda Fahmy has found it’s a little more difficult to fade into the crowd when wearing a hijab. In Yes, I’m Hot in This, Huda navigates the sometimes-rocky waters of life from the unique perspective of a Muslim-American woman, breaking down misconceptions of her culture one comic at a time. From recounting the many questions she gets about her hijab every day (yes, she does have hair) and explaining how she runs in an abaya (just fine, thank you) to dealing with misconceptions about Muslims.

    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.

    Men who appeared to be employers on a fishing vessel promised to return him home after a few months at sea, but instead Vannak was hostaged on the vessel for four years of hard labor. Amid violence and cruelty, including frequent beheadings, Vannak survived in large part by honing his ability to tattoo his shipmates--a skill he possessed despite never having been trained in art or having had access to art supplies while growing up.  As a means of escape, Vannak and a friend jumped into the water and, hugging empty fish-sauce containers because they could not swim, reached Malaysia in the dark of night. At the harbor, they were taken into a police station . . . then sold by their rescuers to work on a plantation. Vannak was kept as a laborer for over a year before an NGO could secure his return to Cambodia. After five years away, Vannak was finally reunited with his family. Vannak documented his ordeal in raw, colorful, detailed illustrations, first created because he believed that without them no one would believe his story. Indeed, very little is known about what happens to the men and boys who end up working on fishing boats in Asia, and these images are some of the first records. In regional Cambodia, many families still wait for men who have disappeared across the Thai border, and out to sea. The Dead Eye and the Deep Blue Sea is a testament to the lives of these many fishermen who are trapped on boats in the Indian Ocean.

    In a society where one can be censored, pixelated, and punished, Rokudenashiko asks what makes pussy so problematic?Rokudenashiko (“good-for-nothing girl”) is a Japanese artist. She is known for her series of decorated vulva moulds, or "Decoman," a portmanteau of decorated and manko, slang for vagina. Distributing a 3D scan of her genitalia to crowdfunding supporters led to her arrest for alleged violation of Japanese obscenity laws.