As she moves through the world navigating banal, familiar, and sometimes uncomfortable interactions with the familiar-faced strangers she sees daily, Williams weaves together a riveting collection of flashbacks. Her recollections highlight the indefinable moments when lines are crossed and a woman must ask herself if the only way to avoid being objectified is to simply cease to draw any attention to her physical being. She delves into the gray space that lives between consent and assault and tenderly explores the complexity of the shame, guilt, vulnerability, and responsibility attached to both.

    But work takes a strange turn when she is promoted onto the Pfizer account and suddenly finds herself on the other side of the curtain, developing ads for an anti-depressant drug. Overwhelmed by her professional life and the self-scrutiny it inspires, her mania takes hold. She quits her job to become an artist, only to be hospitalized by her parents against her will. Over the course of her two weeks in the ward, she tries to find a path out of the hospital and this cycle of treatment. One where she can live the life she wants, finding freedom and autonomy, without sacrificing her dreams in order to stay well.

    In 1991, Jeffrey Dahmer — the most notorious serial killer since Jack the Ripper — seared himself into the American consciousness. To the public, Dahmer was a monster who committed unthinkable atrocities. To Derf Backderf, “Jeff” was a much more complex figure: a high school friend with whom he had shared classrooms, hallways, and car rides. In My Friend Dahmer, a haunting and original graphic novel, writer-artist Backderf creates a surprisingly sympathetic portrait of a disturbed young man struggling against the morbid urges emanating from the deep recesses of his psyche — a shy kid, a teenage alcoholic, and a goofball who never quite fit in with his classmates. With profound insight, what emerges is a Jeffrey Dahmer that few ever really knew, and one readers will never forget.

    Her dad expected Ozge, like her sister, to become an engineer. She tried to hear her own voice over his and the religious and militaristic tensions of Turkey and the conflicts between secularism and fundamentalism. Could she be a scuba diver like Jacques Cousteau? A stage actress? Would it be possible to please everyone including herself?In her unpredictable and funny graphic memoir, Ozge recounts her story using inventive collages, weaving together images of the sea, politics, science, and friendship.

    Blood, Bones & Butter follows an unconventional journey through the many kitchens Hamilton has inhabited through the years: the rural kitchen of her childhood, where her adored mother stood over the six-burner with an oily wooden spoon in hand; the kitchens of France, Greece, and Turkey, where she was often fed by complete strangers and learned the essence of hospitality; Hamilton’s own kitchen at Prune, with its many unexpected challenges; and the kitchen of her Italian mother-in-law, who serves as the link between Hamilton’s idyllic past and her own future family—the result of a prickly marriage that nonetheless yields lasting dividends. By turns epic and intimate, Gabrielle Hamilton’s story is told with uncommon honesty, grit, humor, and passion.

    With her father off fighting for the Hungarian army and the German troops quickly approaching, Katin and her mother are forced to flee to the countryside after faking their deaths. Leaving behind all of their belongings and loved ones, andunable to tell anyone of their whereabouts, they disguise themselves as a Russian servant and illegitimate child, while literally staying a few steps ahead of the German soldiers.We Are on Our Own is a woman's attempt to rebuild her earliest childhood trauma in order to come to an understanding of her lifelong questioning of faith. Katin's faith is shaken as she wonders how God could create and tolerate such a wretched world, a world of fear and hiding, bargaining and theft, betrayal and abuse. The complex and horrific experiences on the run are difficult for a child to understand, and as a child, Katin saw them with the simple longing, sadness, andcuriosity she felt when her dog ran away or a stranger made her mother cry. Katin's ensuing lifelong struggle with faith is depicted throughout the book in beautiful full-color sequences.We Are on Our Own is the first full-length graphic novel by Katin, at the age of sixty-three.

    At an increasingly fraught time for immigrants and their families, Good Talk delves into the difficult conversations about race, sex, love, and family that seem to be unavoidable these days.Inspired by her popular BuzzFeed piece "37 Difficult Questions from My Mixed-Raced Son," here are Jacob's responses to her six-year-old, Zakir, who asks if the new president hates brown boys like him; uncomfortable relationship advice from her parents, who came to the United States from India one month into their arranged marriage; and the imaginary therapy sessions she has with celebrities from Bill Murray to Madonna. Jacob also investigates her own past, from her memories of being the only non-white fifth grader to win a Daughters of the American Revolution essay contest to how it felt to be a brown-skinned New Yorker on 9/11. As earnest and moving as they are sometimes laugh-out-loud funny, these are the stories that have formed one American life.

    Twenty-five years later, this talented Austrian cartoonist has looked back at that tumultuous summer and delivered a long, dense, sensitive,and minutely observed autobiographical masterpiece.Miraculously combining a perfect memory for both emotional and physical detail with the sometimes painful lucidity two and half decades’ distance have brought to her understanding of the events, Lust meticulously shows the who, where, when, and how (specifically, how an often penniless young girl can survive for months on the road) of a sometimes dangerous and sometimes exhilarating journey. Particularly haunting is her portrait of her fellow traveler, the gangly, promiscuous devil-may-care Edi who veers from being her spunky, funny best friend in the world to an out-of-control lunatic with no consideration for anything but her own whims and desires.Universally considered one of the very finest examples of the new breed of graphic novels coming from Europe, Today is the Last Day of the Rest of Your Life won the 2011 Angouleme “Revelation” prize, and Fantagraphics is proud to bring it to English speaking readers.

    They're just another walk in the park for this leading lady, who is on a mission to find her leading lad. From the brilliant comics Yes, I'm Hot in This, Huda Fahmy tells the hilarious story of how she met and married her husband. Navigating mismatched suitors, gossiping aunties, and societal expectations for Muslim women, That Can Be Arranged deftly and hilariously reveals to readers what it can be like to find a husband as an observant Muslim woman in the twenty-first century.So relevant in today's evolving cultural climate, Fahmy's story offers a perceptive and personal glimpse into the sometimes sticky but ultimately rewarding balance of independent choice and tradition.

    His heart-breaking and emotional illustrations strike readers to the core, and take them along his family's journey through loss. Hart uses the graphic form to articulate his and his wife's on-going search for meaning in the aftermath of Rosalie's death, exploring themes of grief, hopelessness, rebirth, and eventually finding hope again. Hart creatively portrays the solace he discovers in nature, philosophy, great works of literature, and art across all media in this expressively honest and loving tribute to his baby girl. Rosalie Lighting is a graphic masterpiece chronicling a father's undying love.

    Experience the forces that shaped an American icon -- and America itself.Long before George Takei braved new frontiers in Star Trek, he woke up as a four-year-old boy to find his own birth country at war with his father's -- and their entire family forced from their home into an uncertain future.In 1942, at the order of President Franklin D. Roosevelt, every person of Japanese descent on the west coast was rounded up and shipped to one of ten "relocation centers," hundreds or thousands of miles from home, where they would be held for years under armed guard.They Called Us Enemy is Takei's firsthand account of those years behind barbed wire, the joys and terrors of growing up under legalized racism, his mother's hard choices, his father's faith in democracy, and the way those experiences planted the seeds for his astonishing future.

    Across a lifetime, they’d held so many meanings: hope and fear, pride and embarrassment, life and death. And then they were gone. Now, their story has become a way of understanding her story. Growing up flat-chested and highly aware of her inadequacies… heading off to college, where she “bloomed” in more ways than one… navigating adulthood between her mother’s mastectomy, her father’s mistress, and her musician boyfriend’s problems of his own—not to mention his sprawling family. Then the kids come along… As cancer strikes three different lives, some relationships crumble while others emerge even stronger, and this sarcastic child of the ‘70s finally finds a goddess she can believe in.For everyone who’s faced cancer personally, or watched a loved one fight that battle, Hayden’s story is a much-needed breath of fresh air, an irresistible blend of sweetness and skepticism. Rich with both symbolism & humor, The Story of My Tits will leave you laughing, weeping, and feeling grateful for every day.

    As cooking unlocked the memories of her rough-and-tumble childhood and the loss and heartbreak that came with it, Martin became more determined than ever to find peace and elevate her life through the prism of food and world cultures. From the tiny, makeshift kitchen of her eccentric, creative mother to a string of foster homes to the house from which she launches her own cooking adventure, Martin’s heartfelt, brutally honest memoir reveals the power of cooking to bond, to empower, and to heal—and celebrates the simple truth that happiness is created from within.

    Against overwhelming adversity, these remarkable women raised their voices and changed history.With her one-of-a-kind wit and dazzling drawings, celebrated graphic novelist Pénélope Bagieu profiles the lives of these feisty female role models, some world-famous, some little known. From Nellie Bly to Mae Jemison or Josephine Baker to Naziq al-Abid, the stories in this comic biography are sure to inspire the next generation of rebel ladies.

    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.