Though victorious, these exhausted men were nevertheless too grief-stricken over the loss of comrades, too guilt-ridden that they had survived, and too numbed by trauma to share in the country’s euphoria. Most never saw a ticker-tape parade, or stole a Times Square kiss. All they wanted was to settle back into quiet workaday lives without fear. How tragic that the forces unleashed by World War II made this simple wish impossible.Willie & Joe: Back Home brilliantly chronicles the struggles and disillusionments of these early postwar years and, in doing so, tells Bill Mauldin’s own extraordinary story of his journey home to a wife he barely knew and a son he had only seen in pictures. The drawings capture the texture and feel, the warp and woof, of this confusing time: the ubiquitous hats and cigarettes, the domestic rubs, the rising fear of another war, and new conflicts over Civil Rights, civil liberties, and free speech. This volume of Mauldin’s work identifies and restores the dozens of cartoons censored by Mauldin’s syndicate for their attacks on racial segregation and McCarthy-style “witch hunts.” Mauldin pleaded with his syndicate to let him out of his contract so that he could return to the simple quiet life so desired by Willie & Joe. The syndicate refused, so Mauldin did battle, as always, through pen and ink.(less)

    . . Nobel winner . . . bestselling author . . . safe-cracker. In this substantial graphic novel biography, First Second presents the larger-than-life exploits of Nobel-winning quantum physicist, adventurer, musician, world-class raconteur, and one of the greatest minds of the twentieth century: Richard Feynman. Written by nonfiction comics mainstay Jim Ottaviani and brilliantly illustrated by First Second author Leland Myrick, Feynman tells the story of the great man's life from his childhood in Long Island to his work on the Manhattan Project and the Challenger disaster. Ottaviani tackles the bad with the good, leaving the reader delighted by Feynman's exuberant life and staggered at the loss humanity suffered with his death. Anyone who ever wanted to know more about Richard P. Feynman, quantum electrodynamics, the fine art of the bongo drums, the outrageously obscure nation of Tuva, or the development and popularization of the field of physics in the United States need look no further than this rich and joyful work.• One of School Library Journal's Best Adult Books 4 Teens titles of 2011 • One of Horn Book's Best Nonfiction Books of 2011

    A Drifting Life is his monumental memoir eleven years in the making, beginning with his experiences as a child in Osaka, growing up as part of a country burdened by the shadows of World War II.Spanning fifteen years from August 1945 to June 1960, Tatsumi’s stand-in protagonist, Hiroshi, faces his father’s financial burdens and his parents’ failing marriage, his jealous brother’s deteriorating health, and the innumerable pitfalls that await him in the competitive manga market of mid-twentieth-century Japan. He dreams of following in the considerable footsteps of his idol, the manga artist Osamu Tezuka (Astro Boy, Apollo’s Song, Ode to Kirihito, Buddha)—with whom Tatsumi eventually became a peer and, at times, a stylistic rival. As with his short-story collection, A Drifting Life is designed by Adrian Tomine.

    BLACK HISTORY MONTH IN ITS OWN WORDS presents quotes of dozens of black luminaries with portraits & illustrations by Ronald Wimberly. Featuring the memorable words and depictions of Angela Davis, Jean-Michael Basquiat, Kanye West, Zadie Smith, Ice Cube, Dave Chappelle, James Baldwin, Spike Lee and more.

    In drawings that capture both the tumult and the telling details of that street life, Unterzakhn (Yiddish for “Underthings”) tells the story of these sisters: as wide-eyed little girls absorbing the sights and sounds of a neighborhood of struggling immigrants; as teenagers taking their own tentative steps into the wider world (Esther working for a woman who runs both a burlesque theater and a whorehouse, Fanya for an obstetrician who also performs illegal abortions); and, finally, as adults battling for their own piece of the “golden land”, where the difference between just barely surviving and triumphantly succeeding involves, for each of them, painful decisions that will have unavoidably tragic repercussions.

    A brilliant visual storyteller, Redniss has hand-designed more than 100 color collages to tell Curie’s story, fascinating in its scientific significance and its sometimes whimsical, sometimes haunting mix of romance and intrigue. Bringing together archival photos, images, and clippings with dazzling line drawings and a compelling narrative, Radioactive is far more than just an art book or a graphic novel: It is a stunning visual biography and a true work of art.

    

    In the next installment of her graphic travelogue series, Displacement, Knisley volunteers to watch over her ailing grandparents on a cruise. (The book s watercolors evoke the ocean that surrounds them.) In a book that is part graphic memoir, part travelogue, and part family history, Knisley not only tries to connect with her grandparents, but to reconcile their younger and older selves. She is aided in her quest by her grandfather s WWII memoir, which is excerpted. Readers will identify with Knisley s frustration, her fears, her compassion, and her attempts to come to terms with mortality, as she copes with the stress of travel complicated by her grandparents frailty."

    So great was his stature as an Urdu poet that he never had to mould his poetry to suit the demands of film songwriting; instead, producers and composers adapted their requirements to his poetry. His songs in films like Pyaasa, Naya Daur and Phir Subah Hogi have attained the status of classics. This exhaustive biography traces the poet’s rich life, from his troubled childhood and his equally troubled love relationships, to his rise as one of the pre-eminent personalities of the Progressive Writers Movement and his journey as lyricist through the golden era of Hindi film music, the 1950s and 1960s.

    It's visionary humor in a jugular vein, presented in a handsome hardcover format. Here is where it all began.

    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.

    Told by the comic legend Harvey Pekar, his frequent artistic collaborator Ed Piskor, and a range of artists and writers, including the feminist comic creator Trina Robbins and the Mad magazine artist Peter Kuper, The Beats takes us on a wild tour of a generation that, in the face of mainstream American conformity and conservatism, became known for its determined uprootedness, aggressive addictions, and startling creativity and experimentation.What began among a small circle of friends in New York and San Francisco during the late 1940s and early 1950s laid the groundwork for a literary explosion, and this striking anthology captures the storied era in all its incarnations—from the Benzedrine-fueled antics of Kerouac, Ginsberg, and Burroughs to the painting sessions of Jay DeFeo’s disheveled studio, from the jazz hipsters to the beatnik chicks, from Chicago’s College of Complexes to San Francisco’s famed City Lights bookstore. Snapshots of lesser-known poets and writers sit alongside frank and compelling looks at the Beats’ most recognizable faces. What emerges is a brilliant collage of—and tribute to—a generation, in a form and style that is as original as its subject.

    Eisner's career spanned a remarkable eight decades, from his scrappy survival at the dawn of comics' Golden Age in the late 1930s to the beginning of the twenty-first century, when Pulitzers began going to graphic novels (a term Eisner is widely credited with creating). Schumacher's extensive research and interviews with Eisner's family, friends, and colleagues, as well as other comics creators who have built upon his work, create a detailed portrait of Eisner the man and Eisner the artist.

    Trashed, Derf Backderf's follow-up to the critically acclaimed, award-winning international bestseller My Friend Dahmer, is an ode to the crap job of all crap jobs--garbage collector. Anyone who has ever been trapped in a soul-sucking gig will relate to this tale. Trashed follows the raucous escapades of three 20-something friends as they clean the streets of pile after pile of stinking garbage, while battling annoying small-town bureaucrats, bizarre townfolk, sweltering summer heat, and frigid winter storms. Trashed is fiction, but is inspired by Derf's own experiences as a garbage­man. Interspersed are nonfiction pages that detail what our garbage is and where it goes. The answers will stun you. Hop on the garbage truck named Betty and ride along with Derf on a journey into the vast, secret world of garbage. Trashed is a hilarious, stomach-churning tale that will leave you laughing and wincing in disbelief.

    but then Angina gets a call from the Netherworld. It's her aborted fetus: he's drunk and he's pissed off. So begins Pixy, which Neil Gaiman calls "the best comic I've read this year" — a 65-page journey into a nightmare world unlike any you've ever seen before. The rest of the book follows Alka's attempts to infiltrate the Kingdom of the Dead (where time runs backwards and is sold by the pint to time-addicts), in order to track down the malevolent Pixy and kill him for good. Shedding bodies and identities with some regularity (Pixy himself blows one to smithereens), Alka finds his own sense of reality eroding further and further during his sojourn down under — and it doesn't help at all when Pixy, now his best friend, accompanies him back up to the Land of the Living, where the gun-happy undead sprite wreaks unspeakable havoc. Pixy is the first major work by Swedish cartoonist Max Andersson, and it combines the freewheeling-yet-obsessive graphic and narrative weirdness of such contemporary North American cartoonists as Chester Brown, Julie Doucet, Kaz and Charles Burns with a bizarre yet coherent story that mixes coal black humor, barbed satire, wild surrealism, and stark horror in a totally new way — a feast for the (preferably deranged) mind and the (preferably diseased) eye.