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.

    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.

    No story is too painful to tell—like how much she enjoyed fat camp. Nor too off-limits—like her critique of R. Crumb. Nor too personal—like her stories of growing up Jewish in Florida. Using her sweet but biting wit, Davis effortlessly carves out a wholly original and refreshing niche in two well-worn territories: autobio comics and the Jewish identity.Davis draws strips from her daily diary, centering on her youth, mother, relationships with men, and eventually her longtime boyfriend. Her intimacy, self-deprecation, and candor have deservedly earned her many accolades and awards. Her deft comedic touch, lush color, and immediacy will set Davis apart not only as one of the premier cartoonists, but as one of the leading humorists for her generation, too.

    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

    His beloved tar has been broken. But no matter what tar he tries, none of them sound right. Brokenhearted, Nasser Ali Khan decides that life is no longer worth living. He takes to his bed, renouncing the world and all of its pleasures. This is the story of the eight days he spends preparing to surrender his soul.

    A vocal cord removed, his throat slashed and stitched together like a bloody boot, the fourteen-year-old boy had not been told that he had cancer and was expected to die.In Stitches, Small, the award-winning children’s illustrator and author, re-creates this terrifying event in a life story that might have been imagined by Kafka. As the images painfully tumble out, one by one, we gain a ringside seat at a gothic family drama where David—a highly anxious yet supremely talented child—all too often became the unwitting object of his parents’ buried frustration and rage.Believing that they were trying to do their best, David’s parents did just the reverse. Edward Small, a Detroit physician, who vented his own anger by hitting a punching bag, was convinced that he could cure his young son’s respiratory problems with heavy doses of radiation, possibly causing David’s cancer. Elizabeth, David’s mother, tyrannically stingy and excessively scolding, ran the Small household under a cone of silence where emotions, especially her own, were hidden.Depicting this coming-of-age story with dazzling, kaleidoscopic images that turn nightmare into fairy tale, Small tells us of his journey from sickly child to cancer patient, to the troubled teen whose risky decision to run away from home at sixteen—with nothing more than the dream of becoming an artist—will resonate as the ultimate survival statemen.

    Over time, this fascination deepened until it triggered a journey around the world in search of ruined places. Now, in this genre-smashing graphic memoir, she leads us through deserted cities in the American Midwest, an Icelandic town buried in volcanic ash, islands in the Philippines, New York City, and the delicate passageways of the human heart. Along the way, we learn about her family and a rare genetic heart disease that has been passed down through generations, and revisit tragic events in America's past.A narrative that is at once narrative and factual, historical and personal, Radtke's stunning illustrations and piercing text never shy away from the big questions: Why are we here, and what will we leave behind?(With black-and-white illustrations throughout; part of the Pantheon Graphic Novel series)

    For over 25 years he's been writing comic books about his life, chronicling the ordinary and everyday in stories both funny and moving.This 320 page collection was issued on the heels of the film "American Splendor," and it includes material previously published in the first two collected volumes in the American Splendor series.

    Harvey Pekar''s Cleveland is sadly one of his last, but happily one of his most definitive graphic novels. It combines classic American Splendor-ous autobiographical anecdotes with key moments and characters in the city''s history as relayed to us by Our Man and meticulously researched and rendered by artist Joseph Remnant. With an introduction by Alan Moore to boot Published by ZIP Comics and Top Shelf Productions.

    In an ongoing quest to find human connection, he badgers friend and stranger alike into a series of onesided conversations, punctuating his own lofty discursions with a brutally honest, self-negating sense of humor. After his father dies, Wilson, now irrevocably alone, sets out to find his ex-wife with the hope of rekindling their long-dead relationship, and discovers he has a teenage daughter, born after the marriage ended and given up for adoption.Wilson eventually forces all three to reconnect as a family—a doomed mission that will surely, inevitably backfire.In the first all-new graphic novel from one of the leading cartoonists of our time, Daniel Clowes creates a thoroughly engaging, complex, and fascinating portrait of the modern egoist—outspoken and oblivious to the world around him.Working in a single-page-gag format and drawing in a spectrumof styles, the cartoonist of GhostWorld, Ice Haven, and David Boring gives us his funniest and most deeply affecting novel to date.

    Set in southern Los Angeles (which makes for a terrifying sequence as blind Rachel and ailing Lars are trapped in their home without power during the 1992 Rodney King riots), backgrounds and props are lovingly detailed: these objects serve as memory triggers for Lars and Rachel, even as they eventually overwhelm them and their home, which the couple is loathe to leave. Special Exits is laid out in an eight-panel grid, which creates a leisurely storytelling pace that not only helps to convey the slow, inexorable decline in Lars' and Rachel's health, but perfectly captures the timbre of the exchanges between a long-married couple: the affectionate bickering; their gallows humor; their querulousness as their bodies break down.Though Lars and Rachel are the protagonists of Special Exits, Farmer makes her voice known through creative visual metaphors and in her indictment of the careless treatment of the elderly in nursing homes. Special Exits gracefully deals with the hard reality of caring for aging loved ones: those who are or who have been in similar situations might find comfort in it, and those who haven't will find much to admire in the bravery and good humor of Lars and Rachel. Joyce Farmer, best known for co-creating the Tits 'n Clits comics anthology in the 1970s, a feminist response to the rampant misogyny in underground comix, spent 11 years crafting Special Exits, a graphic memoir in the vein of Alison Bechdel's Fun Home or Harvey Pekar, Joyce Brabner, and Frank Stack's Our Cancer Year, about caring for her dying father and stepmother.

    With masterful economy worthy of Charles Schultz, Lat recounts the life of Mat, a Muslim boy growing up in rural Malaysia in the 1950s: his adventures and mischief-making, fishing trips, religious study, and work on his family's rubber plantation. Meanwhile, the traditional way of life in his village (or kampung) is steadily disappearing, with tin mines and factory jobs gradually replacing family farms and rubber small-holders. When Mat himself leaves for boarding school, he can only hope that his familiar kampung will still be there when he returns. Kampung Boy is hilarious and affectionate, with brilliant, super-expressive artwork that opens a window into a world that has now nearly vanished.

    After being denied financial aid to cover her last year of art school, Margaret finds salvation from the straightlaced world of college and the earnestness of both hippies and punks in the wisecracking, fast-talking, drug-taking group she encounters at the Imperial Café, where she makes the transformation from Margaret to Madge. At first she mimics these new and exotic grown-up friends, trying on the guise of adulthood with some awkward but funny stumbles. Gradually she realizes that the adults she looks up to are a mess of contradictions, misplaced artistic ambitions, sexual confusion, dependencies, and addictions.   Over Easy is equal parts time capsule of late 1970s life in California—with its deadheads, punks, disco rollers, casual sex, and drug use—and bildungsroman of a young woman who grows from a naïve, sexually inexperienced art-school dropout into a self-aware, self-confident artist. Mimi Pond’s chatty, slyly observant anecdotes create a compelling portrait of a distinct moment in time. Over Easy is an immediate, limber, and precise semi-memoir narrated with an eye for the humor in every situation.

    In Passing for Human, Finck is on a quest for self-understanding and self-acceptance, and along the way she seeks to answer some eternal questions: What makes us whole? What parts of ourselves do we hide or ignore or chase away—because they’re embarrassing, or inconvenient, or just plain weird—and at what cost?Passing for Human is what Finck calls “a neurological coming-of-age story”—one in which, through her childhood, human connection proved elusive and her most enduring relationships were with plants and rocks and imaginary friends; in which her mother was an artist whose creative life had been stifled by an unhappy first marriage and a deeply sexist society that seemed expressly designed to snuff out creativity in women; in which her father was a doctor who struggled in secret with the guilt of having passed his own form of otherness on to his daughter; and in which, as an adult, Finck finally finds her shadow again—and, with it, her true self.Melancholy and funny, personal and surreal, Passing for Human is a profound exploration of identity by one of the most talented young comic artists working today. Part magical odyssey, part feminist creation myth, this memoir is, most of all, an extraordinary, moving meditation on what it means to be an artist and a woman grappling with the desire to pass for human.

    Her designs define the look of the wildly popular Netflix animated series Bojack Horseman. Her culinary-focused comics and illustrated essays in Lucky Peach magazine won her a James Beard Award.Now, Hot Dog Taste Test collects Hanawalt's devastatingly funny comics, gorgeous art, and screwball lists as she tucks into the pomposities of the foodie subculture. Hanawalt dismantles the notion of breakfast; says goodbye to New York through a street food smorgasbord; shadows chef Wylie Dufresne, samples all-you-can-eat buffets in Vegas; and crafts an eerie comic about being a horse lover yet an avid carnivore.Hot Dog Taste Test explodes with color, hilarity, charm, and, occasionally, reproductive organs. Lush full-spread paintings of birds getting their silly feet all over a kitchen, a fully imagined hot dog show (think Best in Show but with hot dogs), and a holiday feast gone awry are the creamy icing on this imaginative rainbow-colored cake. But Hanawalt's wit and heart extend far beyond gags--her insightful musings on popular culture, relationships, and the animal in all of us are as keen and funny as her watercolors are exquisite.