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.

    The man runs an unlicensed mechanic’s workshop at the back of their property. The girl resists the man with silence, and finally with sabotage. She fights him at the place where she believes his heart lives—in the engine of the car.Set at the close of the 1970s and traversing thousands of kilometres of inland roads, Exploded View is a revelatory interrogation of Australian girlhood.Must a girl always be a part—how can she become a whole?

    A novel of suffering, sorrow, and redemption, "Ransom "tells the story of the relationship between two grieving men at war: fierce Achilles, who has lost his beloved Patroclus in the siege of Troy; and Priam, king of Troy, whose son Hector killed Patroclus and was in turn savaged by Achilles. Each man's grief demands a confrontation with the other's if it is to be resolved: a resolution more compelling to both than the demands of war. And when the aged father and the murderer of his son meet, "the past and present blend, enemies exchange places, hatred turns to understanding, youth pities age mourning youth."

    

    But then their parents are killed in a car accident and the boys are sent to stay with people they barely know. How the boys live with their grief and with each other defines the rest of their lives. They move through adolescence and into adulthood, via girlfriends, jobs, sibling rivalry and loyalty. And somewhere deeply buried within them both is the question of how one deals with the past in order to live in the present and embrace the future. The answer is surprising.

    This autobiographical account follows the authors journey along the length of the Larapinta trail and his love affair with a young French hiker that he meets during his journey.

    The only takers are two eccentric Englishmen who want to embark for the other side of the globe. The Reverend Geoffrey Wilson believes the Garden of Eden was on the island of Tasmania. His traveling partner, Dr. Thomas Potter, unbeknownst to Wilson, is developing a sinister thesis about the races of men. Meanwhile, an aboriginal in Tasmania named Peevay recounts his people’s struggles against the invading British, a story that begins in 1824, moves into the present with approach of the English passengers in 1857, and extends into the future in 1870. These characters and many others come together in a storm of voices that vividly bring a past age to life.

    Born in 1951, he had a happy childhood — raised by his loving adoptive parents, Bert and Gwen Tickner, in the small seaside town of Forster, New South Wales. He grew up to be a cheerful and confident young man with a fierce sense of social justice, and the desire and stamina to make political change. Serving in the Hawke and Keating governments, he held the portfolio of minister for Aboriginal and Torres Strait Islander affairs. Among other achievements while in government, he was responsible for initiating the reconciliation process with Indigenous Australians, and he was instrumental in instigating the national inquiry into the stolen generations.During his time on the front bench, Robert’s son was born, and it was his deep sense of connection to this child that moved him at last to turn his attention to the question of his own birth. Although he had some sense of the potentially life-changing course that lay ahead of him, he could not have anticipated learning of the exceptional nature of the woman who had brought him into the world, the deep scars that his forced adoption had left on her, and the astonishing series of coincidences that had already linked their lives. And this was only the first half of a story that was to lead to a reunion with his birth father and siblings.This deeply moving memoir is a testament to the significance of all forms of family in shaping us — and to the potential for love to heal great harm.

    The gorgeous evolution continues in the second color volume, which includes the Sunday strips from all of 1937 and 1938. The color format opens the floodgates for a massive amount of spectacular rare color art from series editor Bill Blackbeard and designer Chris Ware's files. Krazy Kat is a love story, focusing on the relationships of its three main characters. Each of the characters was ignorant of the others' true motivations, and this simple structure allowed Herriman to build entire worlds of meaning into the actions, building thematic depth and sweeping his readers up by the looping verbal rhythms of Krazy Co.'s unique dialogue.Most of these strips in this volume have not seen print since originally running in Hearst newspapers over 70 years ago. With a full 104 Sunday pages this time around, this particular book is jam packed with little room for extras, but we did squeeze in a half-dozen or so pages' worth of never-before-seen Herriman memorabilia (all in color), including a spectacular full-color New Year's card illustration done for a friend.

    She smirked with one side of her mouth and looked up at me through the black spray of her fringe. Her eyes were dark and already she was playing some kind of game with me, or that's how it seemed. Her voice was a little deeper and huskier than I might have expected, so her last line had come out with a hint of something that might have been menace or even seductiveness or just a pitch at adult banter. Whatever it was, it stuck with me and it punctuated the moment and it didn't feel quite right for a conversation with a schoolgirl on my doorstep.”With his chart-topping band, Butterfish, Curtis Holland lived the cliched rock dream. Residing in hotels and recording studios, travelling in custom-built buses, he got married after a soundcheck in a wedding chapel in Nevada and barely noticed when his wife left him in Louisville.But no dream lasts forever.When Annaliese Winter walks down Curtis Holland's front path, he's ill-prepared for a sixteen-year-old schoolgirl who's a confounding mixture of adult and child. He's back in Brisbane trying to build a life and he is not used to having a neighbour at all.So when Curtis receives an invitation to dinner from Annaliese's mother, Kate, he is surprised when he not only accepts but finds himself being drawn to this remarkably unremarkable family. Even to fifteen-year-old Mark who is at war with his own surging adolescence.Curtis soon realises that with Kate divorced, Annaliese and Mark need a male role model in their lives, but it's hard for him to help when he's just starting to grow up himself and harder still when Annaliese begins to show an interest in him that is less than filial.Filled with acute observation, humour and tenderness, Butterfish is Nick Earls at his very best.

    When Stellanuova's inhabitants emigrate to Australia in the post World War II migrations of the 1940s, 50s and 60s, the immortal saint is left looking down on an abandoned town. To fulfil his calling, he decides in heaven to migrate with his countrymen and now looks down on the state of Victoria, where he intercedes in matters relating to eels.In the southern Victorian town of Mangowak, Noel Lea lives with the melancholy inheritance of a place undergoing the gentrifications of contemporary Australia. Along with his oldest friend, Nanette Burns, he longs for a time when life was less complex and unexpected magic seemed to permeate the ocean town and its people. When spring rains flood a nearby swamp and hundreds of eels get trapped in the grassy ditches around Noel's family home, he and Nanette encounter the vibrant Fra Ionio and get more magic than they bargained for.A beautifully written, charming and evocative book by Gregory Day, who also authored Trace , in collaboration with photographer, Robert Ashton.

    When Zach's wealthy mother goes missing, Rebecca – the truckie's daughter – is implicated in her disappearance. In the weeks that follow, Rebecca and Zach are drawn into a treacherous, adult world. Eager to please, Rebecca finds herself in danger of living up to the schoolyard taunts she so hates, while Zach channels his feelings through the sights of his gun.In the fading summer light, grudges are nursed and tempers fray, and as old lies unravel it seems nobody can be relied on. But beyond the fallout, the hard lessons in love and betrayal have not been wasted. Rebecca and Zach realise that judgements can be flawed – and that trust is better earnt than given.Original, unsettling and compelling, The Good Daughter is the much-anticipated second novel from Honey Brown.

    The evidence insists that Aboriginal people right across the continent were using domesticated plants, sowing, harvesting, irrigating and storing – behaviours inconsistent with the hunter-gatherer tag. Gerritsen and Gammage in their latest books support this premise but Pascoe takes this further and challenges the hunter-gatherer tag as a convenient lie. Almost all the evidence comes from the records and diaries of the Australian explorers, impeccable sources.

    Contibutors include Daniel Clowes, Gary Panter, Charles Burns, Art Spiegelman, Ben Katchor, Kim Deitch, Adrian Tomine, Joe Sacco, Seth, Joe Matt, Chester Brown, Kaz, and many others.