The locations and bodies are exaggerated to reach a more realistic and sensorial state. This is an awesome debut comic."— Dash Shaw, author of titles such as Cosplayers, Doctors, Bodyworld, and Bottomless Belly Button"Parrish has one of my favourite traits in a cartoonist: intense passion for the craft. They are rapidly evolving and experimenting wildly and it’s joyful to watch."— Simon Hanselmann, author of NY Times bestselling titles such as Megahex and Meg and Mogg in AmsterdamPerfect Hair, the debut graphic novel by Tommi Parrish, is a vivid set of vignettes that balances emotional honesty with a keen cultural awareness. Deploying their bold, innovative style to navigate topics such as fear, loneliness, identity, body politics, and more, Parrish is a promising newcomer from the burgeoning Australian altcomics scene. Tommi Parrish is a cartoonist, illustrator, and art editor based in Melbourne, Australia. Their work has appeared in various anthologies, magazines, mini comics, gallery shows in New York, Argentina, and throughout Australia, as well as the online column Advicecomics. They are also the art editor of the Australian literary journal The Lifted Brow.

    Characterised by an intriguing disjointed rhythm and delicious pencil-smudged style, 'The Bun Field' is defined by a surreal ebb-and-flow, possessing a deep sense of foreboding and hurt, yet maintaining a biting sense of humour.

    The book is divided into six chapters, each focusing on a theme; one is a series of eerily compelling portraits based on a dozen family photographs Doucet found discarded in a garbage can in Berlin. In another series, Doucet explores gender issues as no one else can with twenty hilarious, somewhat unflattering portraits of the "modern man." She deftly explores other themes, ranging from fortune cookies to female sexuality (go figure ), and everything is neatly encompassed in this sharply-designed art book. Julie Doucet is internationally renowned for her wry, sexually-charged work, a sort of "female R. Crumb" of comics. She is the author of four books, including the 2000 Firecracker Award-Winner "My New York Diary. "

    . . She just has a funny, truthful voice.” —Audrey NiffeneggerVanessa Davis’s autobiography, more observational than confessional, delighted readers ten years ago when she first began telling stories about her life in New York as a young single Jewish woman. Spaniel Rage is filled with frank and immediate pencil-drawn accounts of dating woes, misunderstandings between her and her mother, and conversations with friends.Her keen observation of careless words spoken casually is refreshingly honest, yet never condemning. Unabashedly, Davis offers up gently self-deprecating anecdotes about her anxieties and wry truths about the contradictions of life in the big city. These comics are sexy, funny, lonely, beautiful, spare, and very smart—the finest work from a natural storyteller.

    A sought-after illustrator, she has racked up accolades and awards from the Society of Illustrators and Society of Publication Designers, and has a client list that includes The New York Times, The New Yorker, and Esquire. Her breathtaking talent was further established with the debut of the graphic novel Skim–selected by The NewYork Times as a Best Illustrated Children's Book of 2008–which was written by her cousin Mariko Tamaki, and drawn with moody black-and-white nuance by Tamaki. Skim completely reinvented the young adult graphic novel genre with an utterly original and sincere portrait of being a teenage outsider.Indoor Voice collects pen, brush, ink, watercolor, and collage experiments that show how Tamaki arrives at her illustration work, as well as more polished and personal comics work examining her relationship to her parents and their influence on her art.

    Prelude to a Million Years (1933) is a dark meditation on art, inspiration, and the disparity between the ideal and the real. Song Without Words (1936), a protest against the rise of European fascism, asks if ours is a world still fit for the human soul. Vertigo (1937), Ward’s undisputed masterpiece, is an epic novel on the theme of the individual caught in the downward spiral of a sinking American economy. Its characters include a young violinist, her luckless fiancé, and an elderly business magnate who—movingly, and without ever becoming a political caricature—embodies the social forces determining their fate.The images reproduced in this volume are taken from prints pulled from the original woodblocks or first-generation electrotypes. Ward’s novels are presented, for the first time since the 1930s, in the format that the artist intended, one image per right-hand page, and are followed by four essays in which he discusses the technical challenges of his craft. Art Spiegelman contributes an introductory essay, “Reading Pictures,” that defines Ward’s towering achievement in that most demanding of graphic-story forms, the wordless novel in woodcuts.

    Like Girls and Boys, Big Ideas features many of her greatest cartoons, including her menacing "Poodle with a Mohawk". Line drawings throughout.

    They are drawn in a diaphanous, haptic style that suggests dreams and memories. In washes of ink, pencil smudges, white paint, and traces of drawings removed, Koch creates resonate tone poems on paper.

    Kaeleigh Forsyth wryly observed and recorded the weird moments of her life in private notes on her phone, and now her friend Alabaster Pizzo has illustrated these secret thoughts in hilarious detail.

    He used the elegant draftsmanship and single-panel format of the standard cartoons of the day, but turned them into more than just one-off jokes. With an inimitable mixture of wit, earnestness, and enigmatic surrealism, Dean uses this most ephemeral of forms to explore the deepest mysteries of human existence.What Am I Doing Here? depicts a world at once alien and familiar, in which everyone is naked but act like they’re clothed—a world of club-wielding commuters and byzantine inventions, secret fears, and perverse satisfactions. Through it all strolls (or crawls, or floats, or stumbles) Dean’s unclad Everyman, searching for love, happiness, and the answers to life’s biggest questions.

    She's been called an inimitable and masterful stylist, a kind of Edward Gorey who draws out the whimsical side of body-horror, and indeed, the spirit of Gorey's grotesques breathes through French's creations. In H Day, her first graphic novel in four years, French explores, through metaphor and in pictures, her struggles with migraine headaches, marshaling troops of insects, beasts and humanoids to envision the processes that result in such hideous sensations. A sweeping, often tense narrative of invasion, repulsion and liberation, H Day can be read both as an oblique autobiography and as a suspenseful fantasy story. This volume makes clear the qualities that led Myla Goldberg, author of Bee Season, to call Renee French "that rare gift among artists--one whose work finds its way into the most guarded corners of our psyches and allows us to revel in all that is awkward, embarrassing or sticky about being alive."

    Foreman on a deconstruction ship that specializes in demolishing belief outbreaks, Nul is prodded out of his complacency by a false murder charge, and sets off on a journey that takes him to the very brink of hope. A 232-page concoction of fiction and intrigue that delves into the bleak and bitter philosophical brew of Nihilist chic.

    Originally published by Palliard Press.

    Connected by a series of gossipy teens, the modern lost souls of Beverly struggle with sexual anxieties that are just barely repressed and social insecurities that undermine every word they speak.A group of teenagers pick up trash on the side of the highway--flirting, preening, and ignoring a potentially violent loner in their midst. A college student brings her sort-of boyfriend to a disastrous house party with her high-school acquaintances. A young woman experiences a traumatic incident at the pizza shop where she works and the fallout reveals the racial tensions simmering below the surface. Again and again, the civilized façade of Drnaso's pitch-perfect surburban sprawl and pasty Midwestern protagonists cracks in the face of violence and quiet brutality.Drnaso's bleak social satire in Beverly reveals a brilliant command of the social milieu of twenty-first-century existence, echoing the black comic work of Todd Solondz, Sam Lipsyte, and Daniel Clowes. Precisely and hauntingly recounted, each chapter of Beverly reveals something new--and yet familiar--about the world in which we live.

    Evoking so much, saying little on the surface, yet what the reader takes away is a profound sense of wonder. Beautiful."—Forbidden PlanetIn his first graphic novella, Jon McNaught captures the beauty and peacefulness of our childhood neighborhoods and transports us back to those clear evenings dotted with pink fluffy clouds and the sound of silence we have come to yearn for after years of living in the bustle of the city.Jon McNaught is a comic book artist, printmaker, and freelance illustrator. He lives in Bristol, United Kingdom.