Seuss was drawing biting cartoons for adults that expressed his fierce opposition to anti-Semitism and fascism. An editorial cartoonist from 1941 to 1943 for PM magazine, a left-wing daily New York newspaper, Dr. Seuss launched a battle against dictatorial rule abroad and America First (an isolationist organization that argued against U.S. entry into World War II) with more than 400 cartoons urging the United States to fight against Adolf Hitler and his cohorts in fascism, Benito Mussolini, Pierre Laval, and Japan (he never depicted General Tojo Hideki, the wartime prime minister, or Togo Shigenori, the foreign minister). Dr. Seuss Goes to War, by Richard H. Minear, includes 200 of these cartoons, demonstrating the active role Dr. Seuss played in shaping and reflecting how America responded to World War II as events unfolded.As one of America's leading historians of Japan during World War II, Minear also offers insightful commentary on the historical and political significance of this immense body of work that, until now, has not been seriously considered as part of Dr. Seuss's extraordinary legacy.Born to a German-American family in Springfield, Massachusetts, in 1904, Theodor Geisel began his cartooning career at Dartmouth College, where he contributed to the humor magazine. After a run-in with college authorities for bootlegging liquor, he had to use a pseudonym to get his work published, choosing his middle name, Seuss, and adding "Dr." several years later when he dropped out of graduate school at Oxford University in England. He had never planned on setting poison political pen to paper until he realized his deep hatred of Italian fascism. The first editorial cartoon he drew depicts the editor of the fascist paper Il Giornale d'Italia wearing a fez (part of Italy's fascist uniform) and banging away at a giant steam typewriter while a winged Mussolini holds up the free end of the banner of paper emerging from the roll. He submitted it to a friend at PM, an outspoken political magazine that was "against people who push other people around," and began his two-year career with the magazine before joining the U.S. Army as a documentary filmmaker in 1943.Dr. Seuss's first caricature of Hitler appears in the May 1941 cartoon, "The head eats, the rest gets milked," portraying the dictator as the proprietor of "Consolidated World Dairy," merging 11 conquered nations into one cow. Hitler went on to become one of the main caricatures in Seuss's work for the next two years, depicted alone, among his generals and other Germans, and with his allies Benito Mussolini and Pierre Laval. He is also drawn alongside "Japan," which Dr. Seuss portrays quite offensively, with slanted, bespectacled eyes and a sneering grin. While Dr. Seuss was outspoken against antiblack racism in the United States, he held a virulent disdain for the Japanese and rendered sinister and, at times, slanderous caricatures of their wartime actions even before the bombing of Pearl Harbor. But Dr. Seuss's aggression wasn't solely reserved for the fascists abroad. He was also loudly critical of America's initial apathy toward the war, skewering isolationists like America First advocate Charles Lindbergh, the Chicago Tribune's Colonel Robert McCormick, Eleanor Medill Patterson of the Washington Times-Herald, and Joseph Patterson of the New York Daily News, whom he considered as evil as Hitler. He encouraged Americans to buy war savings bonds and stamps and to do everything they could to ensure victory over fascism.Minear provides historical background in Dr. Seuss Goes to War that not only serves to contextualize these cartoons but also deftly explains the highly problematic anti-Japanese and anticommunist stances held by both Dr. Seuss and PM magazine, which contradicted the leftist sentiments to which they both eagerly adhered. As Minear notes, Dr. Seuss eventually softened his feelings toward communism as Russia and the United States were united on the Allied front, but his stereotypical portrayals of Japanese and Japanese-Americans grew increasingly and undeniably racist as the war raged on, reflecting the troubling public opinion of American citizens. Minear does not attempt to ignore or redeem Dr. Seuss's hypocrisy; rather, he shows how these cartoons evoke the mood and the issues of the era. After Dr. Seuss left PM magazine, he never drew another editorial cartoon, though we find in these cartoons the genesis of his later characters Yertle the dictating turtle and the Cat in the Hat, who bears a striking resemblance to Uncle Sam. Dr. Seuss Goes to War is an astonishing collection of work that many of his devoted fans have not been able to see until now. But this book is also a comprehensive, thoughtfully researched, and exciting history lesson of the Second World War, by a writer who loves Dr. Seuss as much as those who grow up with his books do.

    Included is a reprint of her mini-comic, City of Champions, as well as a new comic, The Tapemines, an 80-page wordless scroll about feral children in forests of cassette tape. With inspirations including German expressionists Georg Grosz and Otto Dix, as well as Japanese and Inuit printmakers, Tamaki's unique style often celebrates the inherent beauty in the grotesque, while remaining character-driven and focused on observational narrative.

    The original Wonder Woman was ahead of her time, advocating female superiority and the benefits of matriarchy in the 1940s. At the same time, her creator filled the comics with titillating bondage imagery, and Wonder Woman was tied up as often as she saved the world. In the 1950s, Wonder Woman begrudgingly continued her superheroic mission, wishing she could settle down with her boyfriend instead, all while continually hinting at hidden lesbian leanings. While other female characters stepped forward as women’s lib took off in the late 1960s, Wonder Woman fell backwards, losing her superpowers and flitting from man to man. Ms. magazine and Lynda Carter restored Wonder Woman’s feminist strength in the 1970s, turning her into a powerful symbol as her checkered past was quickly forgotten. Exploring this lost history adds new dimensions to the world’s most beloved female character, and Wonder Woman Unbound delves into her comic book and its spin-offs as well as the myriad motivations of her creators to showcase the peculiar journey that led to Wonder Woman’s iconic status.

    This second omnibus of storied treasuries of murder includes the famous double axe murder by Lizzie Borden; the mysterious drowning of the lovely Mary Rogers; the Bloody Benders, a family of murderous inn keepers; socialite Madeleine Smith who poisoned an inconvenient suitor; and the famous assassination of President Lincoln. Each true crime story includes a bibliography of research sources, presenting true facts about famous murders in an entertaining fashion.

    Kurt Severing, a journalist, and Marthe Muller, an art student, are the central figures in a broad cast of characters intertwined with the historical events unfolding around them. City of Stones covers eight months in Berlin, from September 1928 to May Day, 1929, meticulously documenting the hopes and struggles of its inhabitants as their future is darkened by a glowing shadow.

    When she comes to America for a better life, she marries a drug kingpin, whose son learns Maria’s darkest secret, leading to the most violent gangland bloodbath in organized crime history. Maria M. collects 2013’s Book One (now out of print), and the never-before-published Book Two, presenting the complete graphic novel for the first time. Longtime readers of Hernandez’s books will recognize a metatwist worthy of Maria M.’s pulpy pages: Maria M. doubles as a “biopic” of the mother of Hernandez’s most beloved character: Luba from Love and Rockets!

    Now, in Pierre Christin and Olivier Balez's new graphic biography, the rest of Robert’s story will be told.

    civil rights movement, making headlines around he world and becoming an enduring symbol of the fight for dignity and equality, another young black woman refused to give up her seat on a segregated bus in Montgomery, Alabama. She was the wrong person at the right time, and so History did not choose her. Her name was Claudette Colvin and this is her story.

    Drug cartel battles and official corruption result in more murders annually in Chihuahua than in wartorn Afghanistan. Thanks to a culture of impunity, 97 percent of the killings in Juárez go unsolved. Despite a climate of fear, a small group of human rights activists, exemplified by the Chihuahua lawyer and organizer Lucha Castro, works to identify the killers and their official enablers.This is the story of La Lucha, illustrated in beautiful and chilling comic book art, rendering in rich detail the stories of families ripped apart by disappearances and murders—especially gender-based violence—and the remarkably brave advocacy, protests, and investigations of ordinary citizens who turned their grief into resistance.

    CHILL as Lady Deadpool and Headpool try to find the root cause of their majorly abusive frenemieship. Then THRILL as Kidpool and Dogpool embark on a 100-ton mechanized joy ride and and uhm...GET ILL as Dogpool makes a brand-new archenemy. Then it's 'Two Mutants and a Baby' in the untold story of how Cable escaped from Alaska with Hope. Wait -- You don't think Cable did that alone, did you? PLUS: Deadpool struggles to find the perfect way to honor his pal Cable.

    After spending thousands of Sunday afternoons gazing at his grandfather’s collections of old newspaper comics, he picked up a pen and started drawing monkeys with striped tails and top hats. He now writes and draws the comic book Sock Monkey as well as the weekly strip "Maakies," which has won him three Eisner Awards and has been animated for Saturday Night Live. He lives in Pasadena, California with his wife and daughters.

    He also wants to let his best friend, Danetta, know how he really feels about her. But as he is buying his first suit, an off-duty police officer mistakes a clothes hanger for a gun, and he shoots Alfonso.When Alfonso wakes up in the afterlife, he’s on a ghost train guided by well-known victims of police shootings, who teach him what he needs to know about this subterranean spiritual world. Meanwhile, Alfonso’s family and friends struggle with their grief and seek justice for Alfonso in the streets. As they confront their new realities, both Alfonso and those he loves realize the work that lies ahead in the fight for justice.In the first graphic novel for young readers to focus on police brutality and the Black Lives Matter movement, as in Hamlet, the dead shall speak—and the living yield even more surprises.Foreword by Bryan Stevenson, Executive Director of the Equal Justice Initiative and author of Just Mercy.

    Writer Alex Irvine and illustrators Tomm Coker (Black Monday Murders) and C.P. Smith team up to present a complete look at the beginnings (both real and legendary), developments, triumphs, and tragedies of baseball. The Comic Book Story of Baseball spotlights the players, teams, games, and moments that have kept the game so popular for so long. Not only does the book define key terms and explain how the game is played, it also breaks down the cultural impact and significance of the sport in America and overseas (including Japan, Cuba, and the Dominican Republic). From the early days of America to the flying W outside Wrigley Field in 2016, the book features members of Baseball's Hall of Fame and modern day stand-outs, including Cy Young, Honus Wagner, Babe Ruth, Jackie Robinson, Hank Aaron, the 1930s New York Yankees, the 2004 Boston Red Sox, the 2016 Chicago Cubs, and more.

    A bookstore owner locks eyes with a neighbor as she receives an Amazon package. Strangers are united by circumstance as they wait on the subway stairs for a summer storm to pass.Adrian Tomine's illustrations and comics have been appearing for more than a decade in the pages (and on the cover) of The New Yorker. Instantly recognizable for their deceptively simple and evocative style, these images have garnered the attention of The New Yorker's readership and the approbation of such venerable institutions as the Art Directors Club and American Illustration.New York Drawings is a loving homage to the city that Tomine, a West Coast transplant, has called home for the past seven years. This lavish, beautifully designed volume collects every cover, comic, and illustration that he has produced for The New Yorker to date, along with an assortment of other rare and uncollected illustrations and sketches inspired by the city. Complete with notes and annotations by the author, New York Drawings will also feature a new introductory comic focusing on Tomine's experiences as a New York illustrator.

    Collected for the first time in War's End: Profiles from Bosnia 1995–1996 are the acclaimed Soba and Christmas with Karadzic. In Soba, Sacco captures the internal torment of the romanticized Sarajevo artist-warrior who captivated the Western media with his guitar and hard-partying ways. In Christmas with Karadzic, Sacco gives the reader an inside peek at the darkly humorous news process that doesn't make the headlines back home as he chases after one of the most hated and sought-after Bosnian Serb leaders and war criminals.