Given half a choice, he would pick admin work over patrolling in a heartbeat, to say nothing of his distaste for engaging in combat. Nonetheless, at the behest of the king, he finds himself issuing a twice-daily challenge to the Israelites: “Choose a man. Let him come to me that we may fight. If he be able to kill me then we shall be your servants. But if I kill him, then you shall be our servants.” Day after day he reluctantly repeats his speech, and the isolation of this duty gives him the chance to banter with his shield-bearer and reflect on the beauty of his surroundings. This is the story of David and Goliath as seen from Goliath’s side of the Valley of Elah. Quiet moments in Goliath’s life as a soldier are accentuated by Tom Gauld’s drawing style, which contrasts minimalist scenery and near-geometric humans with densely crosshatched detail reminiscent of Edward Gorey. Goliath’s battle is simultaneously tragic and bleakly funny, as bureaucracy pervades even this most mythic of figures. Goliath displays a sensitive wit, a bold line, and a traditional narrative reworked, remade, and revolutionized.

    Venturing first to the Great Socialist People's Libyan Arab State and then joining the family tribe in Homs, Syria, they hold fast to the vision of the paradise that always lies just around the corner. And hold they do, though food is scarce, children kill dogs for sport, and with locks banned, the Sattoufs come home one day to discover another family occupying their apartment. The ultimate outsider, Riad, with his flowing blond hair, is called the ultimate insult… Jewish. And in no time at all, his father has come up with yet another grand plan, moving from building a new people to building his own great palace.Brimming with life and dark humor, The Arab of the Future reveals the truth and texture of one eccentric family in an absurd Middle East, and also introduces a master cartoonist in a work destined to stand alongside Maus and Persepolis.

    As they get to know modern Warsaw, Regina is forced to recall difficult things about her past, and Mica begins to wonder if maybe their reasons for coming aren’t a little different than what her grandmother led her to believe.

    has created a masterpiece in Epileptic, his stunning and emotionally resonant autobiography about growing up with an epileptic brother. Epileptic gathers together and makes available in English for the first time all six volumes of the internationally acclaimed graphic work.David B. was born Pierre-François Beauchard in a small town near Orléans, France. He spent an idyllic early childhood playing with the neighborhood kids and, along with his older brother, Jean-Christophe, ganging up on his little sister, Florence. But their lives changed abruptly when Jean-Christophe was struck with epilepsy at age eleven. In search of a cure, their parents dragged the family to acupuncturists and magnetic therapists, to mediums and macrobiotic communes. But every new cure ended in disappointment as Jean-Christophe, after brief periods of remission, would only get worse.Angry at his brother for abandoning him and at all the quacks who offered them false hope, Pierre-François learned to cope by drawing fantastically elaborate battle scenes, creating images that provide a fascinating window into his interior life. An honest and horrifying portrait of the disease and of the pain and fear it sowed in the family, Epileptic is also a moving depiction of one family’s intricate history. Through flashbacks, we are introduced to the stories of Pierre-François’s grandparents and we relive his grandfathers’ experiences in both World Wars. We follow Pierre-François through his childhood, adolescence, and adulthood, all the while charting his complicated relationship with his brother and Jean-Christophe”s losing battle with epilepsy. Illustrated with beautiful and striking black-and-white images, Epileptic is as astonishing, intimate, and heartbreaking as the best literary memoir.From the Hardcover edition.

    Emma Goldman was at the forefront of the radical causes of the twentieth century, from leading hunger demonstrations during the Great Depression—"Ask for work! If they do not give you work, ask for bread! If they do not give you work or bread, take the bread!"—to organizing a cloakmakers' strike, from lecturing on how to use birth control to fighting conscription for World War I, while her soulmate, Alexander Berkman, spent fourteen years in jail for his failed attentat against industrialist Henry Clay Frick.Sharon Rudahl's lovely, energetic illustrations bring Goldman's many facets and passions to new life; her work belongs with the critically acclaimed graphic nonfiction of Alison Bechdel's Fun Home and Marjane Satrapi's Persepolis. Featuring a foreword by Alice Wexler, A Dangerous Woman is a marvelously compelling presentation of a woman devoted to revolutionizing her age.

    Don’t worry—this isn’t the typical redemptive coming-of-age tale of a young woman and her glorious triumph over tragedy or any such nonsense. It’s simply a hilarious—occasionally poignant—book filled with interesting art, absurd humor and plenty of amusing self-deprecation. Box by box, Wertz chronicles four sketchy apartments, seven terrible jobs, family drama, traveling fiascos, and too many whiskey bottles to count.

    In early 2001 cartoonist Guy Delisle became one of the few Westerners to be allowed access to the fortress-like country. While living in the nation's capital for two months on a work visa for a French film animation company, Delisle observed what he was allowed to see of the culture and lives of the few North Koreans he encountered; his findings form the basis of this graphic novel.Guy Delisle was born in Quebec City in 1966 and has spent the last decade living and working in the South of France with his wife and son. Delisle has spent ten years, mostly in Europe, working in animation, an experience that taught him about movement and drawing. He is now currently focusing on his cartooning. Delisle has written and drawn six graphic novels, including "Pyongyang," his first graphic novel in English.

    They meet during the Depression -- she working as a chambermaid, he as a milkman -- and we follow them as they encounter, and cope with, World War II, the advent of radio and t.v., telephones and cars, the atomic bomb, the moon landing. Briggs's portrayal of his parents as they succeed, or fail, in coming to terms with their rapidly shifting world is irresistably engaging -- full of sympathy and affection, yet clear-eyed and unsentimental.The book's strip-cartoon format is deceptively simple; it possesses a wealth of detail and an emotional depth that are remarkable in such a short volume. Briggs's marvelous illustrations and succinct, true-to-life dialogue create a real sense of time and place, of what it was like to experience such enormous changes. Almost as much a social history as it is a personal account, Ethel & Ernest is a moving tribute to ordinary people living in an extraordinary time.

    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."

    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.

    Extraordinary." —Variety One night in Beirut in September 1982, while Israeli soldiers secured the area, Christian militia members entered the refugee camps of Sabra and Shatila and began to massacre hundreds, if not thousands, of Palestinians. Ari Folman was one of those Israeli soldiers, but for more than twenty years he remembered nothing of that night or of the weeks leading up to it. Then came a friend's disturbing dream, and with it Folman's need to excavate the truth of the war in Lebanon and answer the crucial question: what was he doing during the hours of slaughter? Challenging the collective amnesia of friends and fellow soldiers, Folman painfully, candidly pieces together the war and his place in it. Gradually, the blankness of his mind is filled in by scenes of combat and patrol, misery and carnage, as well as dreams and hallucinations. Soldiers are haunted by inexplicable nightmares and flashbacks - snapping, growling dogs with teeth bared and eyes glowing orange; a recurring image of three young men rising naked out of the sea to drift into the Beirut battlefield. Tanks crush cars and buildings with lethal indifference; snipers pick off men on donkeys, men in cars, men drinking coffee; a soldier waltzes through a storm of bullets; rock songs fill the air, and then yellow flares. The recollections accumulate until Ari Folman arrives at Sabra and Shatila and his investigation reaches its terrible end. The result is a gripping reconstruction, a probing inquiry into the unreliable quality of memory, and, above all, a powerful denunciation of the senselessness of all wars. Profoundly original in form and approach, Waltz with Bashir will take its place as one of the great works of wartime testimony.

    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)

    Structured around the forty questions Luiselli translates and asks undocumented Latin-American children facing deportation, Tell Me How It Ends (an expansion of her 2016 Freeman's essay of the same name) humanizes these young migrants and highlights the contradiction of the idea of America as a fiction for immigrants with the reality of racism and fear both here and back home."

    For Nora, the simple fact of her German citizenship bound her to the Holocaust and its unspeakable atrocities and left her without a sense of cultural belonging. Yet Nora knew little about her own family’s involvement in the war: though all four grandparents lived through the war, they never spoke of it.In her late thirties, after twelve years in the US, Krug realizes that living abroad has only intensified her need to ask the questions she didn’t dare to as a child and young adult. Returning to Germany, she visits archives, conducts research, and interviews family members, uncovering in the process the stories of her maternal grandfather, a driving teacher in Karlsruhe during the war, and her father’s brother Franz-Karl, who died as a teenage SS soldier in Italy. Her quest, spanning continents and generations, pieces together her family’s troubling story and reflects on what it means to be a German of her generation.

    That was the year the war broke out in Sarajevo, Bosnia, the year that genocide revisited the planet. It was the year that Ervin Rustemagic - an international businessman whose clients included author Joe Kubert - found himself and his family trapped in a city under siege. Ervin's only means of communication to the outside world was via his fax machine. As Joe began to receive these messages from Ervin, he did what he had done for years - he put the story to paper. Renowned comics creator Joe Kubert has been writing and illustrating comic books since the 1940s, including Batman, Superman, Tarzan, Enemy Ace, and Sgt. Rock. Fax from Sarajevo is by far one of the highest achievements of one of comics' greatest living masters.