I was walking across the country in 1986 when I met a journalist named Mike Sager who showed me that writing can also be an adventure. Since then, I’ve edited an alternative weekly newspaper and written books about zydeco, Hurricane Katrina, comics, and old Kodachrome photos. So far, most everything I write seems to be centered in some way around my adopted home state of Louisiana, a place that never seems to run out of stories. Also, I still like to walk.
Bill Blackbeard was the Harry Smith of comics. Just as Smith’s landmark Anthology of American Folk Music helped launch a folk music revival, so did Blackbeard’s massive volume of old newspaper comics spark a new generation of comics fandom and scholarship. This was also the first book of old newspaper funnies I ever read, during a childhood Saturday afternoon in the Willard Library in Evansville, Indiana, when I discovered the magical “741.5” shelf that held books of comics. Other big, beautiful anthologies of old newspaper funnies have been compiled by comics creators like Jerry Robinson and Brian Walker, but Blackbeard is the granddaddy.
Warning: This book will make you build a new bookshelf. Like other oversized offerings from Peter Maresca’s Sunday Press Publishing, you need a tape measure, not a ruler, to determine its dimensions. This means that you can read this startling collection of strips from 1895 to 1915 in the grand size in which they first appeared in early newspapers, back when the colors and characters screamed off the page, reflecting and refracting the frenetic dawn of a new century. These old newspaper comics pages are where Americans first learned to laugh together. Society is Nixcan be difficult to find but is well worth the effort.
THE BIRTH OF COMICS. From the Yellow Kid to the Captain and the Kids, these are the origins of the American comic strip, created at a time when there were no set styles or formats, when artistic anarchy helped spawn a new medium. This book features the earliest offerings (1895 to 1915) from the famous and lesser-known cartoonists who where there when comics were born-over 150 creations from more then 50 superb artists, most reprinted for the first time ever. And all in the original broadsheet size and brilliant colors. Chris Ware calls Society Is Nix,"a mind-blowing portable museum retrospective…
Ava Winston likes her life of routine in Lexington, Kentucky. Then a tornado blows it away. Ava is safe in the basement, but when she emerges, only one corner of her home stands. Rather than crumbling under the loss, she feels a load lifted. Maybe something beyond the familiar is…
Paul Tumey is one of our pre-eminent comics scholars, but like the cartoonists he honors in this work, he mainly wants to make you laugh. To this end, he’s assembled cartoons, comics, and old photos, mostly dating to the early 1900s, to build a case for a comics genre he calls Screwballism. It’s all a very funny read, and if the names of genius creators like Frederick Burr Opper and Gene Ahern aren’t yet household names, don’t blame Tumey.
The story of screwball comics, with new research and rare art from some of the most hilarious cartoonists of all time.
Before "screwball" became a movie genre, it was a staple of other forms of American culture, including newspaper comic strips. Emerging from the pressures of a rapidly accelerating technological and information-drenched society, screwball comics offered a healthy dose of laughter and perspective. The disruptive, manic, and surreal verbal-visual comedy of these "funnies" fostered an absurdist sensibility embraced by The Marx Brothers (who took their names from a popular comic strip), W. C. Fields, Tex Avery, Spike Jones, Ernie Kovacs,…
Before there were funny pages, there were sports pages with funnies on them. Eddie Campbell, best known as the artist-collaborator with Alan Moore on From Hell and the creator of his own wonderful and sort-of autobiographical Alec: The Years Have Pants, has pored over these old sports pages to uncover the secret origins of the funnies. Along the way, he tells stories of a lurid murder trial and a racially charged boxing match, all seen through the eyes of sports cartoonists. This is hidden history at its most entertaining.
A rip-roaring and exhaustively researched new take on the origin of the comic strip by one of the leading cartoon storytellers of our time.
With more than 500 period cartoons, The Goat Getters illustrates how comics were developed by such luminaries as Rube Goldberg, Tad Dorgan, and George Herriman in the sports and lurid crime pages of the daily newspaper. This wild bunch of West Coast-based cartoonists established the dynamic anatomy and bold, tough style that continue to influence comics today, as well as their own goofy slang that enriched the popular lexicon.
The 19th century women's rights movement and the rise of public education intertwine with one woman's story of struggle, perseverance, and love.
Alice Harris is pressed to marry a Civil War veteran twice her age when her family’s inn fails in 1882 in western North Carolina. She remakes herself by…
Unlike the other books on this list, this isn’t primarily a reprint collection of early-twentieth-century comics. Rather, Art Spiegelman (whose essential memoir Mauswas the first comic to win a Pulitzer Prize), re-introduces old comics characters in a very personal story of the 9/11 attacks and the political fallout. Figures like the Happy Hooligan, Jiggs and Maggie, Little Nemo, and Krazy Kat and Ignatz float through these stories like New York City’s awakened ghosts. Spiegelman also adds a masterful essay on comics and curates a few selections of the original strips. No work better demonstrates how the early cartoonists can speak through the rubble of history with vitality and humor.
For the Pulitzer Prize-winning author of Maus, the terrorist attacks of September 11th were both highly personal and intensely political. In the Shadow of No Towers is a masterful and moving account of the events and aftermath of that tragic day.
Spiegelman and his family bore witness to the attacks in their lower Manhattan neighborhood: his teenage daughter had started school directly below the towers days earlier, and they had lived in the area for years. But the horrors they survived that morning were only the beginning for Spiegelman, as his anguish was quickly displaced by fury at the U.S.…
In 2007, living in the Midwest following the New Orleans floods, I attended the Masters of American Comics exhibit at the Milwaukee Art Museum. When I walked into a room filled with George Herriman’s original, hand-drawn pages of his masterpiece “Krazy Kat,” I immediately knew I had to learn everything there was to know about this amazing, inscrutable cartoonist and New Orleans exile. Ten years of research later, I published the first full-length biography of Herriman, revealing the story of his precarious position on the American color line and especially the transcendent “Krazy Kat,” in which Herriman created art from a personal history that could not be spoken out loud.
Krazy was a finalist for the National Book Critics Circle Award for biography and won the Eisner Award for best book about comics, and has been optioned by filmmaker Jonathan Hock for a documentary.
A Sumerian tale of irrigation, floods, and the creation of man
By
Ken Goudsward,
Contrary to popular belief, the Atrahasis Epic is not merely a flood myth. In some ways it can be called a creation myth. However, it does not concern itself with the creation of the universe or even of the earth. Rather, the created work in question is one of culture…
In this book set against the backdrop of a changing America, Sarah must find the courage to confront the ghosts of her past and come to terms with her future. Sarah, a young woman from the rural town of Tolerance, Arkansas, has endured an impoverished and painful childhood.
