My love of comics and characters goes back to when I was very young. I remember falling in love with Snoopy to the point that I would draw a snoopy head on my worksheets in first grade, and my teacher knew it was from me! Once I got older, and began exploring my Jewish heritage in a more mature way, I was astounded by how many deep and meaningful stories I kept encountering. It was my natural inclination to retell these stories in a comic book format. Part of my mission was to find like minded souls who had a love for comix and a love for Jewish stories.
This book was the first time I read a graphic novel with Jewish themes other than the Holocaust. As a comic book artist who was exploring my Jewish roots, it was eye-opening to read a tale with Jewish characters, especially because it deals with the legend of the Golem, a mystical being made of mud and brought to life through Hebrew incantations. Add to that great action scenes of 1920s baseball, and it makes for a great read.
Before penning his acclaimed graphic novel Market Day and founding the Center for Cartoon Studies, James Sturm proved his worth as a master cartoonist with the eloquent graphic novel, The Golem s Mighty Swing, one of the first breakout graphic novel hits of the 21st century. Sturm s fascination with the invisible America has been the crux of his comics work, exploring the rarely-told or oft-forgotten bits of history that define a country. By reuniting America s greatest pastime with its hidden history, the graphic novel tells the story of the Stars of David, a barnstorming Jewish baseball team of…
Will Eisner not only invented the term “Graphic Novel” but he innovated much of the art and craft of comix. He is one of the pioneers whom I have studied to learn how comix work. Contract is also amazing because it deals with Jewish New York of the mid 20th century which is where my parents grew up. I connect to the tales of how to balance being American while celebrating my Jewish heritage, and the many challenges that came with living amongst other cultures in the “Melting Pot."
Eisner was not only ahead of his times; the present times are still catching up to him.John UpdikeA revolutionary novel, A Contract with God re-creates the neighborhood of Will Eisner's youth through a quartet of four interwoven stories. Expressing the joy, exuberance, tragedy, and drama of life on the mythical Dropsie Avenue of the Bronx, A Contract with God is a monumental achievement, a must in the library of any graphic novel fan.
In another life, I believe I was a traveling Klezmer musician. I’m not sure why I am not today, but such is how it is. In any case, this book translates the life and energy of Klezmer music into a fun and whimsical tale of a young klezmer musician. Great pacing and fun dialogue keep the story moving. And there’s something about European comics that is a bit more wild and fanciful than American comics.
I came across this book while JT was still working on it in the early 2000s. I contacted him much much excitement because I had never met any other contemporary artists who were interested in translating traditional Jewish legends and midrash into a visual form. When it was finally published, I was blown away at how visually rich it was and how it incorporated the traditional Hebrew text of the Scroll of Esther. And it’s not for kids! A true telling of the story of Esther deserves an R-rating at least. And JT does not shy away from the grittier elements of the traditional story.
Megillat Esther is commonly referred to as the Book of Esther: but there is nothing common about JT Waldman's interpretation of this Biblical story. In what may be the world's first religious, scholarly comic book, Waldman tells the epic tale of exile and redemption in graphic form.
When Esther, a Jewish woman, is made Queen of Persia she must keep her identity hidden, all the while maneuvering to save her people from annihilation. This is a story familiar to many Jews who have heard it recounted every year on the holiday of Purim. But readers of all backgrounds will be…
I recommend Maus, for so many reasons. It is important on so many levels, including the fact that it was recently banned. Yes, it’s a primary text on the horrors of the Holocaust. Yes, it was the first comic to win a Pulitzer Prize. But I come back again and again to this work because Art is a master of the language of comics. Any comic book maker of any background is indebted to him for pushing the boundaries of what it means to make a panel on a page, and use it to tell a story.
The first and only graphic novel to win the Pulitzer Prize, MAUS is a brutally moving work of art about a Holocaust survivor -- and the son who survives him
'The first masterpiece in comic book history' The New Yorker
Maus tells the story of Vladek Spiegelman, a Jewish survivor of Hitler's Europe, and his son, a cartoonist coming to terms with his father's story. Approaching the unspeakable through the diminutive (the Nazis are cats, the Jews mice), Vladek's harrowing story of survival is woven into the author's account of his tortured relationship with his aging father.
When a strange book of stories arrives from their beloved missing grandparents, siblings Ben and Rose must dive into the book for clues that will help them in their search for their grandparents. But they are not the only ones searching... Who is the strange creature called the Doughlem who shows up in each of the stories? What other dark forces find the book to be so important? And as more and more characters from the book start showing up in real life, Ben and Rose start to wonder if the book is coming to life, or if they are getting lost in the story.
My book is fantastical historical fiction about two characters who're wrestling with the monstrosity of their grief.
It takes you into London high society, where Ambrose tries to forget about how much he misses Bennett and how much he dreads becoming as cold as their Grandfather. It takes you to the family's country manor house, where Mattie isolates and old ghosts start to come out of the woodwork.
It's a story about loss and depression; it's a story about friends who don't let you walk through the valley of death alone.
Ambrose Bancroft returns to London society with his younger sister, hoping they'll leave ghosts of memory behind. They have only each other left. While Ambrose attempts to draw Mattie out, dragging her to balls and threatening to seek suitors for her, his sister recoils from his meddling. Finally, when Ambrose compels her to attend art class before she's ready, Mattie paints something horrific enough to banish them from society in public disgrace.
At Linwood Manor, Mattie and Ambrose aren't as alone as they think. Taking advantage of Mattie's desperate need to find freedom, a vanishing room lures Ambrose's sister into…
