Here are 100 books that American Splendor fans have personally recommended if you like
American Splendor.
Shepherd is a community of 12,000+ authors and super readers sharing their favorite books with the world.
I am the Chief Legal Officer at a US publicly traded company. Although I was born in Iran, I immigrated to the US from Iran at age ten. When I was three years old, my father’s side of the family tried to take my brother and me away from my mother after my father passed away. She fought a custody battle and lawsuit and eventually was forced to flee Iran with us during the revolution. I am passionate about the Iranian Revolution, my relationship with my very strong and remarkable mother who has been a mentor to me, as well as family relationships within Iranian families.
I love “Persepolis” because the author very accurately and with a great amount of humor describes, and through graphics, portrays the very heavy topic of the 1979 Iranian Revolution.
She makes it easy for people who weren’t there at the time and are not a part of the culture or history to imagine what happened. I like how she describes family relationships, especially with her parents, in a tribal culture. In a very transparent way, she accurately describes the differences between private family life and the one that is portrayed publicly.
Wise, often funny, sometimes heart-breaking, Persepolis tells the story of Marjane Satrapi's life in Tehran from the ages of six to fourteen, growing up during the Iranian Revolution.
The intelligent and outspoken child of radical Marxists, and the great-grandaughter of Iran's last emperor, Satrapi bears witness to a childhood uniquely entwined with the history of her country. Persepolis paints an unforgettable portrait of daily life in Iran and of the bewildering contradictions between home life and public life.
Amidst the tragedy, Marjane's child's eye view adds immediacy and humour, and her story of a childhood at once outrageous and ordinary,…
I have worked as an illustrator and visual storyteller throughout my adult life, illustrating children’s fiction books and comics for educational publications. My educational work focused on publications for kids with special needs, this gave me training in how to communicate visually, very clearly and concisely. I now collaborate with my partner Sakina Karimjee making beautiful graphic novels full-time. Toussaint Louverture is our first; we are now working on our second.
Joe Saccos’ work has had such an impression on me.
In 1991-1992, Sacco spent two months in the occupied territories, collecting stories for this masterpiece of journalism and comics. He was breaking new ground; Comics Journalism as a form did not really exist before this book.
On the ground, Sacco found that as a cartoonist, he could delve deeper into the experiences of the Palestinians he interviewed; all knew their identities were safe as the book would be drawn, with no identifying photos, no names. Their stories and pain pour forth.
Looking back on this publication thirty years later, the situation has become far, far worse for Palestinians. This book is an excellent primer to understand the atrocities of the present and the context of their past.
In late l991 and early 1992, at the time of the first Intifada, Joe Sacco spent two months with the Palestinians in the West Bank and Gaza Strip, travelling and taking notes. Upon returning to the United States he started writing and drawing Palestine, which combines the techniques of eyewitness reportage with the medium of comic-book storytelling to explore this complex, emotionally weighty situation. He captures the heart of the Palestinian experience in image after unforgettable image, with great insight and remarkable humour.
The nine-issue comics series won a l996 American Book Award. It is now published for the first…
Documentary Comics are this genre of comics in which you can make a community visible, denounce a crime or expose yourself to the world. Being able to dialogue with the world while dialoguing with the reader is amazing. The elements you have to take into account the things you can hide in the silence of a drawing, compelling the reader to read again, to find the easter egg about that thing you really want to talk about. The ways of telling the truth in drawings. All those things are the things that I love about documentary comics.
This is not a best-seller graphic novel, you don’t see this book on every bookstore shelf. I discovered it because of Nina Mickwitz’s Documentary Comics. I ordered it from the library network that we had at my grad school. My degeneration is a Jewel of a book in many senses, it is a sincere book, a dialogue that goes through many channels: the images drawn, the text typed, and the way the book was made. The shifting in the line makes you think about the process and the author not just as a character but as a person experiencing the world from certain conditions and telling you about that experience.
How does one deal with a diagnosis of Parkinson's disease at the age of forty-three? My Degeneration, by former Anchorage Daily News staff cartoonist Peter Dunlap-Shohl, answers the question with humor and passion, recounting the author's attempt to come to grips with the "malicious whimsy" of this chronic, progressive, and disabling disease. This graphic novel tracks Dunlap-Shohl's journey through depression, the worsening symptoms of the disease, the juggling of medications and their side effects, the impact on relations with family and community, and the raft of mental and physical changes wrought by the malady.
Documentary Comics are this genre of comics in which you can make a community visible, denounce a crime or expose yourself to the world. Being able to dialogue with the world while dialoguing with the reader is amazing. The elements you have to take into account the things you can hide in the silence of a drawing, compelling the reader to read again, to find the easter egg about that thing you really want to talk about. The ways of telling the truth in drawings. All those things are the things that I love about documentary comics.
Virus Tropical is a Latin American Book, a Colombian book, an Argentinian Book, an Ecuadorian Book. Virus tropical talks about the nineties, if you are from Colombia you recognize the towns, the T-shirts, the music, the buses. So many peripheries mixed up and telling you about the coming of age of the main character. So many important things touched while touching on the most vapid-everyday things. The accents, the way the characters interact, I was able to identify with all of this while reading this graphic novel. Virus Tropical is a great book, I’m glad it was translated into English.
Vírus Tropical é uma saga familiar divertida e descolada, repleta de personagens cômicas e alopradas: um pai sacerdote que dá missas clandestinas em casa, uma mãe que lê o futuro nos dominós, uma irmã mais velha depravada, outra totalmente beata…
No meio dessa trupe, a caçula Paola tenta encontrar seu espaço e sua identidade. Com um traço fino, expressivo e cheio de detalhes, Power Paola nos mergulha no âmago dessa singular família colombiana.
Dividido em capítulos curtos e temáticos, e escrito num estilo ritmado e com muitos diálogos, Vírus Tropical consegue emocionar e entreter associando o melodrama ao humor.
I’m an Eisner-nominated and award-winning graphic novel and comics writer, editor, and book packager. I've worked on staff at the Los Angeles Times Syndicate, Disney Publishing, DC Comics, Nickelodeon Magazine, and Platinum Studios. My sequential art book, The Bramble, won the 2013 Moonbeam Gold Medal for Picture Books, and I created a new way to read comics with BirdCatDog, a 2015 Eisner Awards nominee, that received the 2015 Moonbeam Spirit Award Gold Medal for Imagination, and was chosen by Kirkus Reviews as one of the best children’s books of 2014. SheHeWe, the third book in the series, was a 2016 Eisner Award nominee for Best Publication for Early Readers.
In his foreword, Eisner writes: “In this work, I hope to deal with the mission and process of storytelling with graphics.” Where McCloud shows you different options and tools for how to choose images to explore ideas, Eisner gets specific, and shows you how he does it. This book, along with the four others I recommend, and mine, gives you all the tools you need to choose your own path for effectively working as a writer and/or artist in the sequential art medium.
In Graphic Storytelling and Visual Narrative, Will Eisner-one of the most influential comic artists of the twentieth century-lays out the fundamentals of storytelling and their application in the comic book and graphic novel. In a work that will prove invaluable for comic artists and filmmakers, Eisner reveals how to construct a story and the basics of crafting a visual narrative. Filled with examples from Eisner's work as well as that of artists like Art Spiegelman and R. Crumb, this essential work covers everything from the fine points of graphic storytelling to the big picture of the medium, including how to:…
As a book lover and as a nonfiction writer and researcher, I’ve always been fascinated by the idea that a book is truly a portal that can connect people across time and space. I’m a Catholic (stray) by education and tradition, and for me this interconnectivity resonates with the familiar theology of the communion of saints. Whether you are religious or not, if you love words, there is something rather miraculous about how language, past and present, from authors living and dead, can connect and surprise us and spark new conversations even with those yet to be born. You never know who may need to hear what you are putting on the page.
I was late to discover this book, but I devoured it instantly. Una’s is a hybrid work, a mixture of memoir and criminal history in stunning graphic novel form.
She tells her account of growing up in West Yorkshire, UK, in 1977 when the serial murderer Peter Sutcliffe (dubbed “the Yorkshire Ripper”—ick) was still at large. Her book connects her own traumatic history with local newspaper and media accounts as well as broader statistics of sexual violence and the failures of formal investigations.
By the conclusion, Una builds to her own recovery and survival process and creates one of the most beautiful endings—drawings only—I have ever experienced in a book delving into such heart-wrenching subject matter.
One of my favorite childhood pictures, circa 1967, shows me in the Batman costume I got for Christmas. And one of my sharpest memories from that time was seeing the Batmobile at a local auto show. Yes, I was a Batman fanatic, thanks to both the TV show and the comics. That passion faded somewhat as I grew older—I can’t rattle off the names of all the villains or discourse on the styles of the different artists and writers who have told his story. But having the chance to write What Is the Story of Batmantaught me a lot—and helped me feel like a kid again.
Like the Greenberger book, this official history of Batman from DC Comics is essential for any fan. Unlike Kane’s book, this account gives much more credit to Bill Finger as Batman’s creator and highlights many of the writers and illustrators who followed, shaping the Caped Crusader's image over the years. The color reproductions and photos—including ones of collectibles and movie stills—alone are worth the price of this great book.
The Comprehensive overview of the Dark Kights dark past - now in pb. Now in paperback, Batman: The Complete History offers a comprehensive overview of the Dark Knight's dark past. Best-selling author Les Daniels covers the gamut - from Batman's creation and runaway success, to the 1954 accusations of Batman and Robin's homosexuality, to the campy antics of the Adam West TV show, and the emergence of Frank Miller's very disturbed and very dark Knight. Illustrated with archival comic book art and rare Batman paraphernalia and designed by Batman's biggest fan, Chip Kidd, this history aims to please the core…
I’m a public health professional, author, and reader. During part of my childhood and my subsequent career in international public health, I lived in Côte d’Ivoire and the Central African Republic; I’ve also worked throughout West and Central Africa, primarily in Francophone African countries. My experiences in these parts of the continent have not only influenced my fiction writing, but also what I read. While there are plenty of books by Anglophone African authors, few of their Francophone counterparts see their work translated into English. As a result, stories from French-speaking Africa are underrepresented in the literature available to English-speaking audiences. This list is an attempt to make a dent in this disparity.
I’ve added this graphic novel to my list in part for nostalgic reasons. Although the book and its two sequels were published in the 2000s, they are all set in 1970s Abidjan, Côte d’Ivoire, when I had the good fortune to live there. Aya is an adolescent girl living in the vibrant neighborhood of Yopougon, where everyone knows each other’s business. While she just wants to focus on her studies, she keeps getting distracted by the drama of those around her—from the boy-chasing machinations of her girlfriends to the foolish missteps of her parent's generation.
"Aya is an irresistible comedy, a couple of love stories and a tale for becoming African. It's essential reading." -Joann Sfar, cartoonist of The Rabbi's Cat
Ivory Coast, 1978. It's a golden time, and the nation, too-an oasis of affluence and stability in West Africa-seems fueled by something wondrous. Aya is loosely based upon Marguerite Abouet's youth in Yop City. It is the story of the studious and clear-sighted nineteen-year-old Aya, her easygoing friends Adjoua and Bintou, and their meddling relatives and neighbors. It's a wryly funny, breezy account of the simple pleasures and private troubles of everyday life in…
Brett Dakin is the author of American Daredevil: Comics, Communism, and the Battles of Lev Gleason and Another Quiet American: Stories of Life in Laos. Brett's writing has appeared in Foreign Affairs, the International Herald Tribune, The Washington Post, and The Guardian. A graduate of Princeton University and Harvard Law School, Brett grew up in London and now lives in New York City with his husband—and their dog, Carl.
Amy’s book takes on the same topic, but from the perspective of an academic—and with a more balanced, objective approach. In particular, she examines the role of anti-comics crusader Dr. Fredric Wertham, arguing that his “role in the crusade against comics has been largely misinterpreted by fans and scholars alike, who dismiss his findings as naïve social science, failing to understand how his work on comic books fits into the larger context of his beliefs about violence, psychiatry, and social reform."
For the past forty years the content of comic books has been governed by an industry self-regulatory code adopted by publishers in 1954 in response to public and governmental pressure.
This book examines why comic books were the subject of controversy, beginning with objections that surfaced shortly after the introduction of modern comic books in the mid-1930s, when parents and teachers accused comic books of contaminating children's culture and luring children away from more appropriate reading material.
It traces how, in the years following World War II, the criticism of comic books shifted to their content, and the reading of…
Brett Dakin is the author of American Daredevil: Comics, Communism, and the Battles of Lev Gleason and Another Quiet American: Stories of Life in Laos. Brett's writing has appeared in Foreign Affairs, the International Herald Tribune, The Washington Post, and The Guardian. A graduate of Princeton University and Harvard Law School, Brett grew up in London and now lives in New York City with his husband—and their dog, Carl.
Another readable academic work, Bradford’s book helped me situate the history of comics within the broader narrative of post-war America’s emerging youth, pop, and consumer cultures.
As American as jazz or rock and roll, comic books have been central in the nation's popular culture since Superman's 1938 debut in Action Comics #1. Selling in the millions each year for the past six decades, comic books have figured prominently in the childhoods of most Americans alive today. In Comic Book Nation, Bradford W. Wright offers an engaging, illuminating, and often provocative history of the comic book industry within the context of twentieth-century American society. From Batman's Depression-era battles against corrupt local politicians and Captain America's one-man war against Nazi Germany to Iron Man's Cold War exploits in…
