Here are 100 books that Everywhere Disappeared fans have personally recommended if you like
Everywhere Disappeared.
Shepherd is a community of 11,000+ authors and super readers sharing their favorite books with the world.
Shepherd is reader supported. When you buy books, we may earn an affiliate commission.
I’m an artist who likes to write, but I’ve never been interested in classic superhero or pulp graphic novels. Early in my career, the word “comics” felt like an insult—it's not “real art,” right? Too childish! While that instinct was definitely wrong, I found a (small) world of experimental, abstract, genre-breaking graphic novels that combine art and writing in a wholly unique way. This is a list of some of my recent favorites that have inspired my drawing and writing practice, and will hopefully inspire you.
This is an excellent textbook to get readers and comic makers of all experience levels to loosen up, think deeply and personally, and make better, more confident comics. It’s warm but practical, smart but approachable, deep but unpretentious. This is a comics veteran generously sharing both her knowledge of comics and teaching, as well as her own methods for drawing, brainstorming, and writing. It’s an incredible resource and one I often find myself quoting and recommending to my own students.
Hello students, meet Professor Skeletor. Be on time, don t miss class, and turn off your phones. No time for introductions, we start drawing right away. The goal is more rock, less talk, and we communicate only through images. For more than five years the cartoonist Lynda Barry has been an associate professor in the University of Wisconsin Madison art department and at the Wisconsin Institute for Discovery, teaching students from all majors, both graduate and undergraduate, how to make comics, how to be creative, how to not think. There is no academic lecture in this classroom. Doodling is enthusiastically…
When I was a kid in the 80s the superhero comics I was obsessed with were beginning to deal with the real world in a new way. And their creators were beginning to push and pull at the boundaries of the medium with a new spirit of play and provocation. I still love comics that seriously deal with real life – its complexities and its profound weirdness – and that push the medium in new directions and reckon with its history. I also want to be absorbed and moved and to identify intently with characters. It’s what I try to do in my own work, and what I look for in that of others.
This is the most profoundly absorbing experimental art-comic the world has ever produced.
It’s a fun book to sit with someone else and page through, backward or forward, or just ambling around, discovering things. The very simple conceit is that it’s a book that spans millions of years in time, but all happens in exactly one single space. It grew out of a six-page short story that blew people’s minds in the 80’s comics anthology Raw.
I remember hearing that the author had decided, two decades later, to expand it to book form, and wondered if that was really necessary. The short version had been such a perfect jewel of a piece. Turns out he had very good reason.
From one of the great comic innovators, the long-awaited fulfillment of a pioneering comic vision. Richard McGuire’s Here is the story of a corner of a room and of the events that have occurred in that space over the course of hundreds of thousands of years.
"In Here McGuire has introduced a third dimension to the flat page. He can poke holes in the space-time continuum simply by imposing frames that act as transtemporal windows into the larger frame that stands for the provisional now. Here is the comic-book equivalent of a scientific breakthrough. It is also a lovely evocation…
I’m an artist who likes to write, but I’ve never been interested in classic superhero or pulp graphic novels. Early in my career, the word “comics” felt like an insult—it's not “real art,” right? Too childish! While that instinct was definitely wrong, I found a (small) world of experimental, abstract, genre-breaking graphic novels that combine art and writing in a wholly unique way. This is a list of some of my recent favorites that have inspired my drawing and writing practice, and will hopefully inspire you.
Press Enter to Continue is incredible on every level. The art is beautiful, with a technicolor palette and skillful drawing that belies the corporate horror in the narratives. We see humiliating job interviews, vampiric computer viruses, and cosmic labor camps that feel a little too close for comfort in our online world. It’s a collection of short stories told with a deadpan minimalism that makes the reader think, sweat, and maybe put their phone away for a while.
Spanish cartoonist Ana Galvañ charts an often-psychedelic and existential course for modernity in her English language debut, utilizing swaths of electric and florescent colors to create a series of short stories that intertwine and explore the dehumanizing effects of contemporary society. Like a candycolored collection of Black Mirror episodes, Galvañ’s world, set in the very near-future, is familiar and cautionary at once. Galvañ’s unwitting and addictive characters navigate a world of iridescent pastels and geometric energy like puppets. Departments of inhumane resources dehumanize the people it is purported to protect; information is determinedly mined like the gold of the 21st…
I’m an artist who likes to write, but I’ve never been interested in classic superhero or pulp graphic novels. Early in my career, the word “comics” felt like an insult—it's not “real art,” right? Too childish! While that instinct was definitely wrong, I found a (small) world of experimental, abstract, genre-breaking graphic novels that combine art and writing in a wholly unique way. This is a list of some of my recent favorites that have inspired my drawing and writing practice, and will hopefully inspire you.
This is one of the first graphic novels to truly reinvent the medium, and is absolutely required reading for anyone who wants to experiment with visual storytelling. Instead of a traditionally bound book, you get an oversized box filled with pamphlets, booklets, newspapers, and more. The comics themselves read pretty straightforwardly, but it's the act of rifling through this giant box for the first time, not knowing exactly where it'll lead you, that's truly a unique reading experience.
In Chris Ware's own words, 'Building Stories follows the inhabitants of a three-flat Chicago apartment house: a thirty-year-old woman who has yet to find someone with whom to spend the rest of her life; a couple who wonder if they can bear each other's company for another minute; and finally an elderly woman who never married and is the building's landlady...'
The scope, the ambition, the artistry and emotional heft of this project are beyond anything even Chris Ware has achieved before.
How did I – as a scholar of German literature – turn to economic topics? That had a certain inevitability. When I left for Paris in the early nineties, reading traces of anthropological knowledge in literature and aesthetics of the 18th century, I came across economic ideas on almost every page, in natural history, in medicine, in philosophy, in encyclopedias, in the theories of signs and in the teachings of beauty. There was circulation, communication, flows of exchange all over the place, and the Robinsons were the model. This reinforced the impression that the human being was engaged in aligning himself with homo oeconomicus. The question of modern economics has therefore become unavoidable for me.
This book is one of the most comprehensive presentations concerning the history of capitalism from early modern times up to the present.
It deals with the mutual reinforcement between capital accumulation and state apparatuses and shows how precisely the dominance of finance and accumulation crises caused the decline of powerful capitalist states.
The Long Twentieth Century traces the relationship between capital accumulation and state formation over a 700-year period. Arrighi argues that capitalism has unfolded as a succession of "long centuries," each of which produced a new world power that secured control over an expanding world-economic space. Examining the changing fortunes of Florentine, Venetian, Genoese, Dutch, English and finally American capitalism, Arrighi concludes with an examination of the forces that have shaped and are now poised to undermine America's world dominance. A masterpiece of historical sociology, The Long Twentieth Century rivals in scope and ambition contemporary classics by Perry Anderson, Charles Tilly…
I have spent a great deal of time exploring how psychoanalytic theory might be the basis for a critique of capitalism. I had always heard the Marxist analysis of capitalist society, but what interested me was how psychoanalytic theory might offer a different line of thought about how capitalism works. The impulse that drives people to accumulate beyond what is enough for them always confused me since I was a small child. It seems to me that psychoanalytic theory gives us the tools to understand this strange phenomenon that somehow appears completely normal to us.
Tomšič basically identifies why psychoanalysis is an anti-capitalist technique and how it emerged in response to the social structure of capitalist society. Psychoanalysis counters resistance to psychic change and to social change, a resistance that manifests itself in capitalism. Tomšič very nicely sees how the neurotic suffering that psychoanalysis treats is the result of one’s integration into the capitalist system, which is why treating it requires an anticapitalist method.
A new theory of libidinal economy―the intersection between desire and capitalism―from the author of The Capitalist Unconscious
The fourth book in Slavoj Žižek's Lacanian Explorations series, The Labour of Enjoyment sees Slovenian philosopher Samo Tomšic continue his exploration of the connections between capitalism and psychoanalysis that he began in his 2015 book The Capitalist Unconscious.
In this new text, Tomšic critiques the use of psychoanalysis to discuss political economy, focusing specifically on the concept of "libidinal economy," the intersection between desire and capitalism most famously proposed by Jean-François Lyotard.
Contrasting Marxist and Freudian thought with the philosophies of Aristotle and…
When I grew up I assumed growth is good. Tomatoes grow, so do people—and economies too? Certainly, recessions were bad: many workers were made ‘redundant’. But as we grew older we noticed that growth continued yet people’s lives were getting harder. Looking back, the 1970s in Britain appears a golden age: almost everyone had plenty to eat, society was relatively equal, and all to a soundtrack of fabulous music. With climate change and other environmental threats it’s getting more obvious with each passing season that a global social transformation is required. These are the questions that have driven my own research, on climate politics, growth ideology, and technology fetishism.
On my shelf, there are many outstanding books on degrowth—by Giorgos Kallis, Jason Hickel, and others. But one with the most coffee stains is this one.
I dip into it often because it covers all the angles. And it begins to tackle the ultimate question: If economic growth is trashing the planet, and if growth is the engine of capitalism, then what could come after?
Economic growth isn't working, and it cannot be made to work. Offering a counter-history of how economic growth emerged in the context of colonialism, fossil-fueled industrialization, and capitalist modernity, The Future Is Degrowth argues that the ideology of growth conceals the rising inequalities and ecological destructions associated with capitalism, and points to desirable alternatives to it. Not only in society at large, but also on the left, we are held captive by the hegemony of growth. Even proposals for emancipatory Green New Deals or postcapitalism base their utopian hopes on the development of productive forces, on redistributing the fruits of…
I've been fascinated by city life since I studied Geography at high school. After twenty five years of teaching and researching urban geography, I am Professor of Urban Futures at a UK university. I now have a better sense of the challenges we face and what we can do about them. I spend my time supporting activists, campaigners, students, policymakers, and politicians about the urgency for change and what kind of ideas and examples they can use to tackle what I call the triple emergencies of climate breakdown, social inequality, and nature loss.
I read this book after I spent a year living and volunteering with the Zapatista revolutionary movement in Chiapas Mexico.
John based a lot of the ideas in this book on the Zapatistas mainly because they help us rethink what the revolution means – as an open, joyful, and everyday process. What I learned from this book is that If we really want to change society, or indeed crack capitalism, we have to build examples in the here and now that show a different world is possible.
It is a reminder that the state cannot and will not use on its own so we have to build self-managing autonomous structures in our communities that can create hope, dignity, resilience, and joy.
How can we rebel against the capitalist system? John Holloway argues that by creating, cracks, fractures and fissures that forge spaces of rebellion and disrupt the current economic order.
John Holloway, author of the groundbreaking Change the World Without Taking Power, sparked a world-wide debate among activists and scholars about the most effective methods of fighting capitalism from within. From campaigns against water privatisation, to simply not going to work and reading a book instead, Holloway demands we must resist the logic of capitalism in our everyday lives. Drawing on Marx's idea of 'abstract labour', Holloway develops 33 theses that…
It has long been claimed that we face a choice between freedom and equality: that advocates of capitalism favour freedom, while critics prioritise equality. Philosopher Raoul Martinez was never persuaded by this claim, yet it took years of research across a number of disciplines to understand not only how problematic it is, but how foundational to our society and its crises it has become. His journey of discovery culminated in the writing of Creating Freedom, which dismantles this misleading narrative while deepening our understanding of human liberty: the many ways it is subverted and the path to its creation.
Drawing on extensive historical research, economist Ha-Joon Chang shows that today’s wealthiest nations became rich not by following the advice they have long given to poorer nations — embrace free and open markets with minimal state involvement — but by doing precisely the opposite: embracing policies of protectionism and significant state intervention. In admirably clear prose, Chang exposes the hypocrisy of the world’s richest nations and lays out a more promising path of development for the poorer countries of the world.
It's rare that a book appears with a fresh perspective on world affairs, but renowned economist Ha-Joon Chang has some startlingly original things to say about the future of globalization. In theory, he argues, the world's wealthiest countries and supra-national institutions like the IMF, World Bank and WTO want to see all nations developing into modern industrial societies. In practice, though, those at the top are 'kicking away the ladder' to wealth that they themselves climbed.
Why? Self-interest certainly plays a part. But, more often, rich and powerful governments and institutions are actually being 'Bad Samaritans': their intentions are worthy…
I’m an assistant professor in the School of Information and Communication Studies at University College Dublin. I’m interested in automation because discussions about it often tend towards ridiculous hyperbole or acritical boosterism. Whether it’s killer robots that terminate humanity or “ethical” AI which raises all boats, discussions about the social implications of contemporary machines often neglect to include the critical analysis of the capitalist mode of production. I don’t think the two can be studied in isolation from one another.
This book provides an essential analysis of how value functions under capital—and of what value is, from a lucid historical materialist point of view now called “value-form Marxism”. It shows how “real abstractions” arise, and how abstract entities can have material force. This theoretical perspective explains how and why capital is necessarily compelled to seek increasing automaticity—and to minimize its human component.
Alfred Sohn-Rethel's Intellectual and Manual Labour is one of the major texts of post-war Marxist theory. A tremendous influence on the central figures of the Frankfurt School, with ongoing relevance to current debates about value, abstraction, and domination, Sohn-Rethel's ideas are here presented at their fullest scope and with their greatest theoretical clarity.
Out of print for many years, this Historical Materialism edition contains a new introduction by Chris O'Kane, an afterword by Chris Arthur, and a compilation of the responses to Intellectual and Manual Labour published in the Italian journal Lotta Continua, including a substantial article by Antonio Negri.
