D&Q’s spectacular Fall includes Beaton, Tomine, Mizuki, Chippendale

Although most of these books have been announced, here’s all of Drawn & Quarterly’s fall schedule in all it’s glory. You can read the complete catalog here — commentary below is my own.

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STEP ASIDE, POPS: A HARK! A VAGRANT COLLECTION

Kate Beaton

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In stores September 15, 2015! $19.95 / 5.5″ x 8.75″ / 160 pages / b+w / hardcover / 9781770462083

Surely one of the biggest books of the fall —collecting Beaton’s strips over the last four years—a hilarious mosaic o Canadian history, strong female protagonists and people who take themselves a leeeeeetle too seriously—perfect for gifting!

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KILLING AND DYING

Adrian Tomine

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In stores October 6, 2015! $22.95 / 6.25″ x 9.25″ / 128 pages / full color / hardcover / 9781770462090

Collecting the last few OPtic Nerve’s — Tomine’s cartooning has never been more insightful.

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SHIGERU MIZUKI’S HITLER

Shigeru Mizuki, translated by Zack Davisson

In stores November 2015! $24.95 / 6.5″ x 8.75″ / 296 pages / b+w / paperback / 9781770462106

HIstorian/cartoonist Mizuki is known for SHOWA! his history of wartime and post-war Japan. I’m not familiar with this work but this should be “compelling” to coin a phrase.

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PUKE FORCE

Brian Chippendale

In stores October 2015! $22.95 / 10.875″ x 8.025″ / 120 pages / b+w / hardcover / 9781770462199

D&Q’s first book by Fort Thunder ally Chippendale—these strips were originally serialized on the PictureBox website, I believe. Here’s the catalog blurb:

A bomb explodes in a coffee shop: the incident is played out over and over again from the perspective of each table in the shop, revisiting moments from ten and twenty years before. We see the inevitable as the characters bicker or celebrate, unaware of what awaits them. Throughout this dystopic graphic novel, Chippendale uses humor and a frantic drawing style to show how the insidious nature of corporate greed and the commodification of everything have warped society into a killing machine. Sardonic and self-aware, Puke Force asks all the right questions, providing a startling and on-point take on contemporary social issues. Chippendale’s artwork makes each panel a masterpiece of thrumming linework and lo-fi magic, as his storytelling wends and winds its way to a fascinating conclusion.

 

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RED COLORED ELEGY

Seiichi Hayashi, translated by Taro Nettleton

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In stores August 2015! $19.95 / 6.875″ x 8.25″ / 240 pages / b+w / paperback / 9781770462120

New paperback edition of a manga that reads like the best literary fiction.

 

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THE NATIVE TREES OF CANADA: A POSTCARD SET

Leanne Shapton

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In stores August 2015! $14.95 / 4″ x 5.75″ / 30 postcards / full color / 9781770462137

Postcard set for the horticulturally minded.

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PIPPI LONGSTOCKING: THE STRONGEST IN THE WORLD!

Astrid Lindgren & Ingrid Vang Nyman

translated by Tiina Nunnally

In stores October 2015! $22.95 / 7.5″ x 9.5″ / 160 pages / full color / paperback / 9781770462151

Is there a better role model for anyone than Pippi?

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THE OWNER’S MANUAL TO TERRIBLE PARENTING

Guy Delisle, translated by Helge Dascher

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In stores August 2015! $12.95 / 5″ x 7″ / 204 pages / b+w / paperback / 9781770462144

The third book in Delisle’s witty series of short cartoons on crappy parenting.

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MOOMINMAMMA’S MAID

Tove Jansson

In stores November 2015! $9.95 / 8.5″ x 6″ / 64 pages / full color / flexicover / 9781770462168

This small, back-pack sized Moomin reprint books are perfect for the kids in your life.

 

D&Q to publish Adrian Tomine’s Killing and Dying in October

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Somehow I managed to miss last week’s biggest news of all: a new collection from Adrian Tomine, coming in October! The ominously titled Killing and Dying which collects the last few issues of Optic Nerve:

“Amber Sweet” shows the disastrous impact of mistaken identity in a hyper-connected world; “A Brief History of the Art Form Known as Hortisculpture” details the invention and destruction of a vital new art form in short comic strips; “Translated, from the Japanese,” is a lush, full-color display of storytelling through still images; the title story, “Killing and Dying”, centers on parenthood, mortality, and stand-up comedy.


According to D&Q’s Chris Oliveros who acquired the book, it might be his favorite of all Tomine’s books. “We’ve come to expect from him an eloquent visual sensibility and insightful, complex storytelling, but there’s something else going on here: these stories are darkly funny, and they’re tinged with a very particular acerbic wit that we haven’t seen all too often before this.”

Considering that Tomine’s previous books include the graphic novel defining books including Shortcomings, and Summer Blonde, that’s high praise, but I’d have to concur that the last few issues of Optic Nerve have shown Tomine at the height of his storytelling powers.

Tomine has a short but revealing interview with The New York where the book was announced:

“Killing and Dying” is the name of one of the stories in the next issue of “Optic Nerve,” about a family—there’s an illness that has to be dealt with, and there’s also a burgeoning interest in standup comedy that has to be dealt with. A lot of the story is about certain questions one faces as a parent: how to handle hardships, and how much to encourage and support the whims of your children. In a way, it was an attempt to confront some of my fears as a husband and as a father.

The book will be published in the UK by United Kingdom to Faber & Faber, in France to Éditions Cornélius, in Germany to Reprodukt, and in Italy to Rizzoli.

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Adrian Tomine covers The New Yorker with 9/11 Memorial

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This week’s New Yorker has a cover by Adrian Tomine, and he discusses it inside the magazine:

“When I heard that the 9/11 memorial and museum were going to be the top tourist attractions in New York this summer,” Adrian Tomine says about this week’s cover, “I first sketched only tourists going about their usual happy activities, with the memorial in the background. But when I got to the site, I instantly realized that there was a lot more to be captured—specifically, a much, much wider range of emotions and reactions, all unfolding in shockingly close proximity. I guess that’s the nature of any public space, but when you add in an element of such extreme grief and horror, the parameters shift.”


I haven’t been down to the new memorial and have no plans to soon, although some out of towners I know who have gone enjoyed it greatly. Maybe later. Tomine’s cover certainly captures the many emotions inspired by just thinking about a visit.

Kibbles ‘n’ Bits 11/21/13: We must all go to Columbus now

11 galleries robinson 650x485§ Bill Kartalopoulos went to the The Billy Ireland Cartoon Library and Museum opening and he thought it was pretty awesome.

Another major holding is the International Museum of Comic Art Collection, a large and diverse body of comics artwork and related materials in multiple formats and genres originally collected by Mort Walker for his former museum. Other holdings include the Jay Kennedy Collection (comprising more than 9,500 underground comix), the Bill Watterson Deposit Collection (including the entirety of Watterson’s Calvin and Hobbes artwork), the Jeff Smith Deposit Collection (including the complete artwork for his Bone series) and the Dylan Williams Collection, named after the late cartoonist/publisher and dedicated to mini-comics and small press material (enhanced greatly by a large donation of material by comics critic and journalist Tom Spurgeon). In all, the Museum’s collection includes more than 300,000 pieces of artwork, 45,000 books, 67,000 serials, and 2.5 million newspaper clippings and pages, among other materials. This includes the largest collection of manga outside Japan, numbering more than 20,000 volumes.


In a later part of the review, there’s ths newsy nugget:

In a panel devoted to pedagogy, Center for Cartoon Studies founder James Sturm announced that his school had instituted a new track devoted to what he called “applied cartooning,” which he described as a concentration designed to serve applicants who wished to produce comics intended to inform, persuade and heal, or to facilitate work in other fields rather than stand alone on the basis of their artistic worth. Sturm revealed that a collaboration between the school and a nearby veterans’ hospital had already begun, introducing comics-based concepts and practice into therapies designed to treat post-traumatic stress disorder.


“Applied Comics” are a very important trend I expect to see a lot more of in coming months and years.

§ The New Republic’s Jed Perl went to the Art Spiegelman show at the Jewish Museum and did not think it was awesome. I saw the show at a preview and I might have more thoughts after a more leisurely viewing, but Spiegelman is clearly a conceptual artist in most cases. Anyway, I didn’t agree with this beatdown.

§ Rob Salkowitz examines the Fantagraphics Kickstarter and wonder if it presages Kickstarter 2.0.

§ GQ Magazine interviews Adrian Tomine, who reveals his party strategies among other things.

Adrian Tomine: If I had a good answer, then I don’t think these kinds of events would be so awkward for me! If I’m just at a regular party where I don’t know anyone, then I don’t really care and I can just lurk in the corner and enjoy my drink. But New Yorker parties are especially awkward for me because I recognize all kinds of great artists and writers whom I’d love to talk to, but I just don’t feel comfortable bothering them. And I certainly wouldn’t recommend my schtick of  repeatedly asking where the coat check is. It’s usually quite obvious where it is (near the door, generally), and people are made uncomfortable by such a stupid question.

§ Former Marvel PR maven James Viscardi has launched a podcast; first up, an indepth chat with Rick Remender.

3 905§ Zainab Akhtar has discovered cartoonist Jamie Coe.

§ HEADLINE OF THE DAY: Graphic Novels: Not just for kids

“At first I was surprised about ten years ago when they started getting really popular,” says Kotarski. “Now it makes sense to me. This generation has been using computers since they were babies; they often learned to read using video games like Reader Rabbit so they’re use to busy formats. Graphic novels aren’t as appealing tome because I like organization. But I read Maus and was moved to tears.”

§ Moving on to showbiz, remember when IDW opened a TV/entertainment division a few weeks back? Well now they are putting it to use by developing a TV show based on a comic by actor Michael Chiklis (the Thing, The Shield) which they published a few years back.

The actor/producer has teamed with IDW Entertainment, the recently launched TV division of IDW Publishing, to develop and produce Pantheon as a scripted live-action television series. IDW Entertainment will fund the development of the project, co-produced by Circle of Confusion, which is attached to oversee packaging and creative development for the new company. Created by Chiklis, Anny Simon Beck and Marc Andreyko, the 5-issue Pantheon comic book series is a dark and stylized story of ancient Greek gods returning to a ravaged, chaotic near-future Earth, where they battle for the fate of mankind.


That’s a pretty ambitious idea for a TV actor guy. Anyhoo, synergy in action, folks.

§ But then sometimes things don’t go so well, as with the languishing pilot for IDW’s Locke and Key. Writer Joe Hill is now the new hotness, developing a reboot of the horror anthology Tales From the Darkside. In a story about that he reveals some Hollywood shenanigans. Universal is now looking at a Locke and Key movie, but they fear that Fox will undercut them by releasing the pilot:

Explaining further, Hill added, “FOX wants to see some coin on all the money they sank into the pilot in the first place. The lawyers all have to validate their salaries. That said, Alex and Bob are the two most tenacious people I’ve ever met, and if anyone can see ‘Locke & Key’ through the contractual maze, and on into production, it’s them. Of course all this could’ve been avoided if FOX had just made the series. I know I’m biased, but I kinda think they bet on the wrong ponies that season.”

§ And in the department of Not Letting Things Go, director Frank Darabont termed the people who run the Walking Dead
‘Sociopaths’ for firing him after the first season.

“Oh god no, why would I,” he says. “If the woman you loved with all your heart left you for the Pilates instructor and just sent you an invitation to the wedding, would you go?”

He continues, “There’s a deep commitment and emotional investment that happens when you create something that is very near and dear to you, and when that is torn asunder by sociopaths who don’t give a shit about your feelings or the feelings of your cast and crew because they have their own reasons to screw everybody, that doesn’t feel good.”


Darabont must be comforted by having his own new series coming out, Mob City, starring Walking Dead alum/dead cast member, Jon Bernthal. Plus, the fourth season is going more in the direction Darabont originally planned, wth a wider view of the zombie holocaust and more personal stories. Finally, Darabont, lest we forget, can just bask in the glory of being Frank Darabont becuase, Shawshank Redemption.

On the Scene: Small Press Expo 2012 Day Two

By Hannah Means-Shannon

The revelries following the Ignatz Awards continued long into the night and crowded the lower levels of the conference center took over the bar and spilled out onto patios, steps, and walkways, but that didn’t stop expo-goers from taking in another day of star-powered panels on Sunday. The big names and signings on Sunday brought in a substantial crowd of one-day ticketholders also, making Sunday just as busy as record-breaking Saturday: even better news for comics sales.

In Chris Ware’s panel “Building Stories” with David M. Ball, co-editor of  Chris Ware: Drawing is a Way of Thinking, the audience got a sneak-peak at some of the personal logic behind the newly released multi-format visual storytelling work BUILDING STORIES. Plenty of attendees were proudly hauling around multiple copies of the boxed set around the show floor long before Ware’s panel, and no doubt hoping they’d hear a discussion of the much-anticipated work when Ware took to the dais.

Examining Ware’s past covers for The New Yorker, he commented on a fascination for architecture and the “spaces in which we choose to live out our lives”. These are also, he said, the “spaces we keep in our brains”, forming a mental landscape packed with information.  Ware called his BUILDING STORIES, which took him 11 years to complete, a “box of things” that he feels as strongly about as about people who he “loves”. Ware’s commentary on his works was laced with sudden theoretical asides that shed significant light on his psychology as an artist. Characterization is perhaps the most important part of his work in his own mind, achieving a degree of reality that he finds overwhelming. The internet puzzles and entrances him as a kind of pseudo-life form. Comics continue to hold primacy for Ware because they form an “honest relationship with the reader that very few other things have”.

Some of the mental landscape from his own life colored the discussion, from the geography of Oak Park where he resides, to the choices he’s made as a parent to create a “safe” environment for his daughter, and the lamentable desecration of a childhood Marvel lunchbox that inspired a later lunchbox design for Darkhorse. One thing was clear, Ware has no problem emphasizing the imperfect humanity that goes into his work, despite its visual precision and his reputation for perfectionism. “Maybe the characters don’t feel that life is as beautiful as the form says”, he warned regarding BUILDING STORIES, hinting at the paradox that may well run through all of his visually stunning work.

In “Life After Alternative Comics” with Daniel Clowes, Gilbert Hernandez, Jaime Hernandez, Adrian Tomine, Bill Kartopoulos, panelists took on the history and development of indie comics and expressed some degree of chagrin over the kitsch corners that indie comics have inhabited over the years from fanzine illustrations by the Hernandez brothers to perplexity of the mainstream in classifying ground-breaking work. A recurring theme was the struggle between indie work and the expectations established by superhero comics in this “frontier territory”. Gilbert Hernandez continually wrestled with reactions to LOVE and ROCKETS during its early publication and the attitude that the series was a “comic about superheroes but the superheroes are not there”. Dan Clowes addressed the “wasteland” of comics in the early 1980’s and the origin of his LLOYD LLEWELLYN series and the strange, often intriguing piles of fan mail he received from readers and prison inmates. Adrian Tomine clarified that he had a less “angry” attitude toward the mainstream at the outset of OPTIC NERVE, and the role that indie comics played as part of his artistic graduation from superhero comics into finding a more personal form. Since LOVE AND ROCKETS was already on the shelves in his late teen years, he “didn’t have to scrounge around for inspiration” the way his mentors did.

Four of the panelists commented on the comedic aspects of producing comics with adult themes around their young children, influencing when they work and how in the context of their home life. Clowes, particularly, feels that parenthood has affected the way he thinks of characters, since observing children has convinced him of a strong innate personality from day one of existence that “inflects” childhood. Gilbert Hernandez said that a “steady paycheck” from comics is a great relief raising his daughter but keeping the “naughty stuff away from her” can be a challenge in the face of increasing curiosity about his work.

The “Images of America: Real and Imagined” panel took on the individualistic vision of America expressed through comics and featured Nick Abadzis, Dean Haspiel, Stan Mack, Ben Towle, and Isaac Cates. America, panelists agreed, can be well represented in comics in terms of focusing on a representation of a specific “place”, but it becomes quite a feat to try to express the breadth, scope, and size of the American experience. Abadzis, an international traveler and US resident who hails from the UK, talked about the difficulty of creating continuity in his comics that span national boundaries. Haspiel confided somewhat facetiously, “I don’t know if I know America, being a native New Yorker”, but believes his works STREET CODE and the various BILLY DOGMA visual narratives express “place” in a strong way. Mack brings a “reporting” sensibility to his approach to American history and feels that allowing characters to “tell stories in their own words” succeeds in creating cultural groups and regional difference. Toll recognizes that there are plenty of “big city” stories, but hopes this doesn’t deter readers from recognizing that there are “lots of other stories” out there for comics to express.

When asked how they expect a changing America to be represented in comics, Occupy Comics came up in discussion, and Haspiel said that he feels a certain amount of “responsibility” to “react”. “We can all react”, he commented, as a way to give back and show an awareness of changing times. Panelists felt that blogging is paving the way for change in comics, as well as an evolution in visual language when when the “speed of reaction” from readers and citizens is increasing. “Are we reporters” Haspiel asked at one point, challengingly, a question posed, essentially, by the intersection between comics and digital media. The perhaps unwise “speed” of reaction expected in digital media may be countered by the reflective qualities comics can provide as American experience and identity is continually updated.

It was difficult to top sales, panels, or enthusiasm after the opening day of Small Press Expo, but by the time the clock struck to close the show on Sunday, there hadn’t been a significant sense of lull at any point. In fact, there was a run on many books and sales items, and quite a few back order sheets were drawn up right up until closing time. Reactions from the floor echoed the sentiment that this had been the “best SPX ever”, both for creative input, unexpectedly high sales for many self-employed creators, and a sense of indie comics having “arrived” commercially as a bigtime draw with its own con culture.  SPX celebrated its own “rock stars” in record fashion and expo-goers took home some of the most consistently high quality indie works in the history of SPX.

Hannah Means-Shannon writes and blogs about comics for TRIP CITY and Sequart.org and is currently working on books about Neil Gaiman and Alan Moore for Sequart. She is @hannahmenzies on Twitter and hannahmenziesblog on WordPress.

 

 

Here are those Adrian Tomine tour dates

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Comin to a town near you with NEW YORK DRAWINGS. Excellent.

SPX: Great cartoonists destroy priceless originals with drool

Okay, that was metaphorical, but…While we work on our semi-coherent SPX thoughts, check out the Official Daniel Clowes Twitter for some fantastic images of the weekend. Here’s Clowes and Chris Ware pouring over Crockett Johnson Barnaby originals at the Library of Congress:

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