Wednesday, October 3rd @ 7PM
BookCourt- 163 Court Street Brooklyn

Details here.

PS: More Adrian Tomine interviewing at Gothamist:

Having lived and worked on both coasts now, what do you think is the biggest difference between being an artist in California versus New York?
The humidity. I really love New York, but I have to say, the humidity during the summer is a nightmare for a cartoonist. Not only am I sweating in my studio, my bristol board is curling up, the drafting tape is peeling off the board, my Rapidograph pens bleed the minute I put them to paper…it’s a disaster. And these are issue that I never once faced in Berkeley.

I know you were probably hoping for a more profound answer, but aside from little things like the weather, my work process and atmosphere is pretty much unchanged. When I’m sitting at my drafting table in my studio, I could really be anywhere.


  1. I like Tomine’s work and was disappointed to find that this “original graphic novel” is reprinting issues 9 – 11. Isn’t this technically a trade paperback? Are you using the term graphic novel too loosely these days? Nevertheless, I liked the smaller format, hardcover edition and maybe there were some new pages added to the story. From a marketing standpoint it’s genius, repackaged as something new and original. As a longtime fan of his work, I felt a little disappointed that this is something I already have read.

    When I released my trade paperbacks in the past, I’ve always called them from what they are, even with new art and some re-editing of my writing. I guess my main beef is not with Tomine but with how we use the term “graphic novel” that is more sophisticated than trade paperback. The term is aimed at the general masses that read prose and are more familiar with the term than explaining what a trade paperback is? I know it’s a hard cover, but we wouldn’t call it a trade “hardcover” which does sound weird. I think I need some coffee to clear my head.