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Quadrinhos-Rights-Sheet-1.Pdf BLANK SPACE Emilio Fraia and DW Ribatski 176 pages 19,7 cm x 27 cm (7.7 in x 10.6 in) Two brothers reprise a childhood trip in a graphic novel that combines a family story, memory, forgetting and suspense. Two brothers, separated by time and space, are reunited in a foreign town. We don’t know ex- actly where they are, much less how they drifted apart. The memories of Lucio, the younger of the two, suggest a distant, maybe even frosty relationship, but not even he seems very sure of that. As Mirko embarks on an endless monologue, Lucio tries to understand what his older brother wants from him. Everything would indicate that the idea is to retrace the steps of a childhood holiday, when they visited a mountainside town with an uncle. Having reached the top of a mountain trail, they found the Giants, a rock formation which Mirko wants to see one more time. After some deliberation, they set off in a beat-up old car nicknamed The Bear in search of this town, mountain trail and the rocky Giants. The only problem is that Lucio has no recollection of the Giants, or even of the trip. Whenever he tries to conjure some image of this journey, practically mythologized by his brother, it eludes him, like the phantom pain from an amputated limb. In this story about family and memory, the author Emilio Fraia and the cartoonist DW Ribatski blend equal doses of suspense and humor, sweetness and fear in relating the brothers’ trip. Ribatski’s vibrant art and Fraia’s evocative prose combine in this upended road story, where the trip only starts when we can reconstruct it, disassemble it and re-invent it. EMILIO FRAIA was born in 1982, in São Paulo. He is a journalist, editor and author. He published the novel O verão de Chibo (Chibo’s Summer), in partnership with Vanessa Barbara, and was selected by “Granta” Magazine as one of the twenty best young Brazilian authors. DW RIBATSKI was born in Curitiba in 1982, though he currently lives in São Paulo. His work as an illustrator and cartoonist has been published in zines, magazines and compilations. He is also a musician, producer, educator and cartoonist. Rights are handled by Lora Fountain Literary Agency, [email protected]. THE GOLDBERG MACHINE Vanessa Barbara and Fido Nesti 112 pages 18 cm x 27 cm (7.0 in x 10.6 in) For young Getúlio, Happy Mountain holiday camp is the very synonym of gloom. Picked on and ridiculed by his campmates and Phys Ed teacher, he’s about to discover a very elaborate way of getting his own back. A hundred years ago, the cartoonist Rube Goldberg started drawing his first machines, pul- ley-operated contraptions of the type that made a watering can sprinkle water onto a boot so that the boot would kick a golf ball, which would then hit a mouse, which would run into a mousetrap triggering an electric train, which would chug about and activate a device culminating in some silly end-result, such as massaging someone’s scalp, hammering in a nail or closing a door. “They’re a way of making things more difficult. It’s sort of a philosophy of life”, explains one of the characters in The Goldberg Machine, author Vanessa Barbara’s comic-book debut, alongside the illustrator Fido Nesti. Goldberg’s machines are the backbone of a plot that takes place at the Happy Mountain holiday camp, where teenagers are kept at the mercy of a sadistic scoutmaster. It is there that Getúlio, a shy and plump lad, the butt of all the campmates’ ribbing and practical jokes, and who detests the camp with every fiber of his being, is about to discover that he might well be the key element of a Goldberg machine especially manufactured to execute a plan of revenge devised over decades. And this machine’s one true goal can be summed up in a single word: chaos. VANESSA BARBARA was born in São Paulo in 1982. She is a journalist, translator and chronicler. Her published works include O livro amarelo do terminal (The yellow book of the terminal) [Cosac Naify, 2008, Jabuti Prize for Best Report], O verão do Chibo (Chibo’ summer) [Alfaguara, 2008, with Emilio Fraia] and the children’s book Endrigo, o escavador de umbigo (Endrigo, the belly-button burrower) [ed. 34, 2010, with Andrés Sandoval]. She edits the periodical A Hortaliça (www.hortifruti.org), col- laborates on the magazine Piauí and writes for the Folha de S. Paulo newspaper. FIDO NESTI was born in São Paulo in 1971. After working in classical animation, he started a ca- reer as a commercial illustrator. He is a frequent collaborator to the newspaper Folha de S. Paulo and The New Yorker, among other publications. In terms of comic books, he illustrated Os Lusíadas em quadrinhos (The cartoon Lusiadas) [Peirópolis] and Loucas de amor (Madly in love) [with Gilmar Rodrigues, Ideias a Granel]. Rights are handled by Lora Fountain Literary Agency, [email protected]. ELEPHANTINE MEMORY 232 pages Caeto 21 cm x 27.5 cm (8.3 in x 10.8 in) Following the trail blazed by the authors of autobiographical graphic novels, such as Art Spiegelman and David B., in Memória de elefante (Elephantine Memory) the cartoonist Caeto transforms his own life into the raw material for an epopee of successive letdowns, lousy jobs, uninhabitable homes and monumental binges Comic book author and editor, vocalist in an indie punk band, artist about to progress from ped- dling paintings on the street to holding his first exhibition in a private gallery in São Paulo, at first glance Caeto’s artistic career looks promising and laced with a certain glamor. But the artist finds himself having to contend with a chronic lack of money and limited professional prospects, not to mention a troublesome love life and the pitfalls of depression and alcohol. His father is a near-bankrupt homosexual in a serious relationship with his business partner, while his mother, in the wake of a tumultuous divorce, moves out to the countryside. In this prodigious reconstruction from memory, nothing is left out: the bustling São Paulo night- life, his sexual adventures, a problematic dog, his family’s tribulations, his mother’s passivity, his fa- ther’s painful struggle with AIDS, and the fundamental contributions of all those who accompany him along his desperate road to redemption. CAETO was born in Assis, in the São Paulo countryside, in 1979. Working in publishing since 2000, he has illustrated works by Fernando Bonassi and Heloisa Prieto. He has edited the fanzines Sociedade radioativa and Glamour popular, where he published his cartoons. Memória de elefante is his first graphic novel. Rights are handled by Lora Fountain Literary Agency, [email protected]. 1 GUADALUPE 120 pages Angélica Freitas and Odyr 19.5 cm x 27.5 cm (7.7 in x 10.8 in) On this unusual road trip, a granddaughter fulfils her grandmother’s dying wish to cross Mexico and be buried in her hometown. On the eve of her thirtieth birthday, all Guadalupe wants is to forget her job at the second-hand bookstore run by her transvestite uncle, Minerva. She drives an old van around Mexico City pick- ing up the book collections Minerva buys for a few pesos from grieving families. The symbol of Minerva Libros is an owl, but it could just as well be a vulture, a vulture in sequins. On her birthday, Guadalupe just wants to drink and dance the night away with her friends. But a phone call changes all her plans. In the middle of a record-breaking traffic jam (she uses the frequent bottlenecks to read the classics), she learns that her grandmother, Elvira, an intrepid old bird, has died after crashing her scooter into a two-wheel taco trolley. As Guadalupe has the van, she’s the only one who can honor her grandmother’s dying wish: to have a band play over her grave in her hometown of Oaxaca. So Guadalupe and Minerva (and his inseparable poodle) set off in the van with the coffin in the back. Along the way, against her better judgment, Minerva offers a ride to a hitchhiker, an exotic young man who claims to be from Gua- temala, and thus their problems begin. In this road trip laced with Aztec mythology and magic mushrooms, the poet Angélica Freitas and the cartoonist Odyr Bernardes tell a fun and occasionally scary story. An unusual adventure into the heart of Mexico, where a fight against the forces of evil is everything except what it seems. ANGÉLICA FREITAS was born in 1973, in Pelotas, Rio Grande do Sul. Her published works include the award-winning volume of poetry Rilke shake, and the recent Um útero é do tamanho de um punho [The womb is the size of a fist], both through Cosac Naify. Translations of her works are available in Argentina, Spain, Mexico, the USA, Germany and France. ODYR BERNARDI was born in 1967, also in Pelotas. He is an editor, cartoonist and graphic artist. With S. Lobo, he published the graphic novel Copacabana (Desiderata, 2009), nominated for an HQ Mix award. His cartoons have been published in numerous magazines, including Sexy, Trip, Mosh, Graffitti, Revista do Globo and in the newspapers O Globo and Folha de S.Paulo. Rights are handled by Lora Fountain Literary Agency, [email protected]. 1 MONSTERS! Gustavo Duarte 80 pages 18.2 cm x 25.5 cm (7.2 in x 10 in) Giant creatures invade the City of Santos in this fun tribute to Japanese monster movies It is well known that monsters have a special preference for Tokyo.
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