DOCSLIB.ORG

An Anthology of Graphic Fiction, Cartoons, and True Stories' - Edited by Ivan Brunetti an Illustrated of Contents Table

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Anthology of Graphic Fiction, Cartoons, and True Stories' - Edited by Ivan Brunetti an Illustrated of Contents Table From 'An Anthology of Graphic Fiction, Cartoons, and True Stories' - Edited by Ivan Brunetti An Illustrated of Contents Table 6 Copyright Yale University fi_001-031.indd 6 6/24/06 11:49:30 PPMM From 'An Anthology of Graphic Fiction, Cartoons, and True Stories' - Edited by Ivan Brunetti CONTRIBUTORS Numbers at the end of each entry are the Confidential, loosely adapted from one of his Zippy: Type ‘Z’ Personality. Gri;th is married page where the artist’s work appears in this comics. 375 to cartoonist and editor Diane Noomin; they book live in Connecticut. 27 David Collier (Hamilton, ON) is best known Robert Armstrong is a cartoonist, illustrator, in Canada for the drawings he did at sea with John Hankiewicz (Westmont, IL) has self- teacher, and musician and is perhaps best the Navy (http://www.cbc.ca/arts/artdesign/ published his comic Tepid since 1995 as well known for his Mickey Rat comics and The artistonboard.html). He’s in his 40s now, as several mini-comics. A collection of his Couch Potato Newsletter. 136 re-enrolled in the army, serving in a platoon recent comics, Asthma, is forthcoming. 272 where everyone else is half his age. His wife Peter Bagge (Seattle) is best known for the Sammy Harkham (Los Angeles) edits the says he’s having a midlife crisis. 337 alternative humor series Hate, starring his comics anthology Kramer’s Ergot and draws alter-ego Buddy Bradley. He currently is work- Robert Crumb redefined comics forever with the ongoing comic book series Crickets ing on a miniseries titled Apocalypse Nerd Zap in 1967 and has since created perhaps (Drawn and Quarterly). 173 and is a regular contributor to Reason and the finest body of work the medium has ever Rory Hayes (1949–1983) was perhaps the ulti- Mad. 80 known. Fantagraphics is reprinting his en- mate underground artist: primitive, visionary, tire oeuvre in its Complete Crumb series. He Lynda Barry is an ancient cartoonist and and wholly original. His work can be seen in lives in southern France with his wife, Aline writer whose books include One Hundred Dan Nadel’s Art Out of Time. 64 Kominsky-Crumb. 299 Demons, Cruddy, and The Greatest of Marlys. David Heatley (Brooklyn) does an ongoing She lives on a farm in southern Wisconsin Henry Darger (1892–1972) is perhaps the comic series called Deadpan and contributes and will do so until she croaks. 46 quintessential “outsider artist” and has been to the Fantagraphics anthology Mome. 276 the subject of many books and exhibits, as Gabrielle Bell (Brooklyn) is the author of well as a documentary film. 62 Sam Henderson is living proof that Emmy Lucky and When I’m Old and Other Stories. nominees have to dive through couches for She regularly contributes to the ongoing Gene Deitch (Prague) won an Oscar and change. He has been a storyboard director Fantagraphics anthology Mome. 279 five nominations for his animated films. He for SpongeBob Squarepants and Camp Lazlo currently makes children’s films for Weston Marc Bell (Vancouver) is the creator of The and recently did a video for They Might Be Gi- Woods/Scholastic. One of his best known is Stacks and Shrimpy and Paul and Friends. ants. He can be seen regularly in Nickelodeon an adaptation of Maurice Sendak’s Where He is currently editing the collection Nog magazine, but his main vehicle is the comic The Wild Things Are. 94 A Dod: Prehistoric Canadian Psychedooolia. book The Magic Whistle. 11 Marc is represented by the Adam Baumgold Kim Deitch (New York): “I have been draw- Gilbert Hernandez (Las Vegas), along with Gallery. 3 ing and writing comic book stories since his brothers Jaime and Mario, has written 1967 and love doing it. My current project is Jonathan Bennett (Brooklyn) is a book de- and drawn over 60 issues of the series Love a book of illustrated fiction that I am doing signer at St. Martin’s Press and recently and Rockets. His solo books include Fear of with my two brothers, Deitch’s Pictorama. designed the latest issue of Comic Art mag- Comics, Luba in America, and Palomar: The My next book is Shadowland (Fantagraphics, azine. He is a regular contributor to the Heartbreak Soup Stories. 184 2006), which includes ‘Young Ledicker’ along Fantagraphics comics anthology Mome. 274 with many other stories with that character. Jaime Hernandez was born in 1959 in Oxnard, Mark Beyer: “I started making comics in In early 2007, I will have another collection, California, the one-time lima bean capital of 1975. I gave up drawing comics for good in Alias the Cat (Pantheon).” 126 the world, then the heroin tra;cking capital 2000. Some of the books I had published of the U.S., now the strawberry capital. He Julie Doucet (Montreal) used to draw comics were Agony, Amy and Jordan, and Dead Sto- loves comics and has been drawing them (My Most Secret Desire, New York Diary) and ries. I am now attempting to devote the rest professionally since 1982 (mostly Love and has done many di=erent things since then. of my life to more meaningful pursuits.” 68 Rockets) and would like to continue doing She now writes poems in French with words them until he’s a really old man. 190 Mat Brinkman (Providence) has a book, cut out from magazines. 256 Teratoid Heights, and draws a strip (Multi- George Herriman (1880–1944) is the creator Michael Dougan (Seattle) is an accomplished Force) in Paper Rodeo. He is “now still of Krazy Kat, universally acknowledged as a cartoonist and illustrator and is the author working on noise and some drawings.” 73 masterpiece of the medium. Fantagraphics of I Can’t Tell You Anything, which this editor is currently reprinting his masterful Sunday Chester Brown (Toronto) drew the comic hopes will be reprinted someday. 286 pages in its Krazy & Ignatz series. 57 book series Yummy Fur. His collections in- Debbie Drechsler (Santa Rosa) has been an clude The Playboy, I Never Liked You, The Walt Holcombe (Los Angeles) is currently editorial illustrator for the past 20 years, give Little Man, and Louis Riel. He is currently working on a collection of his comics work, or take a few. Her early comics were collected re-serializing his story Ed the Happy Clown Things Just Get Away From You, for Fanta- in the book Daddy’s Girl (Fantagraphics), and with new covers and endnotes. 224 graphics, due out in 2007. 84 her series Nowhere has been collected in a Je=rey Brown (Chicago) is best known for book called The Summer of Love (Drawn and Kevin Huizenga (St. Louis) has contributed his bittersweet relationship graphic novels Quarterly). 218 strips to the anthologies Orchid, Drawn and Clumsy and Unlikely. He is currently complet- Quarterly Showcase, and Kramer’s Ergot 5. He Lyonel Feininger (1871–1956) is known world- ing a small book about his childhood cat as is currently working on the comic book series wide for his accomplishments as a painter, well as a large collection of autobiographical Or Else (Drawn and Quarterly) and Ganges but began his career in art as a cartoonist short stories, Little Things. 264 (Fantagraphics). 283 and illustrator. His work was featured in the Ivan Brunetti (Chicago) is often compared historic Masters of American Comics exhibit. Crockett Johnson’s (1906–1975) comic strips to Charlie Brown by his students. 86 61 were collected into the books Barnaby and Barnaby and Mr. O’Malley. He is also the cre- Charles Burns (Philadelphia) is the author Phoebe Gloeckner is perhaps best known for ator of the classic series of children’s books of Black Hole (Pantheon) as well as Big Baby, her book A Child’s Life and Other Stories and Harold and the Purple Crayon. 42 El Borbah, and Skin Deep (Fantagraphics). her illustrated novel The Diary of a Teenage A book of recent photographs, One Eye, is Girl. 215 J. Bradley Johnson (San Francisco) has con- being published by Drawn and Quarterly in tributed to several anthologies over the years Justin Green (Cincinnati) is working on The 2006. 118 but has yet to make a whole comic book. He Last Will and Testament of Binky Brown, to be 399 enjoys drawing and long late-night walks. 107 Daniel Clowes (Oakland) is the creator of the published by Last Gasp, and continues to do Eightball series, which has been collected a monthly comic for Signs of the Times maga- Ben Katchor (New York) was awarded a Mac- in the books Like a Velvet Glove Cast in Iron, zine. 205 Arthur Foundation Fellowship in 2000. Four Pussey!, Caricature, David Boring, Ice Haven, collections of his strips have been published: Bill Gri;th is best known for the strip Zippy, and Ghost World among others (the latter Cheap Novelties: The Pleasures of Urban De- syndicated by King Features to around 100 was adapted by Clowes and Terry Zwigo= cay; Julius Knipl, Real Estate Photographer; daily newspapers. In 2000 Fantagraphics into an Oscar-nominated screenplay). He The Jew of New York; and The Beauty Supply published the first Zippy Annual, the latest of recently wrote the screenplay for Art School District. 141 which are Zippy: From Here to Absurdity, and Copyright Yale University fi_380-400.indd 399 6/25/06 12:27:10 AAMM From 'An Anthology of Graphic Fiction, Cartoons, and True Stories' - Edited by Ivan Brunetti Kaz (New York/Los Angeles) continues to Onsmith (Chicago) has published several Hotwire. His cartoons have appeared in Nicke- draw his weekly Underworld comic strip, mini-comics, such as Spit-Toons and Baka- lodeon magazine, the New Yorker, and The which is self-syndicated across America and Geta, and edited an anthology of one-panel Daily Show with Jon Stewart.
Load more

Recommended publications
  • The Language of Narrative Drawing: a Close Reading of Contemporary Graphic Novels
    The Language of Narrative Drawing: a close reading of contemporary graphic novels Abstract: The study offers an alternative analytical framework for thinking about the contemporary graphic novel as a dynamic area of visual art practice. Graphic narratives are placed within the broad, open-ended territory of investigative drawing, rather than restricted to a special category of literature, as is more usually the case. The analysis considers how narrative ideas and energies are carried across specific examples of work graphically. Using analogies taken from recent academic debate around translation, aspects of Performance Studies, and, finally, common categories borrowed from linguistic grammar, the discussion identifies subtle varieties of creative processing within a range of drawn stories. The study is practice-based in that the questions that it investigates were first provoked by the activity of drawing. It sustains a dominant interest in practice throughout, pursuing aspects of graphic processing as its primary focus. Chapter 1 applies recent ideas from Translation Studies to graphic narrative, arguing for a more expansive understanding of how process brings about creative evolutions and refines directing ideas. Chapter 2 considers the body as an area of core content for narrative drawing. A consideration of elements of Performance Studies stimulates a reconfiguration of the role of the figure in graphic stories, and selected artists are revisited for the physical qualities of their narrative strategies. Chapter 3 develops the grammatical concept of tense to provide a central analogy for analysing graphic language. The chapter adapts the idea of the graphic „confection‟ to the territory of drawing to offer a fresh system of analysis and a potential new tool for teaching.
    [Show full text]
  • Copyright 2013 Shawn Patrick Gilmore
    Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way.
    [Show full text]
  • Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium
    Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium Dissertation Presented in partial fulfillment of the requirement for the Degree Doctor of Philosophy in the Graduate School of Ohio State University Alexandra Mary Jenkins, M.A. Graduate Program in English The Ohio State University 2014 Dissertation Committee: Jared Gardner, Advisor Sean O’Sullivan Robyn Warhol Copyright by Alexandra Mary Jenkins 2014 Abstract Feminist activism in the United States and Europe during the 1960s and 1970s harnessed radical social thought and used innovative expressive forms in order to disrupt the “grand perspective” espoused by men in every field (Adorno 206). Feminist student activists often put their own female bodies on display to disrupt the disembodied “objective” thinking that still seemed to dominate the academy. The philosopher Theodor Adorno responded to one such action, the “bared breasts incident,” carried out by his radical students in Germany in 1969, in an essay, “Marginalia to Theory and Praxis.” In that essay, he defends himself against the students’ claim that he proved his lack of relevance to contemporary students when he failed to respond to the spectacle of their liberated bodies. He acknowledged that the protest movements seemed to offer thoughtful people a way “out of their self-isolation,” but ultimately, to replace philosophy with bodily spectacle would mean to miss the “infinitely progressive aspect of the separation of theory and praxis” (259, 266). Lisa Yun Lee argues that this separation continues to animate contemporary feminist debates, and that it is worth returning to Adorno’s reasoning, if we wish to understand women’s particular modes of theoretical ii insight in conversation with “grand perspectives” on cultural theory in the twenty-first century.
    [Show full text]
  • 20 a 23.08.2013 Wilson/Lint: Biografía, Comic Independiente
    Escola de Comunicações e Artes – Universidade de São Paulo – 20 a 23.08.2013 Wilson/Lint: biografía, comic independiente y la cualidad literaria Amadeo Gandolfo UBA (Facultad de Ciencias Sociales) – Conicet. Buenos Aires, Argentina. RESUMO En este trabajo analizaremos dos comics de Chris Ware y Daniel Clowes, “Lint” y “Wilson”, publicados durante 2010. Comparten una serie de características: son intentos de realizar la biografía de personajes sumamente desagradables, que en otro contexto serían vistos como villanos y no protagonistas de su propia historia; ambos siguen a sus personajes presentándonos todo lo que les sucede desde su punto de vista, obligándonos a ver las cosas como ellos las ven; ambos lidian con la propia historia del medio y las influencias de sus autores de una forma que incorpora estas en el texto; finalmente, la manera en que ambos fueron publicados habla de una situación cambiante dentro del campo del comic independiente norteamericano, su industria, sus formatos y las discusiones alrededor de su cualidad literaria. Observaremos ambas obras centrándonos fundamentalmente en la manera en que sus autores eligen abordar el género de la biografía y las decisiones estéticas que toman a la hora de representar la vida de sus protagonistas. Pero, también, colocaremos ambos trabajos en la obra más extensa de Ware y Clowes y en el lugar ocupan dentro de esa constelación conocida como comics independientes. También diseccionaremos sus elecciones formales en términos narrativos. PALAVRAS-CHAVE: comics independientes, biografía, cualidad literaria. 1. INTRODUCCIÓN El objetivo de este trabajo será el análisis de Lint y de Wilson, dos historietas autoconclusivas producidas por Chris Ware y Daniel Clowes, respectivamente, publicadas por la editorial Drawn & Quarterly durante el 2010.
    [Show full text]
  • Aesthetics, Taste, and the Mind-Body Problem in American Independent Comics
    PAPER TOWER: AESTHETICS, TASTE, AND THE MIND-BODY PROBLEM IN AMERICAN INDEPENDENT COMICS William Timothy Jones A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Jeremy Wallach, Advisor Esther Clinton © 2014 William Timothy Jones All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Comics studies, as a relatively new field, is still building a canon. However, its criteria for canon-building has been modeled largely after modernist ideas about formal complexity and criteria for disinterested, detached, “objective” aesthetic judgment derived from one of the major philosophical debates in Western thought: the mind-body problem. This thesis analyzes two American independent comics in order to dissect the aspects of a comic work that allow it to be categorized as “art” in the canonical sense. Chris Ware’s Building Stories is a sprawling, Byzantine comic that exhibits characteristically modernist ideas about the subordination of the body to the mind and art’s relationship to mass culture. Rob Schrab’s Scud: The Disposable Assassin provides a counterpoint to Building Stories in its action-heavy stylistic approach, developing ideas about the merging of the mind and the body and the artistic and the commercial. Ultimately, this thesis advocates for a re -evaluation of comics criticism that values the subjective, emotional, and the popular as much as the “objective” areas of formal complexity and logic. iv ACKNOWLEDGMENTS To Anna O’Brien, for the original germ of this idea and hours of enlightening conversation and companionship. To Jeremy Wallach and Esther Clinton, whose emphatic response to the paper that eventually became this thesis was instrumental to my belief in the quality of my work.
    [Show full text]
  • Drawn&Quarterly
    DRAWN & QUARTERLY spring 2012 catalogue EXCERPT FROM GUY DELISLE’S JERUSALEM EXCERPT FROM GUY DELISLE’S JERUSALEM EXCERPT FROM GUY DELISLE’S JERUSALEM CANADIAN AUTHOR GUY DELISLE JERUSALEM Chronicles from the Holy City Acclaimed graphic memoirist Guy Delisle returns with his strongest work yet, a thoughtful and moving travelogue about life in Israel. Delisle and his family spent a year in East Jerusalem as part of his wife’s work with the non-governmental organiza- tion Doctors Without Borders. They were there for the short but brutal Gaza War, a three-week-long military strike that resulted in more than 1000 Palestinian deaths. In his interactions with the emergency medical team sent in by Doctors Without Borders, Delisle eloquently plumbs the depths of the conflict. Some of the most moving moments in Jerusalem are the in- teractions between Delisle and Palestinian art students as they explain the motivations for their work. Interspersed with these simply told, affecting stories of suffering, Delisle deftly and often drolly recounts the quotidian: crossing checkpoints, going ko- sher for Passover, and befriending other stay-at-home dads with NGO-employed wives. Jerusalem evinces Delisle’s renewed fascination with architec- ture and landscape as political and apolitical, with studies of highways, villages, and olive groves recurring alongside depictions of the newly erected West Bank Barrier and illegal Israeli settlements. His drawn line is both sensitive and fair, assuming nothing and drawing everything. Jerusalem showcases once more Delisle’s mastery of the travelogue. “[Delisle’s books are] some of the most effective and fully realized travel writing out there.” – NPR ALSO AVAILABLE: SHENZHEN 978-1-77046-079-9 • $14.95 USD/CDN BURMA CHRONICLES 978-1770460256 • $16.95 USD/CDN PYONGYANG 978-1897299210 • $14.95 USD/CDN GUY DELISLE spent a decade working in animation in Europe and Asia.
    [Show full text]
  • List of American Comics Creators 1 List of American Comics Creators
    List of American comics creators 1 List of American comics creators This is a list of American comics creators. Although comics have different formats, this list covers creators of comic books, graphic novels and comic strips, along with early innovators. The list presents authors with the United States as their country of origin, although they may have published or now be resident in other countries. For other countries, see List of comic creators. Comic strip creators • Adams, Scott, creator of Dilbert • Ahern, Gene, creator of Our Boarding House, Room and Board, The Squirrel Cage and The Nut Bros. • Andres, Charles, creator of CPU Wars • Berndt, Walter, creator of Smitty • Bishop, Wally, creator of Muggs and Skeeter • Byrnes, Gene, creator of Reg'lar Fellers • Caniff, Milton, creator of Terry and the Pirates and Steve Canyon • Capp, Al, creator of Li'l Abner • Crane, Roy, creator of Captain Easy and Wash Tubbs • Crespo, Jaime, creator of Life on the Edge of Hell • Davis, Jim, creator of Garfield • Defries, Graham Francis, co-creator of Queens Counsel • Fagan, Kevin, creator of Drabble • Falk, Lee, creator of The Phantom and Mandrake the Magician • Fincher, Charles, creator of The Illustrated Daily Scribble and Thadeus & Weez • Griffith, Bill, creator of Zippy • Groening, Matt, creator of Life in Hell • Guindon, Dick, creator of The Carp Chronicles and Guindon • Guisewite, Cathy, creator of Cathy • Hagy, Jessica, creator of Indexed • Hamlin, V. T., creator of Alley Oop • Herriman, George, creator of Krazy Kat • Hess, Sol, creator with
    [Show full text]
  • Check All That Apply)
    Form Version: February 2001 EFFECTIVE TERM: Fall 2003 PALOMAR COLLEGE COURSE OUTLINE OF RECORD FOR DEGREE CREDIT COURSE X Transfer Course X A.A. Degree applicable course (check all that apply) COURSE NUMBER AND TITLE: ENG 290 -- Comic Books As Literature UNIT VALUE: 3 MINIMUM NUMBER OF SEMESTER HOURS: 48 BASIC SKILLS REQUIREMENTS: Appropriate Language Skills ENTRANCE REQUIREMENTS PREREQUISITE: Eligibility for ENG 100 COREQUISITE: NONE RECOMMENDED PREPARATION: NONE SCOPE OF COURSE: An analysis of the comic book in terms of its unique poetics (the complicated interplay of word and image); the themes that are suggested in various works; the history and development of the form and its subgenres; and the expectations of comic book readers. Examines the influence of history, culture, and economics on comic book artists and writers. Explores definitions of “literature,” how these definitions apply to comic books, and the tensions that arise from such applications. SPECIFIC COURSE OBJECTIVES: The successful student will: 1. Demonstrate an understanding of the unique poetics of comic books and how that poetics differs from other media, such as prose and film. 2. Analyze representative works in order to interpret their styles, themes, and audience expectations, and compare and contrast the styles, themes, and audience expectations of works by several different artists/writers. 3. Demonstrate knowledge about the history and development of the comic book as an artistic, narrative form. 4. Demonstrate knowledge about the characteristics of and developments in the various subgenres of comic books (e.g., war comics, horror comics, superhero comics, underground comics). 5. Identify important historical, cultural, and economic factors that have influenced comic book artists/writers.
    [Show full text]
  • Faculty Film Festival TUESDAY, OCTOBER 25, Gaines Theater, 6:30PM : CRUMB
    5/11/2015 Christopher Newport University Mail ­ Reminder! 'CNU @ the Movies', CRUMB, tonight at 6:30pm Susan Barber <[email protected]> Reminder! 'CNU @ the Movies', CRUMB, tonight at 6:30pm 1 message Personal Announcement ­ Do Not Reply Tue, Oct 25, 2011 at <[email protected]> 10:50 AM Reply­To: [email protected] To: [email protected], [email protected], [email protected] Dear Faculty, Students, and Staff: Reminder: Crumb, Tonight, 6:30pm, Gaines! Come check out Terry Zwigoff's compelling documentary about counter­cultural icon, Robert Crumb, whose graphic comix in the 1960s introduced one of the most talented comic artists of the 20th century to the world. Through an exploration of his life and background­­warts and all­­, the film supports the connection between artistic expression and basic human survival. Follow this link to the IMDB and see below for our original blurb! CNU @ the Movies: Faculty Film Festival TUESDAY, OCTOBER 25, Gaines Theater, 6:30PM : CRUMB Terry Zwigoff, 1994, featuring Robert Crumb. This film launched the directorial career of Terry Zwigoff ("Ghost World," "Bad Santa," "Art School Confidential") and is often referred to as one of the best documentaries ever made. The father of underground comics, Robert Crumb is a beguiling combination of madness and artistic genius, at once the strangest person you might ever meet and probably the funniest. "Crumb" juxtaposes his heartbreaking family story with his remarkable artistic achievement, treating you to Crumb's incredible and hilarious https://mail.google.com/mail/u/0/?ui=2&ik=283ac54fb8&view=pt&cat=Archives&search=cat&th=1333b8fbda00abf7&siml=1333b8fbda00abf7 1/2 5/11/2015 Christopher Newport University Mail ­ Reminder! 'CNU @ the Movies', CRUMB, tonight at 6:30pm vision, wit and wisdom all the while.
    [Show full text]
  • Joe Rosochacki - Poems
    Poetry Series Joe Rosochacki - poems - Publication Date: 2015 Publisher: Poemhunter.com - The World's Poetry Archive Joe Rosochacki(April 8,1954) Although I am a musician, (BM in guitar performance & MA in Music Theory- literature, Eastern Michigan University) guitarist-composer- teacher, I often dabbled with lyrics and continued with my observations that I had written before in the mid-eighties My Observations are mostly prose with poetic lilt. Observations include historical facts, conjecture, objective and subjective views and things that perplex me in life. The Observations that I write are more or less Op. Ed. in format. Although I grew up in Hamtramck, Michigan in the US my current residence is now in Cumby, Texas and I am happily married to my wife, Judy. I invite to listen to my guitar works www.PoemHunter.com - The World's Poetry Archive 1 A Dead Hand You got to know when to hold ‘em, know when to fold ‘em, Know when to walk away and know when to run. You never count your money when you're sittin at the table. There'll be time enough for countin' when the dealins' done. David Reese too young to fold, David Reese a popular jack of all trades when it came to poker, The bluffing, the betting, the skill that he played poker, - was his ace of his sleeve. He played poker without deuces wild, not needing Jokers. To bad his lungs were not flushed out for him to breathe, Was is the casino smoke? Or was it his lifestyle in general? But whatever the circumstance was, he cashed out to soon, he had gone to see his maker, He was relatively young far from being too old.
    [Show full text]
  • EDITORIAL: SCANDINAVIAN JOURNAL of COMIC ART VOL. 1: 2 (AUTUMN 2012) by the Editorial Team
    EDITORIAL: SCANDINAVIAN JOURNAL OF COMIC ART VOL. 1: 2 (AUTUMN 2012) by the Editorial Team SCANDINAVIAN JOURNAL OF COMIC ART (SJOCA) VOL. 1: 2 (AUTUMN 2012) Everything starts with a First step – but to keep going with a sustained eFFort is what really makes for change. This is the second issue of the Scandinavian Journal of Comic Art and its release makes us just as proud – if not even more so – as we were when the very First issue was published last spring. We are also immensely proud to be part oF the recently awaKened and steadily growing movement oF academic research on comics in the Nordic countries. Since our First issue was published, another three Nordic comics scholars have had their PhDs accepted and several more PhD students researching comics have entered the academic system. Comics studies is noticeably growing in the Nordic countries at the moment and SJoCA is happy to be a part of this exciting development. SJoCA was initiated to ensure that there is a serious, peer reviewed and most importantly continuous publishing venue for scholars from the Scandinavian countries and beyond who want to research and write about all the diFFerent aspects oF comics. In order to Keep this idea alive, SJoCA is in constant need of interesting, groundbreaKing and thought-provoking texts. So, do send us everything from abstracts to full fledged manuscripts, and taKe part in maKing the field of Nordic comics research grow. – 2 – SCANDINAVIAN JOURNAL OF COMIC ART (SJOCA) VOL. 1: 2 (AUTUMN 2012) “TO EMERGE FROM ITS TRANSITIONAL FUNK”: THE AMAZING ADVENTURES OF KAVALIER & CLAY’S INTERMEDIAL DIALOGUE WITH COMICS AND GRAPHIC NOVELS by Florian Groß ABSTRACT ThE artIclE tracEs thE currENt crItIcal dEbatE oN thE phENomENoN of thE graphIc Novel through an analysIs of MIchael ChaboN’s Novel The Amazing Adventures of Kavalier & Clay (2000).
    [Show full text]
  • KILLING and DYING ADRIAN TOMINE “[Adrian Tomine] Has More Ideas in Twenty Panels Than Novelists Have in a Lifetime.”—Zadie Smith
    DRAWN & QUARTERLY WINTER 2018 Killing And DYING NEW PAPERBACK EDITION ADRIAN TOmINE Red WinteR ANNElI FuRmARK FRom Lone MOUNTAIN JOhN PORCEllINO Von SpATZ ANNA hAIFIsCh Red ColoRed ELEGY sEIIChI hAyAshI KITARo the VAMPIRe SlAYER shIgERu mIzuKI Moomin WinteR TOvE JANssON NEW paperback EDITION KILLING AND DYING ADRIAN TOMINE “[Adrian Tomine] has more ideas in twenty panels than novelists have in a lifetime.”—Zadie Smith After enjoying over six months on the story, “Killing and Dying,” centers on par- New York Times Bestseller list and enthood, mortality, and stand-up comedy. receiving a rave review from the same In six interconnected, darkly funny stories, institution, acclaimed cartoonist Adrian Tomine forms a quietly moving portrait of Tomine’s Killing and Dying is now avail- contemporary life. able in paperback, with an updated cover Adrian Tomine is a master of the small and French flaps. With this work, Tomine gesture, equally deft at signaling emotion (Shortcomings, Scenes from an Impending via a subtle change of expression or writ Marriage) reaffirms his place not only as large across landscapes illustrated in full one of the most significant creators of con- color. Killing and Dying is a fraught, realist temporary comics, but as one of the great masterpiece. voices of modern American literature. His gift for capturing emotion and intellect res- onates: the weight of love and its absence, PRAISe FoR KILLING AND DYING the pride and disappointment of family, the “Pocket epics of romantic, creative and anxiety and hopefulness of being alive in social frustration set in recognizably the twenty-first century. drab, drably picturesque American land- “Amber Sweet” shows the disastrous scapes.”―New York Times impact of mistaken identity in a hyper- connected world; “A Brief History of “[Tomine] is an emotional x-ray machine.
    [Show full text]