The Art of Comics No. 1, R. Crumb Robert Crumb asked me to say that he lives in Albania, to discourage would-be pilgrims from beating a path to his doorstep. He doesn’t, but his medieval hamlet is so far from the United States in every sense that it takes some perseverance to find, and upon locating it, I discovered that the streets of his walled village are too narrow to penetrate with even the tiniest French rental car. I mean, Albanian. But even this tiny community was too distracting when it came time to draw and ink the extraordinarily detailed illustrations for The Book of Genesis, which was published last year. Like a monastic scribe, he pursued his vision in a desolate shelter in the mountains outside town, working for weeks without human contact. Crumb is perhaps the most influential cartoonist of his or any generation, famous for decades of work that reflect an idiosyncratic variety of fascinations—arcane twenties music, everyday street scenes, the female form—yet have proved capable of mass appeal. I didn’t.
Maus In the frame tale timeline in the narrative present, beginning in 1978 in the Rego Park section of New York City, Spiegelman talks with his father about his Holocaust experiences, gathering material for the Maus project he is preparing. In the narrative past, Spiegelman depicts these experiences, starting in the years leading up to World War II. Much of the story revolves around Spiegelman's troubled relationship with his father, and the absence of his mother who committed suicide when he was 20. Her grief-stricken husband destroyed her written accounts of Auschwitz. Synopsis[edit] Most of the book weaves in and out of two timelines. In Rego Park in 1958, a young Art Spiegelman complains to his father that his friends have left him behind. As an adult, Art visits his father, from whom he has become estranged. "Prisoner on the Hell Planet" (1973), an early, expressionistic strip about Spiegelman's mother's suicide, reprinted in Maus Primary characters[edit] Art Spiegelman Vladek Spiegelman
Palestine (comics) Palestine is a graphic novel written and drawn by Joe Sacco about his experiences in the West Bank and the Gaza Strip in December 1991 and January 1992. Sacco gives a portrayal which emphasizes the history and plight of the Palestinian people, as a group and as individuals. The book takes place over a two-month period in late 1991 early 1992, with occasional flashbacks to the expulsion of the Arabs, the beginning of the Intifada, the Gulf War and other events in the more immediate past. Sacco spent this time meeting with Palestinians in the West Bank and Gaza Strip and the narrative focuses on the minute details of everyday life in the occupied territories, presenting the daily struggles, humiliations and frustrations of the Palestinians. Sacco’s visit to Israel and the occupied territories is presented chronologically, from his arrival to his departure, through dramatic scenes with only a handful of diversions to present the historical and personal background.
Barefoot Gen Barefoot Gen (はだしのゲン, Hadashi no Gen?) is a Japanese manga series by Keiji Nakazawa. Loosely based on Nakazawa's own experiences as a Hiroshima survivor, the series begins in 1945 in and around Hiroshima, Japan, where the six-year-old boy Gen Nakaoka lives with his family. After Hiroshima is destroyed by atomic bombing, Gen and other survivors are left to deal with the aftermath. Plot[edit] The story begins in Hiroshima during the final months of World War II. In the days following the attack, Gen and his mother witness the horrors wrought by the bomb. Gen looks for work to pay the family's rent. Following Japan's unconditional surrender, American occupation forces arrive to help the nation rebuild. In December 1946, Gen is reunited with Ryuta, who has become a juvenile delinquent, doing odd jobs for the Yakuza. Themes[edit] Major themes throughout the work are power, hegemony, resistance and loyalty. Gen's family suffers as all families do in war. Publication history[edit] Editions[edit]
James Branch Cabell James Branch Cabell (/ˈkæbəl/; April 14, 1879 – May 5, 1958) was an American author of fantasy fiction and belles lettres. Cabell was well regarded by his contemporaries, including H. L. Mencken and Sinclair Lewis. His works were considered escapist and fit well in the culture of the 1920s, when his works were most popular. Life[edit] Cabell was born into an affluent and well-connected Virginian family, and lived most of his life in Richmond. Although Cabell's surname is often mispronounced "Ka-BELL", he himself pronounced it "CAB-ble." Cabell matriculated to the College of William and Mary in 1894 at the age of fifteen and graduated in 1898. 1901 was an eventful year for Cabell: his first stories were accepted for publication, and he was suspected of the murder of John Scott, a wealthy Richmonder. Between 1911 and 1913, he was employed by his uncle in the office of the Branch coalmines in West Virginia. Honors[edit] Works[edit] Jurgen[edit] The Biography of Manuel[edit] Others[edit]
The Codex Seraphinianus DISCUSSED: Extremely Limited Editions, The Metamorphic Bicranial Rhino, French Booksellers, Grievous Errors, Italo Calvino, Pliny’s Natural History, Hieronymus Bosch, ’70s Pop Art, eBay, The Voynich Manuscript, Italian Aristocrats, Bodoni, In Watermelon Sugar, Ovid, Lewis Carroll’s Photographs of Children, Hypertext Fiction, Taxonomical Surveys, Alchemical Etchings, Billy Joel Image from Luigi Serafini’s Codex Seraphinianus.Click to enlarge. Who were the people who had invented Tlön? Like a Borges story, this is as much about the quest for knowledge as it is about the knowledge itself. At the beginning of my junior year of college, some friends and I came across an upper-division English class called Eccentric Spaces and Spatialities. Dr. One day Dr. When the book came to me I opened to a random page. I saw a flattish doughnut, possibly made of liquid, and colored a soft, rich red. Text accompanied these images—or what looked like text. History is littered with inscrutable texts.
Wired 1.04: Disneyland with the Death Penalty Disneyland with the Death Penalty We sent William Gibson to Singapore to see whether that clean dystopia represents our techno future. By William Gibson "It's like an entire country run by Jeffrey Katzenberg," the producer had said, "under the motto 'Be happy or I'll kill you.'" We were sitting in an office a block from Rodeo Drive, on large black furniture leased with Japanese venture capital. Now that I'm actually here, the Disneyland metaphor is proving impossible to shake. Was it Laurie Anderson who said that VR would never look real until they learned how to put some dirt in it? The cab driver warned me about littering. He asked if it was clean there. "You come for golf?" "No." "Business?" "Pleasure." He sucked his teeth. Singapore is a relentlessly G-rated experience, micromanaged by a state that has the look and feel of a very large corporation. The physical past here has almost entirely vanished. There is no slack in Singapore. Page 2 >>
Talbot Mundy Talbot Mundy (born William Lancaster Gribbon) (April 23, 1879 – August 5, 1940) was an English writer. He also wrote under the pseudonym Walter Galt. [1] Life and work[edit] Born in London, at age 16 he ran away from home and began an odyssey in India, Africa, and other parts of the Near and Far East. Many of his novels, including his first novel Rung Ho! Influence[edit] Biography[edit] Donald M. Bibliography[edit] Jimgrim/Ramsden[edit] Tros[edit] Lobsang Pun[edit] The Thunder Dragon Gate (1937)Old Ugly Face (1940) Non-series[edit] Rung Ho! Notes[edit] References[edit] External links[edit] Southern Enlightenment With healthy doses of Axl Rose and methamphetamines, two new collections, from journalist John Jeremiah Sullivan and crime fiction writer Frank Bill, call forth the power of place and personal history in the Shallow South. Axl Rose makes it out, escapes. He spends his youth stealing televisions, brawling and losing fistfights, assaulting the occasional neighborhood mom. Twenty years after Ax takes flight, journalist John Jeremiah Sullivan— JJS to his growing legion of adoring fans—spends a few days poking around the Hoosier State, digging up old police reports and childhood friends. An inane lede, perhaps, from any other GQ writer, parachuting in from New York, surveying the bad and worst of the local color, and then beating hell back to Brooklyn. Sullivan’s essays move, often effortlessly, between the reported and the remembered. It’s a neat trick—interrupt reportage with memoir to take the harsh spotlight of a straight profile and shine it on yourself for a moment.
Stories Soft Apocalypse by Will McIntosh I passed a lithe cormorant of a woman trying on gas masks at a street kiosk. The lanky beauty left my field of vision. Not that I'd ever approach a woman on the street; I hated guys who did that. And like a line of song stuck in my head, I thought of Deirdre, who had last ignited that flame, and felt a familiar stab of guilt. What had she done with my photos? There had been no cut-up pile greeting me in the doorway the day I broke up with her. I missed them to my bones. I slowed as I passed Jittery Joe's Coffee, hoping against hope to score a cup. I spied a sexy pair of legs in the crowd, strutting my way. A busty black woman with dreadlocks and tribal scarring hurried past. There was a bamboo outbreak on thirty-ninth street. The asphalt cracked and popped. I tapped my waist-pouch to make sure my fold-up gas mask was there, just like the government public service cartoon taught us. “ID?” “Okay,” he said, waving me on. "Thank you." "Hi Jasper. "Sometimes."
windupstories.com – fiction by paolo bacigalupi