This is a satisfying survey of the artists who’re still actively turning the graphic novel into a new kind of literature.
Whereas Elizabeth Gilbert’s bestselling memoir is a breezy, yuppie fairy tale told in the service of the ego of its author, Today Is the Last Day is bohemian and brutal and frequently reads like a traveler’s nightmare.
Is there some sort of a deep political hypothesis nibbling on a carrot and overseeing the action in this film?
Comics and infographics—two of the trendier, if not trendiest, ways to make visual art these days.
Monstrosity, terror, and horror all correspond in some way to chaos in its old-fashioned sense and with chaos in its scientific sense.
In a lot of ways, Jamaica Kincaid’s See Now Then tries to be like a Woolf novel, particularly To the Lighthouse.
Reading the book sort of feels like looking through a photo album, in that it’s a series of condensed case histories, one after another after another, often to the point of monotony.
So you’re sitting at a café reading a new, smutty, and not particularly enlightening short-story collection by Junot Díaz.
This is my alphabetically arranged list of what I think are world-historically worthwhile films produced after 1986, the year of my birth.
The catch of the book is that something science-fictionally surreal or fantastic is always going on within the worlds of these dithering, sentimental protagonists.
A question for the history of the graphic novel: Will anyone ever write a cartoon equivalent of Moby-Dick, The Adventures of Huckleberry Finn, or For Whom the Bell Tolls?
Two new comics have come out from Drawn and Quarterly, both of which reinterpret ancient myths using a storytelling style that’s cute and simple and not all that interesting.
Some of the stuff Mason sees and records even felt so refreshing, so clever, so un-ironic, that I wanted to write it down to re-read again later, to save it like a snack for the soul.
In time for Christmas, Fantagraphics Books has released two new thick and fancy illustrator retrospectives. One is a coffee-table book about the career of Jack Davis, the other a smaller volume with the portraits of Tony Millionaire.
These days, any comic by Clowes or Seth unmistakably belongs to each man—in the style of their lines, the speech of their characters, and the mood of their fictional worlds.
After finishing Storycraft, I know I won’t be applying for an MFA in creative writing anytime soon, but I may in the future add a few more writing guidebooks to my reading shelf.