New Releases by Art Spiegelman

What’s got a tail and just wants to go home with you, but will never make a mess on the carpet, or smell like, well, wet dog? Through the power of a wizard’s magic comes a book that isn’t a book—it’s a DOG! We promise. Have you ever seen a book that barks? How about a dog with pages? For all the kids who keep asking for a dog and don''t seem to appreciate their books enough, we have the perfect solution. Pulitzer Prize-winner Art Spiegelman, the author of Maus and Jack and the Box, has conjured up a winning mix of dog and hardcover picture book, complete with fuzzy, cuddly pages, a tail, a sturdy cotton leash, and so much more. Bring this lovable pooch into your family and he’s sure to become a kid''s—or reader’s—best friend!

"Spiegelman''s drawings are like demonic woodcuts: every angle, line, and curve jumps out at you. Stylishness and brutishness are in perfect accord." - The New York Times Art Spiegelman''s sinister and witty black-and-white drawings give charged new life to Joseph Moncure March''s Wild Party, a lost classic from 1928. The inventive and varied page designs offer perfect counterpoint to the staccato tempo of this hard-boiled jazz-age tragedy told in syncopated rhyming couplets. Here is a poem that can make even readers with no time for poetry stop dead in their tracks. Once read, large shards of this story of one night of debauchery will become permanently lodged in the brain. When The Wild Party was first published, Louis Untermeyer declared: "It is repulsive and fascinating, vicious and vivacious, uncompromising, unashamed . . . and unremittingly powerful. It is an amazing tour de force."

When magic touches an old peach tree, strange things start happening. A giant peach grows as large as a house, and when James crawls inside, the adventure begins. Lane Smith has created wonderful new illustrations based on the characters in the new full-l

Inspired by the Occupy Wall Street protests, this anthology brought together a diverse chorus of voices to present tales drawn from the issues that drove people to set up camp on capitalism''s doorstep, issues that continue to impact our lives and world today. Featuring work by Alan Moore (Watchmen, V For Vendetta), Art Spiegelman (Maus), David Lloyd (V For Vendetta), Molly Crabapple (Drawing Blood), Amanda Palmer, Bill Ayers (The Weather Underground), Mike Allred (Madman), David Mack (Kabuki), Ben Templesmith (30 Days Of Night), Charlie Adlard (The Walking Dead), and early comics by Matthew Rosenberg (Uncanny X-Men), Patrick Kindlon (Nobody Is In Control), Matt Miner (Critical Hit), Eric Zawadzki (The Dregs), Patrick Meaney (Last Born), Amancay Nahuelpan (Clandestino), and Matteo Pizzolo (Calexit).

Durant plusieurs décennies, Art Spiegelman a donné un sens nouveau au terme "artiste de bande dessinée" - ou, peut-être, serait-il plus pertinent de dire que Spiegelman a donné un sens nouveau aux termes "bande dessinée" et "artiste". La tension entre l''avant-garde marginale et le grand public façonne toute l''entreprise de Spiegelman. Elle est présente dans son travail lorsqu''il est artiste graphique dans le domaine des «beaux»- arts, lorsqu''il crée des cartes à échanger pour une marque de chewing-gum, lorsqu''il participe au mouvement underground de la bande dessinée de l''ère de la contre-culture, lorsqu''il cofonde deux magazines à l''influence déterminante (l''américain Arcade et le plus international RAIN), lorsqu''il dessine des jaquettes de livres ou des pochettes de disques, lorsqu''il est illustrateur ou dessinateur de couvertures pour le New Yorker, lorsqu''il réalise des gravures, lorsqu''il est auteur, lorsqu''il est spécialiste de formes obsolètes de la culture de masse, et lorsqu''il, comment dire ?, compose un essai autobiographique sous forme de bande dessinée sans précédent, romanesque mais cependant criant de vérité. Bref, Spiegelman réfute à tous les niveaux le paradigme d''une opposition entre art noble et art populaire.

NATIONAL JEWISH BOOK AWARD WINNER • Visually and emotionally rich, MetaMaus is as groundbreaking as the masterpiece whose creation it reveals. In the pages of MetaMaus, Art Spiegelman re-enters the Pulitzer prize–winning Maus, the modern classic that has altered how we see literature, comics, and the Holocaust ever since it was first published twenty-five years ago. He probes the questions that Maus most often evokes—Why the Holocaust? Why mice? Why comics?—and gives us a new and essential work about the creative process. Compelling and intimate, MetaMaus is poised to become a classic in its own right.

Using comic book format, the author chronicles his father''s experience of the Holocaust and its impact on this family.

The creator of the Pulitzer Prize-winning Maus explores the comics form ... and how it formed him! This book opens with Portrait of the Artist as a Young %@&*!, creating vignettes of the people, events, and comics that shaped Art Spiegelman. It traces the artist''s evolution from a MAD-comics obsessed boy in Rego Park, Queens, to a neurotic adult examining the effect of his parents'' memories of Auschwitz on his own son. The second part presents a facsimile of Breakdowns, the long-sought after collection of the artist''s comics of the 1970s, the book that triggers these memories. Breakdowns established the mode of formally sophisticated comics that transformed the medium, and includes the prototype of Maus, cubist experiments, an essay on humor, and the definitive genre-twisting pulp story "Ace Hole-Midget Detective." Pulling all this together is an illustrated essay that looks back at the sixties as the artist pushes sixty, and explains the obsessions that brought these works into being. Poignant, funny, complex, and innovative, Breakdowns alters the terms of what can be accomplished in a memoir.

A story of a Jewish survivor of Hitler''s Europe and his son, a cartoonist who tries to come to terms with his father''s story and history itself.

First-ever collection of America''s underground pornographic comics from the 1930s to the 1950s. Known as Tijuana Bibles, these highly explicit comic books constitute a fascinating view of the unknown, erotic America of that turbulent era. day I think these little comics are everything pornography ought to be - dirty, antisocial, funny, borderline psychotic. What an art form!'' - P.J. O''Rourke ''Charming and evocative, these artefacts present a little-known cultural history'' - the New Yorker

In his first new book of comics since the Pulitzer-Prize winning Maus, Art Spiegelman gives us a deeply personal, politically charged, graphically and emotionally stunning account of the events and aftermath of September 11, 2001. In a large, two-page-spread format that echoes the scale of the earliest newspaper comics, Spiegelman conveys--through his singular artistry, his outrage and wit--the unfathomable enormity of the event itself, the obvious and insidious effects it had on his life, and the extraordinary, often hidden changes that have been enacted in the name of post-9/11 national security and that have begun to undermine the very foundation of American democracy.

On 11th September 2001, Art Spiegelman raced to the World Trade Center, not knowing if his daughter Nadja was alive or dead. Once she was found safe in her school at the foot of the burning towers he returned home, to meditate on the trauma, and to work on a comic strip. Subversive, iconic, and burningly articulate, In the Shadow of No Towers is New Yorker Art Spiegelman''s extraordinary account of ''the hijacking on 9.11 and the subsequent hijacking of those events'' by America.

The reissue of this classic manga''s first volume has impeccable timing. It recounts the bombing of Hiroshima from the perspective of a young boy, Gen, and his family. But the book''s themes (the physical and psychological damage ordinary people suffer from war''s realities) ring chillingly true today. Despite its harrowing nature, this work is invaluable for the lessons it offers in history, humanity and compassion. Published to coincide with the 60th anniversary of the Hiroshima bombing.

In this graphic depiction of nuclear devastation, three survivors of the bombing of Hiroshima--Gen, his mother, and his baby sister--face rejection, hunger, and humiliation in their search for a place to live.

In this graphic depiction of nuclear devastation, three survivors of the bombing of Hiroshima--Gen, his mother, and his baby sister--face rejection, hunger, and humiliation in their search for a place to live.

In this graphic depiction of nuclear devastation, three survivors of the bombing of Hiroshima--Gen, his mother, and his baby sister--face rejection, hunger, and humiliation in their search for a place to live.

"For years Jack Cole labored dutifully as a cartoonist, comic book illustrator, and Playboy''s premier artist. He was, on the outside, a mild-mannered and easygoing guy. One look at his most famous creation--the manic, surreal Plastic Man--and there is no question that much more lurked in the mind of this tragic artist than anyone suspected. Pulitzer Prize-winning writer and cartoonist Art Spiegelman and renowned graphic designer Chip Kidd pay homage to Plastic Man and his creator, Jack Cole."--Jacket.

''Maus'' nähert sich dem Unbeschreiblichen, dem Mord an Europas Juden, mit den Mitteln des Comic-Strip. ''Maus'' ist Roman und Biographie, Bericht und persönliche Erinnerung - ein bewegendes Kunstwerk.

Un chiot subit plusieurs métamorphoses. Il est d''abord changé en berger par une sorcière, puis en crapaud par une fée, finalement en livre par un méchant magicien. La preuve de tout cela est la laisse au dos du livre. Qui porte une laisse sinon un chien! Amusant, original, le temps de la laisse.

The definitive edition of the graphic novel acclaimed as “the most affecting and successful narrative ever done about the Holocaust” (Wall Street Journal) and “the first masterpiece in comic book history” (The New Yorker) • PULITZER PRIZE WINNER • One of Variety’s “Banned and Challenged Books Everyone Should Read” A brutally moving work of art—widely hailed as the greatest graphic novel ever written—Maus recounts the chilling experiences of the author’s father during the Holocaust, with Jews drawn as wide-eyed mice and Nazis as menacing cats. Maus is a haunting tale within a tale, weaving the author’s account of his tortured relationship with his aging father into an astonishing retelling of one of history''s most unspeakable tragedies. It is an unforgettable story of survival and a disarming look at the legacy of trauma.

The bestselling second installment of the graphic novel acclaimed as “the most affecting and successful narrative ever done about the Holocaust” (Wall Street Journal) and “the first masterpiece in comic book history” (The New Yorker) • PULITZER PRIZE WINNER • One of Variety’s “Banned and Challenged Books Everyone Should Read” A brutally moving work of art—widely hailed as the greatest graphic novel ever written—Maus recounts the chilling experiences of the author’s father during the Holocaust, with Jews drawn as wide-eyed mice and Nazis as menacing cats. Maus is a haunting tale within a tale, weaving the author’s account of his tortured relationship with his aging father into an astonishing retelling of one of history''s most unspeakable tragedies. It is an unforgettable story of survival and a disarming look at the legacy of trauma.

An autobiographical and biographical cartoon in which the author explores his strained relationship with his father, an Auschwitz survivor, while also relating the story of his parent''s experiences as Jews in wartime Poland, as told to him by his dad during a series of conversations they had years later in New York and Vermont.

"Maus raconte la vie de Vladek Spiegelman, rescapé juif des camps nazis, et de son fils, auteur de bandes dessinées, qui cherche un terrain de réconciliation avec son père, sa térrifiante histoire et l''Histoire. Des portes d''Auschwitz aux trottoirs de New York se déroule l''histoire d''une double survie: celle du père, mais aussi celle du fils qui se débat pour survivre au survivant. Ici les nazis sont des chats et les juifs des souris. Oubliez vos préjugés: ces souris-là ont plus à voir avec Kafka ou Orwell qu''avec Tom et Jerry.

The bestselling first installment of the graphic novel acclaimed as “the most affecting and successful narrative ever done about the Holocaust” (Wall Street Journal) and “the first masterpiece in comic book history” (The New Yorker) • PULITZER PRIZE WINNER • One of Variety’s “Banned and Challenged Books Everyone Should Read” A brutally moving work of art—widely hailed as the greatest graphic novel ever written—Maus recounts the chilling experiences of the author’s father during the Holocaust, with Jews drawn as wide-eyed mice and Nazis as menacing cats. Maus is a haunting tale within a tale, weaving the author’s account of his tortured relationship with his aging father into an astonishing retelling of one of history''s most unspeakable tragedies. It is an unforgettable story of survival and a disarming look at the legacy of trauma.

Maus recounts the chilling experiences of the author’s father during the Holocaust, with Jews drawn as wide-eyed mice and Nazis as menacing cats.