Most Popular Books by Roman Muradov

Written and drawn in thirteen tones, from comedy and confession to interpretative dance, Vanishing Actis synchronized in time and space on one melancholy evening. A paranoid man rehearses for an upcoming party. A disheveled actor expounds on the conceptual potential of sitcoms. A beloved dog accesses the internet and starts a cult. A couple argues in reverse. A bored seagull excretes the entire known universe.

In an age of obsessive productivity and stress, this illustrated ode to idleness invites you to explore the pleasures and possibilities of slowing down. Beloved author and illustrator Roman Muradov weaves together the words and stories of artists, writers, philosophers, and eccentrics who have pursued inspiration by doing less. He reveals that doing nothing is both easily achievable and essential to leading an enjoyable and creative life. Cultivating idleness can be as simple as taking a long walk without a destination or embracing chance in the creative process. Peppered with playful illustrations, this handsome volume is a refreshing and thought-provoking read. “Whimsical, clever, and companionable . . . On Doing Nothing provides a much-needed correction to our distracted, anxiety-ridden, and increasingly disembodied culture. Muradov has written and illustrated a kind of Situationist, Oulipian Ways of Seeing—a manual for clarity and presence, a book which issues a call to attention; a call to pay attention. The smart yet approachable philosophical reflections unfold like a leisurely stroll through a beautiful and unfamiliar city, provoking thoughtfulness and eliciting in the reader a spirit of discovery.” —Peter Mendelsund, author of What We See When We Read

Elle voulait en finir avec la vie, mais arrivée au purgatoire, elle gagne contre son gré le droit de revenir chez elle, bien vivante. Elle découvre que si rien n''a changé — sa vie morne et monotone, sa profonde solitude — elle voit désormais autour d''elle tous les fantômes des gens morts, à commencer par le sien, à elle, de fantôme. Et la jeune femme de découvrir que cohabiter avec son fantôme a des avantages, et pas tant d‘inconvénients que ça...

Un personnage perd son innocence et doit la retrouver ; un autre amène un prêtre à un pique-nique ; un autre est illustrateur dans un New York fantasmé ; d''autres se parlent sans communiquer... En six histoires, Roman Muradov montre, tout en finesse et en intelligence, qu''on peut, plus que jamais, nourrir une ambition littéraire et faire de la bande dessinée. Jeu, humour, absurde, science-fiction... le registre est large pour celui qui s''est d''abord fait remarquer par son sens marquant et sublime de l''image.

En 1912, Marcel Duchamp quitte Paris pour Munich. Il passera trois mois dans la capitale bavaroise. À son retour, il commence ses premiers ready-made, qui feront sa gloire, mais qui surtout révolutionneront véritablement tout l''art du XXe siècle. De ce séjour, qu''il qualifiera à la fin de sa vie de « théâtre de sa totale libération », nous ne savons rien ou presque. Alors, que s''est-il passé à Munich ? Roman Muradov l''imagine, de manière loufoque, éminemment duchampienne, et graphiquement sublime.

(In a Sense) Lost and Found, the first graphic novel by rising star Roman Muradov, explores the theme of innocence by treating it as a tangible object; something that can be used, lost, and mistreated. Muradov''s crisp, delicate style conjures a world of strange bookstores, absurd conspiracies, and charming wordplay. A surreal tale in the mold of the best American alternative comics, In a Sense retains its distinctly Eastern perspective. Roman Muradov was born in Moscow, Russia. He now resides in San Francisco, California.

In the summer of 1912, Marcel Duchamp took a train to Munich and stayed there for three months. Very little direct knowledge remains about that trip. Immediately afterward, Duchamp gave up on painting and later in his life referred to Munich as the site of his ''complete liberation.'' Roman Muradov''s highly unreliable narrator attempts to reconstruct this period, interrogating from different angles the fundamental futility of retelling another person''s life. The result is a fabulist satire that questions Duchamp''s legacy, his silence and sexuality, and the sources of the work that made him famous. At once meticulously researched and wildly irreverent, The Adventures of Munich in Marcel Duchamp is an anti-biography worthy of the great trickster.

The ink-smeared story of a misplaced illustration set in a Blakean vision of 1940s New York.

"...Masturbatory to say the least, someone left the, redoubled, on the double, voyeuristic to say the least, compulsory, if I can take it, the eye in i, poked in the, reenacted, with an erect and naked member, half-mast, overtime, ur-batory, the O in IOU, story of the I/O, in the rain i don''t, to say the least..."--Publisher''s website.