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Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less 2

Acceptable/Fair condition. Book is worn, but the pages are complete, and the text is legible. Has wear to binding and pages, may be ex-library. 1.35

Art Spiegelman, the Pulitzer Prize-winning author of Maus, creator of Wacky Packs and the Garbage Pail Kids, and father of the modern graphic novel (though he’s still demanding a blood test), presents this warts-and-all reproduction of his private sketchbooks and the results are as candid, sharp, and funny as the relentlessly innovative man behind them. Be a Nose! is a rare glimpse into the secret scribblings of an American original.

Book is in NEW condition. 1.35

"Maus I" was the first half of the tale of survival of the author's parents, charting their desperate progress from pre-war Poland Auschwitz. Here is the continuation, in which the father survives the camp and is at last reunited with his wife.

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This well-focused and perceptive analysis of a phenomenon in our popular culture―the new respectability of the comic book form―argues that the comics medium has a productive tradition of telling true stories with grace and economy. It details vividly the outburst of underground comics in the late 1960s and ’70s, whose cadre of artistically gifted creators were committed to writing comic books for adults, an audience they made aware that comic books can offer narratives of great power and technical sophistication. In this study, Joseph Witek examines the rise of the comic book to a position of importance in modern culture and assesses its ideological and historical implications. Jack Jackson, Art Spiegelman, and Harvey Pekar are among the creators whom Witek credits for the emergence of the comic book as a serious artistic medium. As American codes of ethics, aesthetics, and semiotics have evolved, so too has the comic book as a mode for presenting the weightier matters of history. It is safe to claim that comic books are not just for kids anymore.

Originally Music for Piano by Irving Fine, transcribed as Music for Orchestra by Joel Spiegelman. Contents: Prelude * Waltz-Gavotte * Variations *...

Book by Regardie, Israel, Hyatt, Christopher S., Spiegelman, J. Marvin

When Art Spiegelman's Maus-a two-part graphic novel about the Holocaust-won a Pulitzer Prize in 1992, comics scholarship grew increasingly popular and notable. The rise of "serious" comics has generated growing levels of interest as scholars, journalists, and public intellectuals continue to explore the history, aesthetics, and semiotics of the comics medium.Yet those who write about the comics often assume analysis of the medium didn't begin until the cultural studies movement was underway. Arguing Comics: Literary Masters on a Popular Medium brings together nearly two dozen essays by major writers and intellectuals who analyzed, embraced, and even attacked comic strips and comic books in the period between the turn of the century and the 1960s. From e. e. cummings, who championed George Herriman's Krazy Kat, to Irving Howe, who fretted about Harold Gray's Little Orphan Annie, this volume shows that comics have provided a key battleground in the culture wars for over a century. With substantive essays by Umberto Eco, Marshall McLuhan, Leslie Fiedler, Gilbert Seldes, Dorothy Parker, Irving Howe, Delmore Schwartz, and others, this anthology shows how all of these writers took up comics-related topics as a point of entry into wider debates over modern art, cultural standards, daily life, and mass communication.Arguing Comics shows how prominent writers from the Jazz Age and the Depression era to the heyday of the New York Intellectuals in the 1950s thought about comics and, by extension, popular culture as a whole.

The popular Six-Word Memoir® project examines a subject bursting with words: Jewish life. With contributions from machers like Larry David, Jonathan Safran Foer, Henry Winkler, Elizabeth Wurtzel, Gary Shteyngart, Maira Kalman, Walter Mosley, Art Spiegelman, A.J. Jacobs and Ed Koch, along with hundreds of first-time writers, Six-Word Memoirs on Jewish Life offers stories of faith and family, duty and identity, celebration and tsuris that will inform, delight and inspire.

Featuring contributors like Art Spiegelman, Kim Deitch, Skip Williamson, Harry S. Robins, Tony Millionaire, Kaz, Michael Kupperman, Sam Henderson, Glenn Head and many others, plus fiction by Bee Season author Myla Goldberg, Legal Action Comics Volume Two is the eagerly-anticipated sequel to 2001's critically acclaimed comics anthology. Paperback Publisher: Danny Hellman/DDLDF Language: English ISBN-10: 0970936311 ISBN-13: 978-0970936318 Product Dimensions: 9 x 6 x 0.7 inches Shipping Weight: 1.1 pounds Average Customer Review: 4.3 out of 5 stars Amazon Best Sellers Rank: #2,129,409 in Books (See Top 100 in Books)

, 192 pages, cartoonists represented include Shelton and Crumb, also Will Murphy, Art Spiegelman, Bobby London and others, black and white illustrations

Acclaimed as a "quiet triumph"* and a "brutally moving work of art,"** the first volume of Art Spiegelman's Maus introduced readers to Vladek Spiegelman, a Jewish survivor of Hitler's Europe, and his son, a cartoonist trying to come to terms with his father, his father's terrifying story, and History itself. Its form, the cartoon (the Nazis are cats, the Jews mice), succeeds perfectly in shocking us out of any lingering sense of familiarity with the events described, approaching, as it does, the unspeakable through the diminutive. As the New York Times Book Review commented," [it is] a remarkable feat of documentary detail and novelistic vividness...an unfolding literary event."This long-awaited sequel, subtitled And Here My Troubles Began, moves us from the barracks of Auschwitz to the bungalows of the Catskills. Genuinely tragic and comic by turns, it attains a complexity of theme and a precision of thought new to comics and rare in any medium. Maus ties together two powerful stories: Vladek's harrowing tale of survival against all odds, delineating the paradox of daily life in the death camps, and the author's account of his tortured relationship with his aging father.Vladek's troubled remarriage, minor arguments between father and son, and life's everyday disappointments are all set against a backdrop of history too large to pacify. At every level this is the ultimate survivor's tale -- and that too of the children who somehow survive even the survivors.

The Pulitzer Prize-winning Maus tells the story of Vladek Spiegelman, a Jewish survivor of Hitler’s Europe, and his son, a cartoonist coming to terms with his father’s story. Maus approaches the unspeakable through the diminutive. Its form, the cartoon (the Nazis are cats, the Jews mice), shocks us out of any lingering sense of familiarity and succeeds in “drawing us closer to the bleak heart of the Holocaust” (The New York Times).Maus is a haunting tale within a tale. Vladek’s harrowing story of survival is woven into the author’s account of his tortured relationship with his aging father. Against the backdrop of guilt brought by survival, they stage a normal life of small arguments and unhappy visits. This astonishing retelling of our century’s grisliest news is a story of survival, not only of Vladek but of the children who survive even the survivors. Maus studies the bloody pawprints of history and tracks its meaning for all of us.

Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In Graphic Subjects, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman's Maus, David Beauchard's Epileptic, Marjane Satrapi's Persepolis, Alan Moore's Watchmen, and Gene Yang's American Born Chinese.These essays, accompanied by visual examples, illuminate the new horizons that illustrated autobiographical narrative creates. The volume insightfully highlights the ways that graphic novelists and literary cartoonists have incorporated history, experience, and life stories into their work. The result is a challenging and innovative collection that reveals the combined power of autobiography and the graphic novel.

Praised throughout the cartoon industry by such luminaries as Art Spiegelman, Matt Groening, and Will Eisner, this innovative comic book provides a detailed look at the history, meaning, and art of comics and cartooning.

Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In Graphic Subjects, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman's Maus, David Beauchard's Epileptic, Marjane Satrapi's Persepolis, Alan Moore's Watchmen, and Gene Yang's American Born Chinese.These essays, accompanied by visual examples, illuminate the new horizons that illustrated autobiographical narrative creates. The volume insightfully highlights the ways that graphic novelists and literary cartoonists have incorporated history, experience, and life stories into their work. The result is a challenging and innovative collection that reveals the combined power of autobiography and the graphic novel.

Paperback. A memoir of mothers and daughters, traced through four generations, from Paris to New York and back again. More than Nadja Spiegelmans famous father, Maus creator Art Spiegelman, and more than most mothers, hersFrench-born New Yorker art director Francoise Moulyexerted a force over reality that was both dazzling and daunting. As Nadjas body changed and began to whisper to the adults around me in a language I did not understand, their relationship grew tense. Unwittingly, they were replaying a drama from her mothers past. The weight of the difficult stories Francoise told her daughter shifted the balance between them. Nadjas grandmothers memories then contradicted her mothers at nearly every turn, but beneath them lay a difficult history of her own.Nadja emerged with a deeper understanding of how each generation reshapes the past and how sometimes those who love us best hurt us most. Readers will recognise themselves and their families in this moving, heartbreaking memoir. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

For Art Spiegelman, the Pulitzer Prize-winning author of Maus, the terrorist attacks of September 11, 2001 were both highly personal and intensely political. In the Shadow of No Towers, his first new book of comics since the groundbreaking Maus, is a masterful and moving account of the events and aftermath of that tragic day. Spiegelman and his family bore witness to the attacks in their lower Manhattan neighborhood: his teenage daughter had started school directly below the towers days earlier, and they had lived in the area for years. But the horrors they survived that morning were only the beginning for Spiegelman, as his anguish was quickly displaced by fury at the U.S. government, which shamelessly co-opted the events for its own preconceived agenda. He responded in the way he knows best. In an oversized, two-page-spread format that echoes the scale of the earliest newspaper comics (which Spiegelman says brought him solace after the attacks), he relates his experience of the national tragedy in drawings and text that convey—with his singular artistry and his characteristic provocation, 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.