«La gente veniva fucilata e moriva come in passato, ma non necessariamente in quest'ordine». La penna di un grande scrittore - Robert Coover, uno dei maestri della letteratura americana - incontra il genio di Art Spiegelman in un gioiello di satira e trasgressione. In un futuro molto prossimo un poliziotto lotta per conservare la propria umanità tra robot-fattorini, spacciatori di droghe sintetiche e droni assassini.

«La gente veniva fucilata e moriva come in passato, ma non necessariamente in quest'ordine». La penna di un grande scrittore - Robert Coover, uno dei maestri della letteratura americana - incontra il genio di Art Spiegelman in un gioiello di satira e trasgressione. In un futuro molto prossimo un poliziotto lotta per conservare la propria umanità tra robot-fattorini, spacciatori di droghe sintetiche e droni assassini.

Mark Beyer’s inimitable self-taught style—mixing off-kilter imagery and boldly geometric compositions—has been featured in Art Spiegelman’sRAW and on MTV’s Liquid Television, but Agony is its most essential expression. Originally published in 1987, this East VillageCandide is an eccentric, grimly hilarious delight.
 
Amy and Jordan are just like us: hoping for the best, even when things go from bad to worse. They are devoured by fish, beheaded by ghosts, menaced by bears, and hunted by the cops, but still they struggle on, bickering and reconciling, scraping together the rent and trying to find a decent movie. The perfect solace for anxious modern minds, courtesy of one of the great innovators of American comics.

Now if only Amy’s skin would grow back. . .

Nelle pagine di MetaMaus, Art Spiegelman ritorna su Maus, l'opera con cui ha vinto il Premio Pulitzer, un classico che ha modificato la nostra percezione della letteratura, dei fumetti e dell'Olocausto fin da quando fu pubblicato più di venticinque anni fa. L'autore approfondisce qui gli interrogativi spesso evocati da Maus - Perché l'Olocausto? Perché i topi? Perché i fumetti? - e ci regala una nuova opera sul processo creativo. A MetaMaus è allegato un DVD che contiene una copia digitalizzata di Maus (Maus I e Maus II) attraverso cui è possibile accedere a documenti storici, a una miriade di schizzi e taccuini personali di Spiegelman e a un ricchissimo archivio di audiointerviste con suo padre, sopravvissuto ai campi di sterminio.

“[The] artwork will appeal to a broad range of lower-level readers. True to its comic-strip roots…this title is a surefire hit.” – School Library Journal

Jack just got a new toy, and it’s full of surprises. Each time the box pops open, there’s a new and bigger surprise. Is it a silly toy, a scary toy…or something else entirely?

With a limited vocabulary and unlimited imagination, Art Spiegelman applies his out-of-the-box thinking to a book that has all the surprise and bounce of a jack-in-the-box.

Jack, a bunny, receives a Jack-in-the-box as a present and, as they play together, the toy performs antics and gives Jack some unexpected surprises.

The career of a literary and art comic pioneer

In an art career that now spans six decades, Art Spiegelman has been a groundbreaking and influential figure with a global impact. His Pulitzer Prize-winning holocaust memoir Maus established the graphic novel as a legitimate form and inspired countless cartoonists while his shorter works have enormously expanded the expressive range of comics.
Co-Mix: A Retrospective of Comics, Graphics, and Scraps is a comprehensive career overview of the output of this legendary cartoonist, showing for the first time the full range of a half-century of relentless experimentation. Starting from Spiegelman's earliest self-published comics and lavishly reproducing graphics from a host of publications both obscure and famous, Co-Mix provides a guided tour of an artist who has continually reinvented not just comics but also made a mark in book and magazine design, bubble gum cards, lithography, modern dance, and most recently stained glass. By showing all facets of Spiegelman's career, the book demonstrates how he has persistently cross-pollinated the worlds of comics, commercial design, and fine arts. Essays by acclaimed film critic J. Hoberman and MoMA curator and Dean of the Yale University School of Art Robert Storr bookend Co-Mix, offering eloquent meditations on an artist whose work has been genre-defining.

Garbage Pail Kids—a series of collectible stickers produced by Topps in the 1980s—combined spectacular artwork and over-the-top satire. The result was an inspired collaboration between avant-garde cartoonists and humorists including Art Spiegelman, Mark Newgarden, John Pound, Tom Bunk, and Jay Lynch. A new generation of fans continues to embrace this pop-culture phenomenon as Garbage Pail Kids stickers are still being published. Now, for the first time, all 206 rare and hard-to-find images from Series 1 through 5 are collected in an innovative package, along with a special set of four limited-edition, previously unreleased bonus stickers. This exciting follow up to Wacky Packages is guaranteed to appeal to die-hard collectors as well as a new generation of fans.

***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.
 
MetaMaus includes a bonus DVD-R that provides a digitized reference copy of The Complete Maus linked to a deep archive of audio interviews with his survivor father, historical documents, and a wealth of Spiegelman's private notebooks and sketches.
 
Compelling and intimate, MetaMaus is poised to become a classic in its own right.

Mamma e papà regalano a Jack un nuovo giocattolo... Cosa c'è nella scatola? C'è un giocattolo buffo o forse terrificante... oppure qualcosa davvero fuori dal comune! Età di lettura: da 6 anni.

Presents six woodcut stories drawn by the artist that explore some of the prevailing adult themes of his generation.

In this, the first of two volumes collecting all his woodcut novels, The Library of America brings together Lynd Ward’s earliest books, published when the artist was still in his twenties.Gods’ Man (1929), the audaciously ambitious work that made Ward’s reputation, is a modern morality play, an allegory of the deadly bargain a striving young artist often makes with life.Madman’s Drum (1930), a multigenerational saga worthy of Faulkner, traces the legacy of violence haunting a family whose stock in trade is human souls.Wild Pilgrimage (1932), perhaps the most accomplished of these early books, is a study in the brutalization of an American factory worker whose heart can still respond to beauty but whose mind is twisted in rage against the system and its shackles.

The images reproduced in this volume are taken from prints pulled from the original woodblocks or first-generation electrotypes. Ward’s novels are presented, for the first time since the 1930s, in the format that the artist intended, one image per right-hand page, and are followed by five essays in which he discusses the technical challenges of his craft. Art Spiegelman contributes an introductory essay, “Reading Pictures,” that defines Ward’s towering achievement in that most demanding of graphic-story forms, the wordless novel in woodcuts.

In this, the second of two volumes collecting all his woodcut novels, The Library of America brings together Lynd Ward’s three later books, two of them brief, the visual equivalent of chamber music, the other his longest, a symphony in three movements.Prelude to a Million Years (1933) is a dark meditation on art, inspiration, and the disparity between the ideal and the real.Song Without Words (1936), a protest against the rise of European fascism, asks if ours is a world still fit for the human soul.Vertigo (1937), Ward’s undisputed masterpiece, is an epic novel on the theme of the individual caught in the downward spiral of a sinking American economy. Its characters include a young violinist, her luckless fiancé, and an elderly business magnate who—movingly, and without ever becoming a political caricature—embodies the social forces determining their fate.

The images reproduced in this volume are taken from prints pulled from the original woodblocks or first-generation electrotypes. Ward’s novels are presented, for the first time since the 1930s, in the format that the artist intended, one image per right-hand page, and are followed by four essays in which he discusses the technical challenges of his craft. Art Spiegelman contributes an introductory essay, “Reading Pictures,” that defines Ward’s towering achievement in that most demanding of graphic-story forms, the wordless novel in woodcuts.

La storia di una famiglia ebraica tra gli anni del dopoguerra e il presente, fra la Germania nazista e gli Stati Uniti. Un padre, scampato all'Olocausto, una madre che non c'è più da troppo tempo e un figlio che fa il cartoonist e cerca di trovare un ponte che lo leghi alla vicenda indicibile del padre e gli permetta di ristabilire un rapporto con il genitore anziano. Una storia familiare sullo sfondo della più immane tragedia del Novecento. Raccontato nella forma del fumetto dove gli ebrei sono topi e i nazisti gatti.

Disegni, appunti, illuminazioni improvvise. Tre distinti taccuini tenuti insieme da una banda elastica come nell'edizione originale McSweeney's. Il primo, pieno zeppo di schizzi in bianco e nero, è quello che Spiegelman portò alla Fiera del libro di Francoforte nel 1979, mentre Maus era in gestazione. Il secondo, del 1983, contiene molti disegni a colori, abbozzi di storie, visioni di un disegnatore già grande. Il terzo, del 2007, è quello di un artista consacrato e autore della copertina del "New Yorker" dopo l'11 settembre 2001 a cui ha assistito dalla finestra di casa sua. Art Spiegelman è autore di "Maus" e "Maus II", romanzi a fumetti (auto)biografici che hanno rivoluzionato il graphic novel e le modalità di raccontare la Shoah. Attraverso la storia vera del padre Vladek, ebreo polacco sopravvissuto allo sterminio, Spiegelman trasforma i nazisti in gatti e i perseguitati in topi, spogliando la storia dei suoi tratti antropomorfici per lasciarne risuonare la tragedia.

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.

“[The] artwork will appeal to a broad range of lower-level readers. True to its comic-strip roots…this title is a surefire hit.” – School Library Journal
 
Jack just got a new toy, and it's full of surprises. Each time the box pops open, there's a new and bigger surprise. Is it a silly toy, a scary toy…or something else entirely?
 
With a limited vocabulary and unlimited imagination, Art Spiegelman applies his out-of-the-box thinking to a book that has all the surprise and bounce of a jack-in-the-box.

MAUS I - SPIEGELMAN ART - Random USA

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.

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.