Imparare a contare è difficilissimo, per fortuna George sa come fare! Quando la mamma chiede a George quanto fa uno più uno, due più due e tre più tre, pur di non mettersi a contare George preferirebbe fare di tutto: mangiare la pappa, fare una passeggiata, schiacciare un pisolino... E proprio in sogno lo attende un'avventura pazza e coloratissima piena di numeri... e di vecchi amici. Dall'autore pluripremiato di 'Abbaia, George', un piccolo capolavoro di illustrazione e umorismo per imparare a contare senza nemmeno rendersene conto! Età di lettura: da 3 anni.

Julie vuole un cane, è il suo sogno più grande. I genitori, però, pensano che sia troppo piccola per occuparsene, quindi ripiegano su un gatto. Poi Julie riesce a portare a casa un criceto, un pesce non proprio simpatico, una tartaruga,un paguro, un gerbillo... finché la sua stanza non si trasforma in un vero e proprio zoo! Età di lettura: da 7 anni.

A Bay City, una brulicante metropoli all'ombra della vicina Hollywood, si consuma un'intricata faida tutta al femminile. Annie è un'adolescente che odia sua madre Elsie, una vedova al servizio di un detective caduto nella rete di Mae, una femme fatale sulle tracce di due donne misteriose. I loro cammini si intrecciano lungo una decade di veleni, incomprensioni e misteriose sparizioni che attraversano l'America degli anni Trenta fino alla Seconda guerra mondiale, scatenando una battaglia a suon di revolverate, rivelazioni shock e mazze da baseball. In un turbinio di capovolgimenti di fronte e colpi di scena, le cinque protagoniste e i loro folli comprimari - un pugile ballerino, un commerciante comunista, un aspirante killer e molti altri ancora - danzano sulle tavole di Feiffer, un maestro del fumetto che in 'Kill my mother' ha preso le atmosfere del cinema noir e dei romanzi di Raymond Chandler per fonderle nel suo inimitabile stile ironico e tagliente.

Adding to a legendary career that includes a Pulitzer Prize, an Academy Award, Obie Awards, and Lifetime Achievement Awards from the National Cartoonist Society and the Writers Guild of America, Jules Feiffer now presents his first noir graphic novel. Kill My Mother is a loving homage to the pulp-inspired films and comic strips of his youth. Channeling Eisner's The Spirit, along with the likes of Hammett, Chandler, Cain, John Huston, and Billy Wilder, and spiced with the deft humor for which Feiffer is renowned, Kill My Mother centers on five formidable women from two unrelated families, linked fatefully and fatally by a has-been, hard-drinking private detective.As our story begins, we meet Annie Hannigan, an out-of-control teenager, jitterbugging in the 1930s. Annie dreams of offing her mother, Elsie, whom she blames for abandoning her for a job soon after her husband, a cop, is shot and killed. Now, employed by her husband’s best friend—an over-the-hill and perpetually soused private eye—Elsie finds herself covering up his missteps as she is drawn into a case of a mysterious client, who leads her into a decade-long drama of deception and dual identities sprawling from the Depression era to World War II Hollywood and the jungles of the South Pacific.Along with three femme fatales, an obsessed daughter, and a loner heroine, Kill My Mother features a fighter turned tap dancer, a small-time thug who dreams of being a hit man, a name-dropping cab driver, a communist liquor store owner, and a hunky movie star with a mind-boggling secret. Culminating in a U.S.O. tour on a war-torn Pacific island, this disparate band of old enemies congregate to settle scores.In a drawing style derived from Steve Canyon and The Spirit, Feiffer combines his long-honed skills as cartoonist, playwright, and screenwriter to draw us into this seductively menacing world where streets are black with soot and rain, and base motives and betrayal are served on the rocks in bars unsafe to enter. Bluesy, fast-moving, and funny, Kill My Mother is a trip to Hammett-Chandler-Cain Land: a noir-graphic novel like the movies they don’t make anymore.

Rupert has a big secret. When his owner, Mandy, is fast asleep, he likes to slip on her dancing shoes and dance the night away. Then one night Mandy catches Rupert in the act. She’s not upset; she’s thrilled! And she’s determined to give Rupert dancing lessons so he can hone his talent. Rupert is horrified. Lessons are for dogs. Cats like to do things their own way. Dismayed, he loses all interest in dancing and goes into hiding. But Mandy comes up with the perfect plan to get Rupert dancing again . . .

A Michael di Capua Book

Adding to a legendary career that includes a Pulitzer Prize, an Academy Award, Obie Awards, and Lifetime Achievement Awards from the National Cartoonist Society and the Writers Guild of America, Jules Feiffer now presents his first noir graphic novel. Kill My Mother is a loving homage to the pulp-inspired films and comic strips of his youth. Channeling Eisner's The Spirit, along with the likes of Hammett, Chandler, Cain, John Huston, and Billy Wilder, and spiced with the deft humor for which Feiffer is renowned, Kill My Mother centers on five formidable women from two unrelated families, linked fatefully and fatally by a has-been, hard-drinking private detective.As our story begins, we meet Annie Hannigan, an out-of-control teenager, jitterbugging in the 1930s. Annie dreams of offing her mother, Elsie, whom she blames for abandoning her for a job soon after her husband, a cop, is shot and killed. Now, employed by her husband’s best friend—an over-the-hill and perpetually soused private eye—Elsie finds herself covering up his missteps as she is drawn into a case of a mysterious client, who leads her into a decade-long drama of deception and dual identities sprawling from the Depression era to World War II Hollywood and the jungles of the South Pacific.Along with three femme fatales, an obsessed daughter, and a loner heroine, Kill My Mother features a fighter turned tap dancer, a small-time thug who dreams of being a hit man, a name-dropping cab driver, a communist liquor store owner, and a hunky movie star with a mind-boggling secret. Culminating in a U.S.O. tour on a war-torn Pacific island, this disparate band of old enemies congregate to settle scores.In a drawing style derived from Steve Canyon and The Spirit, Feiffer combines his long-honed skills as cartoonist, playwright, and screenwriter to draw us into this seductively menacing world where streets are black with soot and rain, and base motives and betrayal are served on the rocks in bars unsafe to enter. Bluesy, fast-moving, and funny, Kill My Mother is a trip to Hammett-Chandler-Cain Land: a noir-graphic novel like the movies they don’t make anymore.

The long-lost comic strip masterpiece byCrockett Johnson,legendary children’s book author (Harold and the PurpleCrayon, TheCarrot Seed), collected in full and designed bygraphic novelist and Barnaby superfan Daniel Clowes (GhostWorld, Wilson).Vol. 2 collects the years 1944-1945 of 5-year-old Barnaby Baxter and his Fairy Godfather J.J. O’Malley’smisadventures.The cigar-chomping, bumbling con-artistand fast-talker O’Malley takes Barnaby on a trip to D.C. to serve histerm in Congress. Also, Gus the Ghost and O’Malley follow theBaxters to their seaside cottage,enlisting Barnaby to join them on a treasure hunt. Plus Wall St., Erminehunters, soapsalesmen and more!Adored by all ages, Barnaby’s deftbalance of fantasy, timeless humor and elegant cartooning will delight even themostsophisticated reader (Chris Ware (Building Stories) loves it), much as it did inits original run, attracting fans as diverse as Dorothy Parker, Charles Schulz,W.C.Fields, Gardner Rea, Milton Caniff,Rockwell Kent and Louis Untermeyer.

Jacob is in a hurry—a really big hurry—to get to the store and buy the toy he’s always wanted. Along the way, people keep slowing him down to ask him questions about his eye patch. It’s natural to have questions when someone looks different . . . but do they have to ask right now?

A baby—finally—falls asleep with the rest of the world in this soothing picture book from Kate and Jules Feiffer.

And the sun said,

“I've gone for the day.

When you wake up,

I'll be back to play.”

Even though the stars are out and the moon is bright, the baby says, “No, go, sleep!” But as the world around the baby gradually goes to sleep—first the sun, then the moon, then the sheep, tree, and owl—the baby finally, finally, finally falls asleep too. Lyrically written, this lulling text, paired with soothing art, will put even the youngest reader in the mood to visit dreamland.

It has been fifty years—and millions of readers—since the world was first introduced to Milo and his adventures in the Lands Beyond with Tock, the Humbug, and the captive princesses Rhyme and Reason.
Now we have a remarkable 50th anniversary edition to honor this universally adored and deeply influential novel.  This special edition will include:

   • Gorgeous packaging that features the classic original art stamped and debossed on the case with a transparent acetate jacket.
   • Brief essays from esteemed authors, educators, and artists, including Philip Pullman, Suzanne Collins, Jeanne Birdsall, Mo Willems, and several others.
   • Photos of the author and illustrator at the time of writing and today on the two-color endpapers.
   • The 35th anniversary essay by Maurice Sendak.
   • The complete text of the book.

A perfect gift for longstanding fans and lucky new readers, the 50th anniversary edition of The Phantom Tollbooth is a book to cherish.

The Phantom Tollbooth is a universally beloved childhood classic. In the 50 years since its original publication, millions of children have breathlessly followed Milo's adventures in the Lands Beyond.

Now Leonard Marcus, a nationally acclaimed writer on children's literature, has created a richly annotated edition of this perennial favorite. Marcus's expansive annotations include interviews with the author and illustrator, illuminating excerpts from Juster's notes and drafts, cultural and literary commentary, and Marcus's own insights on the book. The Annotated Phantom Tollbooth also includes an introduction that shares the fascinating background on the book's publication—Juster and Feiffer met as young neighbors in Brooklyn, New York, and thus began a fortuitious collaboration on a project that would become an instant classic—as well as its enduring place in the world of children's literature.

The Annotated Phantom Tollbooth is the perfect way to honor a classic and will be welcomed by young readers and fans of all ages.

Children, octogenarians, and everyone in between know the work of William Steig, the beloved cartoonist and award-winning children's book author whose work graced the covers and pages of the New Yorker for more than 70 years. In Cats, Dogs, Men, Women, Ninnies & Clowns: The Lost Art of William Steig, Jeanne Steig uncovers more than 450 never-before-published cartoons by her husband and provides personal insight and anecdotes about his work and her relationship with Bill, shedding new light on this celebrated genius.

Praise for Cats, Dogs, Men,Women, Ninnies & Clowns:

“What a splendid gift it would be if the works tearing up the best-seller lists weren't that of a Stieg Larsson, but a Steig, William.”

—New York Times The Moment blog

“Pure pleasure from cover to cover”

—Booklist

“The book details a great character, and does so with a remarkable charm. Highly recommended for all interested in comic history and everyone who likes to look on the lighter side of life.”

—Complex.com

Know someone who's starting school? Getting a new job? Going to the in-laws' for the first time? For anyone on the brink of something scary, this gift edition of a hilarious classic is the perfect antidote.

You're skating downhill, but you don't know how to stop. You're having your hair cut, and you suddenly realize . . . they're cutting it too short. There's no question about it: some things are scary. And never have common bugaboos been exposed with more comic urgency than in this masterful mix of things horrible and humiliating, monstrous or merely unsettling. Now in a compact edition with a new cover - and a bookplate that lets gift-givers specify the occasion - Florence Parry Heide's witty text and Jules Feiffer's over-the-top illustrations will get even the most anxious recipients laughing, while reassuring them (no matter how old they are) that they're not alone in their fears.


From the Hardcover edition.

Wishful thinking and a wonderful daughter-and-dad rapport drive this charming collaboration between Kate Feiffer and her father, Jules Feiffer.

Sadie has wanted to go the zoo forever, but something always gets in the way. Not today! Today they are finally on their way, and nothing can stop them - not a broken arm or a lost dog or a surprise visit. Not even her dad's observation: 'Sadie, it's raining.' Because when Sadie looks out her window, not only is it not raining on her side of the car, the sun is shining and people are watering their lawns and wearing sunglasses. Even when the road on Dad's side starts looking more like a river, Sadie can barely see a raindrop fall on her side of the car. This warmhearted tale of a child's optimism and a father's loving patience is guaranteed to tickle the funny bone, no matter the weather.

The award-winning cartoonist, playwright, and author delivers a witty, illustrated rendition of his life, from his childhood as a wimpy kid in the Bronx to his legendary career in the arts.

 A gifted storyteller who has delighted readers and theater audiences for decades, Jules Feiffer now turns his talents to the tale of his own life.

 Plagued by learning problems, a controlling mother, and a debilitating sense of fear, Feiffer embarked on his first cartoon apprenticeship at the age of seventeen, emboldened only by a passion for success and an aptitude for failure. He vividly recalls those transformative years working under the legendary Will Eisner, and later, after he was drafted into the army, his evolution from “smart-ass kid into an enraged satirist.” Backing into Forward also traces Feiffer's love life, from a doomed hitchhiking trip to reclaim his high-school sweetheart to losing his virginity in Greenwich Village, and his road to marriage and fatherhood.

 At the center of this journey is Feiffer's prolific creativity. In dazzling detail, he recounts the birth of his subversive graphic novella Munro, his entrée into New York's literary salons, collaborations with film greats Mike Nichols, Robert Altman, and Jack Nicholson, and other major turning points. Brimming with wry punch lines, slices of Americana, and pithy social commentary, Backing into Forward charts Feiffer's rise as an unlikely and incisive provocateur during the conformist fifties and the Vietnam and Civil Rights sixties and seventies.

Che succede a George? Invece di abbaiare miagola, starnazza, grugnisce... Il veterinario riuscirà a fare qualcosa per lui? Età di lettura: da 3 anni.

Calling all puppies!

The White House is looking for a pet!

When word spreads far and wide around the globe that the First Family is looking for a pet, animals of all sorts want the part: puppies from Egypt, India, and France; a Neapolitan mastiff from Maryland; and even a kitten, a guinea pig, skunks, turtles, and a raccoon.

Which puppy will be chosen?

Pulitzer prize winner Jules Feiffer teams up with his daughter Kate to tell a warmhearted tale of a worldwide competition to be the perfect pet!

'My aim was to take the Robert Benchley hero and launch him into the Age of Freud.' —Jules Feiffer

In 1956, a relatively unknown cartoonist by the name of Jules Feiffer started contributing a strip to the only alternative weekly published in the US, a small radical newspaper called The Village Voice. It was originally titled Sick Sick Sick, but Feiffer changed the name to, simply, Feiffer, because he got tired of explaining that the title referred to the society he was commenting on, not the nature of his humor, which, he insisted, was not sick.

Politically, the '50s was dominated by the insipid Presidency of Dwight D. Eisenhower; the backwash of Joe McCarthy; and the Cold War, which was in full swing. Culturally, the Beats were revolutionizing literature, Marlon Brando was changing the face of acting, and Elvis Presley was altering the public's perception of pop music. The post-war suburban bliss of the country was being challenged by sociologists and economists in books like The Lonely Crowd, The Other America, and The Afflulent Society. The civil rights movement was gaining momentum. Camelot was just around the corner, and would be shattered by the assassinations of JFK, RFK, and MLK. The Vietnam War would polarize the country. It was into this scrambled political-cultural climate that Jules Feiffer flung himself full throttle for the next ten years.

His strip tackled just about every issue, private and public, that affected the sentient American: relationships, sexuality, love, family, parents, children, psychoanalysis, neuroses, presidents, politicians, media, race, class, labor, religion, foreign policy, war, and one or two other existential questions. It was the first time that the American public had been subjected to a weekly dose of comics that so uncompromisingly and wittily confronted individuals' private fears and society's public transgressions. Explainers is the first of four volumes collecting Feiffer's entire run of weekly strips from The Village Voice. This edition contains approximately 500 strips originally published between 1956 and 1966 in a brick-like landscape hardcover format.

Henry

wanted

one thing

in life.

He wanted

a tail.

All the other dogs

he knew had tails.

Grady, a black Labrador,

had a great big black tail.

Pip, a pug, could do

tricks with her tail.

Larry had a big

puffy ball tail....

WHAT WAS

HENRY TO DO?

A satirical novel about the downfall of a narcissistic lothario.

Jules Feiffer's first satirical novel follows the humorous, existential rise and fall of a narcissistic lothario, Harry, from influential high-society hanger-on to suicidal cipher.

Harry is 'blessed' by his family's endless bounty of love and hope, raised to believe he is the embodiment of perfectionbeautiful, infallible, irresistible. So great are their expectations that he will provide for them in the future that he is given everything he could ever need. He is kept comfortable and protected at every step of his childhood: 'The Harry Fund' is established by his relatives to ensure that he need not worry about money in his younger years, as they are certain the returns on this 'investment' will be exponential.

Harry, of course, develops an extraordinarily 'healthy' ego. Everyone else is so focused on his development that he can only focus on himself as well. Maturing into adulthood, he gorges on the love and attention of others while never reciprocating. Those around him, in their insecurity, find this terribly attractiveespecially women. The physical beauty and aloofness he radiates appears as strength and Harry finds he can use women to maintain his decadent lifestyle in the midst of New York elite social circles. When one woman can no longer serve him, he simply moves on to the next; burning through their money with abandon.

Feiffer's brilliant modern fable comments less on the anomie of narcissism and more on the insecure desire of the world to find a charismatic messiah. Persuaded to become the attractive face on an idealistic political movement, Harry, finally, realizes the immense power and effect he can have on others. He also realizes that he has not truly experienced and that he is incapable of human connectedness. The novel reaches it crescendo when Harry attempts to leave his oblivious, self-obsessed ways behind: he begins to lose himselfhis entire personality shatters; his looks begin to fail; women reject him!

Originally published in 1963, Harry the Rat With Women is a typically scathing satirical tour de force in the tradition of Little Murders and The White House Murder Case, a wry, hilarious commentary on the American public's seemingly endless love affair with chiselers and ratsmore relevant now than ever.

Liza Donnelly, herself a renowned cartoonist with The New Yorker for more than twenty years, has written this in-depth celebration of the rich history of women's humor and the women cartoonists who have graced the pages of the famous magazine from the Roaring Twenties to the present day.
In addition to being an anthology of funny, poignant, and entertaining cartoons, Funny Ladies offers a unique examination of twentieth-century American history as it relates to women. Donnelly explores how, using cartoons as mirrors on society, it is easy to trace women's roles in society by seeing how these women voiced their opinions and expressed their concerns on key social issues of the time. Early innovators in the twenties and thirties, like Helen Hokinson and Barbara Shermund, depicted women as working and independent, yet by the fifties they, and other cartoonists, returned to perpetuating existent stereotypes of women. However, beginning with the second wave of feminism in the 1970s and continuing to the present, female cartoonists, like Roz Chast and Liza Donnelly, are no longer confined to 'female' subject matter but rather are able to show the world around them in their own human voice.