Michael DeForge – författare

Razor-sharp short stories from the greatest contemporary comics stylist. Michael DeForge has been dissecting the comics visual language for more than a decade and continues his creative winning streak with his tenth book for D&Q and second collection of short stories, All the Cameras in My Room. The prolific cartoonist s hilarious and horny approach to comics fiction never disappoints. In 'Figure Skating,' a star athlete s impossible feats captivate the world, turning a simple skater s rotation into a catalyst for national paralysis. While in 'Holiday Special,' a narrator tells us about his favorite Christian holiday special that bears an uncanny resemblance to a certain bald-headed-boy-and-his-dog classic. No matter the conceit, characters in All the Cameras in My Room stretch and flatten and spiral around each other and burrow deep into the folds of a reader s brain. Deforge s stories break down how we consume pop culture, interrogate our relationship to star power and recontextualize our nostalgia into a shared mythology, cementing his place as the most consistent and beguiling cartoonist working today.

First Year Healthy purports to be the story of a young woman, recently released from the hospital after an outburst, and her burgeoning relationship with an odd, perhaps criminal Turkish immigrant. In a scant thirty-two pages, working with a vibrant, otherworldly palette of magentas, yellows, and greys, Michael DeForge brings to life a world whose shifting realities are as treacherous as the thin ice its narrator walks on. First Year Healthy is all it appears to be and more: a parable about mental illness, a folk tale about magical cats, and a bizarre, compelling story about relationships. Michael DeForge's singular voice and vision have, in a few short years, rocketed his work to the apex of the contemporary comics canon. Ant Colony was his first book with Drawn and Quarterly: it appeared on the New York Times Graphic Bestseller list and was lauded by the Chicago Tribune, Globe and Mail, and Harper's Magazine. His effortless storytelling and eye for striking page design make each page of First Year Healthy a fascinating puzzle to be unravelled. First Year Healthy is knotty and mysterious - it demands to be read and reread.

Sticks Angelica is, in her own words, 49 years old. Former: Olympian, poet, scholar, sculptor, minister, activist, Governor General, entrepreneur, line cook, head- mistress, Mountie, columnist, libertarian, cellist. After a high-profile family scandal, Sticks escapes to the woods to live in what would be relative isolation were it not for the many animals that surround and inevitably annoy her. Sticks is an arrogant self-obsessed force who wills herself on the flora and fauna. There is a rabbit named Oatmeal who harbours an unrequited love for her, a pair of kissing geese, a cross- dressing moose absurdly named Lisa Hanawalt. When a reporter named, ahem, Michael DeForge shows up to interview Sticks for his biography on her, she quickly slugs him and buries him up to his neck, immobilizing him. Instead, Sticks narrates her way through the forest, recalling formative incidents from her storied past in what becomes a strange sort of autobiography. Deforge s witty dialogue and deadpan narration create a bizarre yet eerily familiar world.Sticks Angelica plays with autobiography, biography, and hagiography to look at how we build our own sense of self and how others carry on the roles we create for them in our own personal dramas.

Richard is a benevolent but tough leader. He oversees everything that happens in the valley, and everyone loves him for it. When Lyle the Raccoon becomes sick, his friends Omar the Spider, Neville the Dog, and Ellie Squirrel take matters into their own hands, breaking Richard s strict rules. Caroline Frog rats them out to Richard and they are immediately exiled from the only world they ve ever known. Michael DeForge s Leaving Richard s Valley expands from a bizarre hero s quest into something more. As this ragtag group makes their way out of the valley, and then out of the park and into the big city, we see them coming to terms with different kinds of community: noise-rockers, gentrification protesters, squatters, and more. DeForge is idiosyncratically funny but also deeply insightful about community, cults of personality, and the condo-ization of cities. These eye-catching and sometimes absurd comics coalesce into a book that questions who our cities are for and how we make community in a capitalist society.

The bodies of citizens and the infrastructure surrounding them is constantly updating. People can t recognize themselves in old pictures, and they wake up in apartments of completely different sizes andshapes. Commuter routes radically differ day to day. The citizens struggle with adaptability as updates happen too quickly, and the changes are far too radical to be intuitive. There is no way to resist the updates are enacted by a nameless, faceless force.Familiar Face s narrator works in the government s department of complaints, reading through citizens reports of the issues they ve had with the system updates. The job isn t to fix anything, but rather to bethe sole human sounding board, a comfort in a system so decidedly impersonal. These complaints aren t mere bug reports they can be anything: existential, petty, just plain heartbreaking.Michael DeForge s ability to find the humanity and emotional truth within the outlandish bureaucracy of everyday life is unparalleled. The signatures of DeForge s work a vibrant color palette, surrealdesigns, and self-aware sense of humor enliven an often-bleak technocratic future. Familiar Face is a masterful and deeply funny exploration of how we define our sense of self, and how we cope when somuch of life is out of our control.

BEST OF THE YEAR NODS FROM THE GLOBE & MAILL, AMAZON.COM, QUILL & QUIRE The Toronto cartoonist's first full-length graphic novel follows a clutch of misfit ants, trying to maintain some semblance of civilization in the shadow of war. Psychedelically gorgeous, uncomfortably funny.-Sean Rogers, Globe & Mail Best Books of 2014 The debut graphic novel from a dazzling newcomer with a singular, idiosyncratic style In the few short years since he began his pamphlet-size comic book series Lose, Michael DeForge has announced himself as an important new voice in alternative comics. His brash, confident, undulating artwork sent a shock wave through the comics world for its unique, fully formed aesthetic. From its opening pages, Ant Colony immerses the reader in a world that is darkly existential, with false prophets, unjust wars, and corrupt police officers, as it follows the denizens of a black ant colony under attack from the nearby red ants. On the surface, it's the story of this war, the destruction of a civilization, and the ants' all too familiar desire to rebuild. Underneath, though, Ant Colony plumbs the deepest human concerns-loneliness, faith, love, apathy, and more. All of this is done with humor and sensitivity, exposing a world where spiders can wreak unimaginable amounts of havoc with a single gnash of their jaws. DeForge's striking visual sensibility-stark lines, dramatic color choices, and brilliant use of page and panel space-stands out in this volume.

A Johnson has his Boswell and every Sticks Angelica has her Michael DeForgeSticks Angelica is, in her own words, 49 years old. Former: Olympian, poet, scholar, sculptor, minister, activist, Governor General, entrepreneur, line cook, headmistress, Mountie, columnist, libertarian, cellist. After a high-profile family scandal, Sticks escapes to the woods to live in what would be relative isolation were it not for the many animals that surround and inevitably annoy her. Sticks is an arrogant self-obsessed force who wills herself on the flora and fauna. There is a rabbit named Oatmeal who harbors an unrequited love for her, a pair of kissing geese, a cross-dressing moose absurdly named Lisa Hanawalt. When a reporter named, ahem, Michael DeForge shows up to interview Sticks for his biography on her, she quickly slugs him and buries him up to his neck, immobilizing him. Instead, Sticks narrates her way through the forest, recalling formative incidents from her storied past in what becomes a strange sort of autobiography.DeForge s witty dialogue and deadpan narration create a bizarre, yet eerily familiar world. Sticks Angelica, Folk Hero plays with autobiography, biography, and hagiography to look at how we build our own sense of self and how others carry on the roles we create for them in our own personal dramas.

Teenage misfits and adolescent rabble-rousing take center stage in this dark coming-of-age taleBig Kids is simultaneously Michael DeForge's most straightforward narrative and his most complex work to date. It follows a troubled teenage boy through the transformative years of high school as he redefines his friends, his interests, and his life path. When the boy's uncle, a police officer, gets kicked out of the family's basement apartment and transferred to the countryside, April moves in. She's a college student, mysterious and cool, and she quickly takes a shine to the boy. The boy's own interests quickly fade away: he stops engaging in casual sex, taking drugs, and testing the limits of socially acceptable (and legal) behavior. Instead, he hangs out with April and her friends, a bunch of highly evolved big kids who spend their days at the campus swimming pool. And slowly, the boy begins to change, too.Eerie and perfectly paced, DeForge's Big Kids muses on the complicated, and often contradictory, feelings people struggle with during adolescence, the choices we make to fit in, and the ways we survive times of change. Like Ant Colony and First Year Healthy, Big Kids is a testimony to the harshness and beauty of being alive.

A MYSTERIOUS, UNSETTLING PARABLE FROM ONE OF NORTH AMERICA'S MOST POPULAR CARTOONISTSFirst Year Healthy purports to be the story of a young woman, recently released from the hospital after an outburst, and her burgeoning relationship with an odd, perhaps criminal Turkish immigrant. In a scant forty-five pages, working with a vibrant, otherworldly palette of magentas, yellows, and grays, Michael DeForge brings to life a world whose shifting realities are as treacherous as the thin ice its narrator walks on. First Year Healthy is all it appears to be and more: a parable about mental illness, a folktale about magical cats, and a bizarre, compelling story about relationships. DeForge s singular voice and vision have, in a few short years, rocketed his work to the apex of the contemporary comics canon. Ant Colony was his first book with Drawn & Quarterly: It appeared on The New York Times Graphic Bestseller List and was lauded by the Chicago Tribune, The Globe and Mail, and Harper s Magazine. His effortless storytelling and eye for striking page design make each page of First Year Healthy a fascinating puzzle to be unraveled. First Year Healthy, knotty and mysterious, demands to be read and reread.

When a group of outcasts have to leave the valley, how will they survive the toxicity of the big city?Richard is a benevolent but tough leader. He oversees everything that happens in the valley, and everyone loves him for it. When Lyle the Raccoon becomes sick, his friends Omar the Spider, Neville the Dog, and Ellie Squirrel take matters into their own hands, breaking Richard s strict rules. Caroline Frog rats them out to Richard and they are immediately exiled from the only world they ve ever known. Michael DeForge s Leaving Richard s Valley expands from a bizarre hero s quest into something more. As this ragtag group makes their way out of the valley, and then out of the park and into the big city, we see them coming to terms with different kinds of community: noise-rockers, gentrification protesters, squatters, and more. DeForge is idiosyncratically funny but also deeply insightful about community, cults of personality, and the condo-ization of cities. These eye-catching and sometimes absurd comics coalesce into a book that questions who our cities are for and how we make community in a capitalist society.

IN A THOROUGHLY MODERNIZED, CONSTANTLY UPDATING SOCIETY, WHERE CAN TRUE CONNECTION BE FOUND?The bodies of citizens and the infrastructure surrounding them is constantly updating. People can t recognize themselves in old pictures, and they wake up in apartments of completely different sizes and shapes. Commuter routes radically differ day to day. The citizens struggle with adaptability as updates happen too quickly, and the changes are far too radical to be intuitive. There is no way to resist the updates are enacted by a nameless, faceless force. Familiar Face s narrator works in the government s department of complaints, reading through citizens reports of the issues they ve had with the system updates. The job isn t to fix anything, but rather to be the sole human sounding board, a comfort in a system so decidedly impersonal. These complaints aren t mere bug reports they can be anything: existential, petty, just plain heartbreaking. Michael DeForge s ability to find the humanity and emotional truth within the outlandish bureaucracy of everyday life is unparalleled. The signatures of DeForge s work - a vibrant color palette, surreal designs, and self-aware sense of humor - enliven an often-bleak technocratic future. Familiar Face is a masterful and deeply funny exploration of how we define our sense of self, and how we cope when so much of life is out of our control.

One of the most inventive and prolific cartoonists working today."e;-VultureIn the past ten years, Michael DeForge has released eleven books. While his style and approach have evolved, he has never wavered from taut character studies and incisive social commentary with a focus on humor. He has deeply probed subjects like identity, gentrification, fame, and sexual desire. In No Hell, an angel s tour of the five tiers of heaven reveals her obsession with a haunting infidelity. In Raising, a couple uses an app to see what their unborn child would look like. Of course, what begins as a simple face-melding experiment becomes a nightmare of too-much-information where the young couple is forced to confront their terrible choices. Recommended for You is an anxious retelling of our narrator s favorite TV show a Purge-like societal collapse drama as a reflection of our desire for meaning in pop culture. Each of these stories shows the inner turmoil of an ordinary person coming to grips with a world vastly different than their initial perception of it. The humor is searing and the emotional weight lingers long after the story ends. Heaven No Hell collects DeForge s best work yet. His ability to dig into a subject and break it down with beautiful drawings and sharp writing makes him one of the finest short story writers of the past decade, in comics or beyond. Heaven No Hell is always funny, sometimes sad, and continuously innovative in its deconstruction of society.

Take flight to this post-apocalyptic utopia filled with birds. Long after the demise of humankind, birds roam freely around a new earth complete with fruitful trees, sophisticated fungal networks, and an enviable socialist order. The universal worm feeds all, there are no weekends, and economics is as fantastical a study as unicorn psychology. No concept of money or wealth plagues the thoughts of these free-minded birds. Instead, there are angsty teens who form bands to show off their best bird song and other youngsters who yearn to become clothing designers even though clothes are only necessary during war. (The truly honourable professions for most birds are historian and/or librarian.) These birds are free to crush on hot pelicans and live their best lives until a crash-landed human from the moon threatens to change everything. Michael DeForge s post-apocalyptic reality brings together the author s quintessential deadpan humour, surrealist imagination, and undeniable socio-political insight. Appearing originally as a webcomic, Birds of Maine follows DeForge s prolific trajectory of astounding graphic novels that reimagine and question the world as we know it. His latest comic captures the optimistic glow of utopian imagination with a late-capitalism sting of irony.

The post-alien abduction trauma memoir we ve all been waiting for. 'Ah, there s that famous lip quiver!' says Jackie s abductor and student. Jackie has been determined to be the saddest living person in the entire world by a mysterious team of alien abductors. His earthly musical celebrity is nothing compared to his emotional superstar status in the eyes of these curious and peculiar shape-shifters. Jackie is forced to perform his sadness over and over again on command, so his captors can study and master this very puzzling, very human emotion. Until just like that, Jackie is returned to his old life. Trying to comprehend what has happened, he joins a support group. It s a sea of conspiracy theorists, emotional vampires, and simpatico real abductees. As each person tells their story, he realizes he may never know. Holy Lacrimony is classic DeForge oscillating between shockingly dirty, casually funny and earnestly engaged in the socio-politics of his fictive worlds. Part abstract shape blending and part hieroglyphic storytelling, each image is a discrete and tightly designed object of beauty that never loses the forward motion of the best personal cartooning. DeForge continues to prove that he s the single most innovative and empathetic cartoonist in the past twenty years.

The post-alien abduction trauma memoir we’ve all been waiting for“Ah, there’s that famous lip quiver!” says Jackie’s abductor and student. Jackie has been determined to be the “saddest living person in the entire world” by a mysterious team of alien abductors. His earthly musical celebrity is nothing compared to his emotional superstar status in the eyes of these curious and peculiar shape-shifters. Jackie is forced to perform his sadness over and over again on command, so his captors can study and master this very puzzling, very human emotion. Until just like that, Jackie is returned to his old life. Trying to comprehend what has happened, he joins a support group. It’s a sea of conspiracy theorists, emotional vampires, and simpatico “real” abductees. As each person tells their story, he realizes he may never know.Holy Lacrimony is classic DeForge–oscillating between shockingly dirty, casually funny and earnestly engaged in the socio-politics of his fictive worlds. Part abstract shape blending and part hieroglyphic storytelling, each image is a discrete and tightly designed object of beauty that never loses the forward motion of the best personal cartooning. DeForge continues to prove that he’s the single most innovative and empathetic cartoonist in the past twenty years.