Critical Cartoons – serie

EISNER AWARD WINNER | Best Academic/Scholarly Work About Comics | 2019One of the most influential women in independent comics, Julie Doucet, receives a full-length critical overview from a noted chronicler of independent media and critical gender theorist. Grounded in a discussion of mid-1990s media and the discussion of women’s rights that fostered it, this book addresses longstanding questions about Doucet’s role as a feminist figure, master of the comics form, and object of masculine desire. Doucet’s work is hilarious, charming, thoughtful, brilliant, and challenging, even three decades on.Anne Elizabeth Moore is an award-winning journalist, bestselling comics anthologist, and internationally lauded cultural critic. Her most recent book, Body Horror, is on the Nonfiction Shortlist for the 2017 Chicago Review of Books Nonfiction Award, was named a Best Book of 2017 by the Chicago Public Library, and was nominated for the 2018 Lammys. She teaches at the School of the Art Institute of Chicago and the College for Creative Studies. She was born in Winner, SD, and resides in Detroit with her cat.Praise for Body Horror:“[Body Horror is] scary as fuck and liberating. . . . Moore connects the dots that you did not even think were on the same page.” —Viva la Feminista

Brian Evenson delves deeply into the pages of Chester Brown's (Louis Riel, Paying for It) seminal comic-book Yummy Fur, from its beginnings as a mini comic to its afterlife in the graphic novels it spawned. Brian's comics archaeology excavates the discarded fragments of Brown's masterpiece Ed The Happy Clown, examines the never re-printed adaptions of the Gospels, considers the juxtaposition of religion and absurdism, and meditates on the pleasures of reading serialized pamphlet comic books. The book also features a new interview with Chester Brown, shining a new spotlight on this important work. Brian Evenson is the author of eleven prize-winning books of fiction, including The Open Curtain, Last Days, Windeye, and Immobility. His work has been translated into over a dozen languages. He lives and works in Providence, Rhode Island, where he teaches at Brown University.

From 1942 to his retirement in 1966, Carl Barks drew Donald Duck comic books (the seventh greatest comic of the twentieth century according to The Comics Journal) for Walt Disney. He took what should have been a bland franchise and turned it into a classic of comics. Drawing on his own experiences (most notably a brief stint as a chicken farmer), Barks went to create a character who was remarkable ...for not being remarkable. In his pursuit of a good job, his boredom with suburban life, his temper, his squabbles with neighbors, and his resolve in the face of his many failures, Barks's Donald Duck was truly your average American. Peter Schilling, Jr. is the author of The End of Baseball and writes about film and the arts for a variety of publications. He has been reading and studying Carl Barks's entire catalog since he was a child.