Pantheon Graphic Library – serie

A brilliant graphic novel adaptation of Raymond Chandler's classic noir tale featuring iconic private eye Philip Marlowe

"Inspired. . . . This trio brings [Chandler's] words to vivid life. . . . A triumph of teamwork."-Air Mail

In 1940s Los Angeles, a sour-faced millionaire hires Philip Marlowe, a hard-boiled, harder-drinking detective, to scare off a suspected gold digger who has gotten her claws into his even wealthier stepson. Marlowe takes the case but quickly discovers that the woman, Harriett Huntress, isn't just after gold: she's playing a long, cold game of revenge

Marlowe forms an alliance with George, the client's chauffeur-cum-bodyguard-cum-fixer. George is a Black, Dartmouth-educated veteran with a sniper's skills and his own agenda, and the two uneasy allies find themselves on the wrong end of a brace of hired killers and an enigmatic casino boss. . . . It quickly becomes clear that Marlowe, sticking his nose where it doesn't belong, is just asking for trouble. But that's the thing. Trouble is his business.

From award-winning novelist Paul Auster comes the graphic adaptation of his deeply beloved series, The New York Trilogy, a postmodern take on detective and noir fiction.

In 1994, Paul Auster's City of Glass was adapted into a graphic novel and became an immediate cult classic, published in over 30 editions worldwide, excerpted in The Norton Anthology of Postmodern Fiction. But City of Glass was only the first novel in a series of books, Auster's acclaimed New York Trilogy, and graphic novel readers have been waiting for years for the other two tales to be translated into comics.

Now the wait is over.

The New York Trilogy is post-modern literature disguised as Noir fiction where language is the prime suspect. An interpretation of detective and mystery fiction, each book explores various philosophical themes. In City of Glass, an author of detective fiction investigates a murder and descends into madness. Ghosts features a private eye named Blue, trailing a man named Black, for a client called White. This too ends with the protagonist's downfall. And in The Locked Room, another author is experiencing writer's block, and hopes to brake it by solving the disappearance of his childhood friend. The second two parts of this trilogy will be appearing in this volume for the very first time as a graphic novel.

Paul Karasik, the mastermind behind the three adaptations, art directed all three books. City of Glass is illustrated by the award-winning cartoonist David Mazzucchielli, the second volume, Ghosts, is illustrated by New Yorker cover artist, Lorenzo Mattotti, and The Locked Room is adapted and drawn by Karasik himself. These adaptations take Auster's sophisticated wordplay and translate it into comicsplay: both highbrow and lowbrow and immensely fun reading.

 Yaichi is a work-at-home suburban dad in contemporary Tokyo; formerly married to Natsuki, and father to their young daughter, Kana. Their lives suddenly change with the arrival at their doorstep of a hulking, affable Canadian named Mike Flanagan, who declares himself to be the widower of Yaichi's estranged gay twin, Ryoji. Mike is on a quest to explore Ryoji's past, and the family reluctantly but dutifully takes him in. What follows is an unprecedented and heartbreaking look at the state of a largely still-closeted Japanese gay culture: how it's been affected by the West, and how the next generation can change the preconceptions about it and prejudices against it.

(Please note: This book is a traditional work of manga, and reads back to front and right to left.) 

This legendary 1978 collection of comics by Art Spiegelman, Pulitzer Prize-winning author of the best-selling Maus, presents the seminal early works that changed how comics are made and appreciated today-now with a new Afterword by the author.

"Some of the smartest criticism of the comics genre ever rendered." -NPR

Innovative, serious, funny, and many decades ahead of its time, Breakdowns is offered here in its entirety: the long-sought-after collection of the artist's comics of the 1970s, along with an introduction almost as long as the book it introduces-and just as autobiographically intimate and experimentally daring.

At once the story of an artist and of his medium, Breakdowns alters the terms of what can be accomplished in a memoir.