
Pittsburgh is now at last back in print in a sturdy softcover edition from New York Review Comics. This edition features heavier, slightly brighter paper – subtly altering color reproduction relative to the hardcover, yet every bit as sharp. Nice job! And as for the book itself, here's our original write-up:
A story that required years of fermentation to arrive at its requisite form, Pittsburgh is a comics meditation on family and identity that unfolds within a complex matrix of time, place and self as it is inscribed within memory. On the surface, it is a memoir of the artist's parents' courtship, marriage and divorce – and its...

Accruing accolades and awards by the bushelful, McBride's novel employs a staccato, jump-cut prose style reminiscent of Samuel Beckett, and puts it to new and original uses in this harrowing coming of age tale
Here's Anne Enright's review in the UK Guardian: http://www.theguardian.com/books/2013/sep/20/girl-half-formed-thing-review
Here's James Woods in The New Yorker: http://www.newyorker.com/magazine/2014/09/29/useless-prayers

Approximate Hellhound, the arrival of which has been highly anticipated by the Copacetic Comics Co., is now standing tall on our trusty CD rack. Listening to this disc for the first time is an experience akin to that of suddenly realizing that the movie you inadvertently ended up watching at three in the morning has you riveted, and you find yourself thinking that it is the most amazing thing you've ever seen. The ten tracks on this discflow like a conversation, each one picking up where the other left off, generating a persuasive musical argument that drives its train of thought to the end of the line. Our favorites include: "Take What...

This Giant-Size Special comic book (or graphic novel, if you prefer), is a mash-up of the famous D¡sn*y funny animal family and Charles Biro's Crime Does Not Pay comic book series that has been created with the "anything goes" spirit of classic underground comix, and that really does the job; it is – amazingly, fantastically, incredibly – successful. Cramming every classic noir trope into one non-stop roller coaster narrative, Michael Mouse is a rollicking radical read that runs through 69 1/2 pages of full color comics, employing a merciless 12-panel grid without let up; there is no pause, no chance to catch your breath; it just goes.
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In the Swarm presents a cogent response to the rising tide of internet inf(l)ected consciousness that is deeply rooted in the European – primarily German – philosophical tradition, but don't let that scare you off. This slim tome, judiciously translated from the original German by Erik Butler, is straightforward and gets right to the point in sixteen concise chapters, each focused on a facet of the problem currently confronting us: thegradual yet seemingly ineluctable erosion of human agency resulting from our ever greater immersion in the sea of information. Written in 2013, this book was clearly ahead of the curve and will impress any...

<<•>> WAREHOUSE FIND <<•>> Much to our amazement, a heretofore unknown secret stash of the original 1995 newspaper edition of Storeyville has been unearthed! Each copy had been sealed in a polypropylene bag and the entire box had been taped up and stored away in a corner where it was eventually forgotten... until now! We haven't seen a copy of this for sale anywhere for years (except for one that was on sale on Amazon for $1000!) so, if this is something you've been thinking about, don't debate about it too long, as there's only this one box, and when it's empty, that's it! A perfect match of form and content, ...

Sometimes, dreams do come true! Here it is, at long last: the first of two volumes collecting the entirety of Steve Ditko's pre-superhero output for Marvel Comics, almost all of which was scripted by Stan Lee. This massive, full color, slightly oversize, hardcover volume – the first of two! – collects a wallopin' 134 (!!!) tales, plus 16 bonus pages, ten of which are high quality reproductions of original pages. It all starts off with a great Roger Stern introduction. Yes!
COLLECTING:JOURNEY INTO MYSTERY (1952) #33, 38, 50-73, STRANGE TALES (1951) #46, 50, 67-91, TALES TO ASTONISH (1959) #1-26, TALES OF SUSPENSE (1959) #1-15, 17-24,...

And what better to follow the latest Kevin H. with than the latest by his longtime associate and fellow St. Louisan, Dan. Z., whose long promised graphic novel debut has at last arrived! Birdseye Bristoe is 72 full color pages of pure Zettwoch: set in a fictional (but perhaps even more authentic for being so) midwestern locale somewhere between St. Louis and Louisville, and filled with cut-away drawings, explanatory diagrams, maps and, of course, page after page of fun-filled comics filled with down home midwestern characters of all ages and stripes, it tells a story of industrial development and technological change that for all it's...

Picking up where the first issue left off, Cold Heat #2 revs it up a few notches and takes us on a whirlwind ride through the dis-united states of the disturbed American psyche. Series artist, Frank Santoro once again refuses to play it safe. This time around he pulls out all the stops and takes the chances that most other artists wouldn't take even if they could. Leaping into the artistic no man's land between the well established borders of pre-existent genres, Santoro combines the propulsive narratives of mainstream American heroic adventure comics, the exaggerated expressiveness of Japanese manga, and the naivete of self-published...
Check it out: the greatest thinker of the Twentieth Century did his thinking... in comics! Food for thought.
'What, precisely, is "thinking"? When, at the reception
of sense-impressions, memory-pictures emerge, this is
not yet "thinking." And when such pictures form series,
each member of which calls forth another, this, too, is
not yet "thinking." When, however, a certain picture
turns up in many such series, then — precisely through
such return — it becomes an ordering element for such
series, in that it connects series which in themselves are
unconnected. Such an element becomes an instrument,
a concept- I think that the transition from free associa-
tion or "dreaming" to thinking is characterized by the
more or less dominating role which the "concept" plays
in it. It is by no means necessary that a concept must
be connected with a sensorily cognizable and reproducible
sign (word); but when this is the case thinking becomes
by means of that fact communicable.’
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