And seeing as we're on the subject of Japan, now's a good time to point out that this clever, sexy and artistically adventurous graphic novel -- which is credited with initiating "nouvelle manga," a sort of hybrid of French Bande Dessinne and Japanese Manga, when it was initially released in 2001 -- is back in print and once again on our shelves.Regardless of whether or not there is such a thing as "nouvelle manga," Yukiko's Spinach is an original, engaging and rewarding work that, while somewhat scopophilic and objectifying in its visual representation of women, and echoing anachronistic imperial attitudes that smack of orientalism, nevertheless captures a certain je ne sais quoi about our global village at the millenium.

Years in the making, Bertozzi's graphic novel portrayal of the Parisian art scene of "1907" (really, more like a collapsed 1903 - 1913) is a fine work which we heartily recommend to all those who enjoy the finer things in life.  Pablo Picasso, Georges Braque, Henri Matisse, Gertrude & Leo Stein, Alice B. Toklas, Erik Satie and Guillaume Apollinaire are among the lead characters in this sprawling Altmanesque drama. The fictional conceit here is that there is a deranged killer stalking the art scene (Think From Hell, only set in Paris instead of London). The mystery of the killer's identity and motive forms the core of the plot propelling the narrative forward (and makes for many flights of fancy), but is, in the end, merely a pretense to bring us up close and personal with the intimate lives of this close knit set of fascinating historical figures that embodied what many consider to be the most significant art scene of the 20th century.The action takes place right at the critical moment when the artists' work was reaching critical mass, and it is clear that the true mystery we should be focusing our attention on is that of the nature, means and methods of artistic creativity. Bertozzi, previously best known for his solo title, Rubber Necker,  has been honing his comics skills in print for over a decade, and it is with The Salon that he at last reaps the harvest of his labors. The Salon is a bawdy, entertaining tale that nourishes the mind as well as the spirit. Bertozzi's compositions, pacing and historical research all give strong evidence of sustained focused work. His renderings are pleasing to the eye: he has an ink brush style that falls about half way between that of Paul Pope and James Sturm (both of whom, fittingly, provide back cover accolades). The most intriguing aspect of Bertozzi's art here is its color scheme. The palette of each page of art is limited to two colors, but this two-color palette shifts and jumps across a set range of colors and combinations, all of which are flat and printed on flat white paper to good effect, and each of which relates in some way to the plot, themes, and/or mood of the story. Coloring in comics is too often given short shrift, and it's appropriate that it is given the attention it deserves in a work devoted to a group of painters for whom color concerns were central (even when, as in Braque's case, one is moving away from color).The Salon is published under St Martin's Griffin imprint to whom we offer our thanks for publishing this fine work and our congratulations on their perspicacity.

Speaking of legacies, few can match that of Emma Goldman.  Born in Russia,  joining the mass, late-19th century emigration to the United States as a teen, and then deported back to Russia just as the Bolshevik revolution was tranforming it into the Soviet Union, the life of Emma Goldman is storied indeed -- a perfect choice for a graphic biography.  And who better to accomplish this task than Sharon Rudahl.  One of the founders of the feminist wing of underground comics, Rudahl has been producing progressive, politically aware comics for well over thirty years, and without any doubt, A Dangerous Woman is her most significant work yet.  An engaging tale of an inspiring woman, this graphic biography will leave its readers with a sense of awe at this amazing life lived to the limit and far ahead of its time.

This 102 page pantomime graphic novel is an ambitious allegory in which foxes and bunnies are enlisted by Hartzell to represent a fundamental duality in society.  The fairly complex narrative successfully relates a self-doubting fox and his attempt to bridge the gap that ends in a change of allegiance, all told images with no text whatsoever, quite an achievement when you stop and think about it.