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The first critical retrospective of the work of the reclusive Spider-Man co-creator

In the wake of the astonishing success of Sam Raimi's three Spider-Man movies, Steve Ditko has become known as the co-creator, with Stan Lee, of the early 1960s character that helped propel Marvel Comics' popularity on college campuses and gave it much of its cultural cachet throughout that decade. But, in the context of Steve Ditko's 50-year career in comics, his creative involvement with Spider-Man is merely the tip of the iceberg.

Ditko is known among the cartooning cognoscenti as one of the supreme visual stylists in the history of comics, as well as the most fiercely independent cartoonist of his generation. His unique style and innovative spatial designs moved from the imaginatively hallucinatory landscapes of Dr. Strange to the almost plebeian earthiness of The Amazing Spider-Man.

Ditko began his career in the 1950s drawing comics for the notorious low-budget Charlton Comics (the Roger Corman Productions of the comics industry) where he developed his craft on various genre titles. He started working for Stan Lee at Marvel Comics in 1958, churning out monster/horror stories, until he was conscripted to work on Marvel's new super-hero line, for which he provided the visual conceptions of The Hulk, Spider-Man, and Dr. Strange, and plotted and drew these characters' adventures between 1962 and 1966. By 1966, Spider-Man had become a pop culture icon, and it was then that Ditko quit drawing the character over mysterious circumstances that will, for the first time, be investigated here.

He immediately created his Ayn Rand-inspired character, Mr. A, whose first story appeared in Witzend, a black-and-white pre-underground independent comics magazine edited and published by Wally Wood, another talented stylist who chafed under the constraints of the mainstream comics publishers of the time. Ditko went on to work at various publishing companies such as DC Comics, Warren Publishing, and even Marvel Comics (albeit steadfastly refusing to ever draw Spider-Man again), writing and drawing his didactic Mr. A stories, relentlessly extolling the philosophical precepts of Ayn Rand, and, more recently, bitter visual jeremiads against the moral status quo of the comics industry.

Strange & Stranger: The World of Steve Ditko is a coffee table art book tracing Ditko's life and career, his unparalleled stylistic innovations, his strict adherence to his own (and Randian) principles, with lush displays of obscure and popular art from the thousands of pages of comics he's drawn over the last 55 years..
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A major new graphic novel from a major new talent.

The Bottomless Belly Button is a comedy-drama that follows the dysfunctional adventures of the Loony Family.

After 40-some years of marriage, Maggie and David Loony shock their children with their announcement of a planned divorce. But the reason for splitting isn't itself shocking: they're "just not in love any more." The announcement sparks a week long Loony family reunion at Maggie and David's creepy (and possibly haunted) beach house.

The eldest child, Dennis, struggles with his parents' decision while facing difficulties of his own in his recent marriage. Believing that his parents are hiding the true reasons behind their estrangement, Dennis embarks on a quest to discover the truth and searches through clues, trap doors, and secret tunnels in attempt to find an answer. Claire, the middle child, is a single mother whose 16-year-old daughter, Jill, is apathetic to the divorce but confounded by Claire and troubled by her own "mannish" appearance. The youngest child, Peter, is a hack filmmaker suffering from paralyzing insecurities who establishes an unorthodox romance with a mysterious day care counselor at the beach.

In a six-day period rich with atmospheric sequences, these characters stumble blindly around one another, often ignoring their surroundings and consumed by their own daily conflicts. Visually, Shaw employs a leisurely storytelling pace that allows room for exploring the interconnecting relationships among the characters and plays to his strength as a cartoonist—small gestural details and nuanced expressions that bring the characters to vivid and intimate life.

If the controversial R.D. Laing wrote an episode of The Simpsons, it might read something like The Bottomless Belly Button..
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With intros by John Waters and Mo Willems! The Complete Peanuts 1967-1968 is a particularly Snoopy-heavy collection In addition to seeing the beagle adopt multiple personas, this volume also sees the appearance of what would be Schulz's most controversial major character: Franklin. In Charles Schulz's The Complete Peanuts 1969-1970, Woodstock makes his first appearance, Snoopy is left in the Van Pelt family's care as the Browns vacation... and the Little Red-Haired Girl moves away..
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The newest collection of the classic strip.

As we rush toward the end of Peanuts' second full decade, Snoopy finds himself almost completely engrossed in his persona as the World War I Flying Ace—to the point where he goes to camp with Charlie Brown and maintains his persona throughout the entire two-week period (much to Peppermint Patty's bafflement).

Still, Snoopy looms large, so this volume (a particularly Snoopy-heavy one) sees him arm-wrestling Lucy as the "Masked Marvel" and then taking off for Petaluma for the national arm-wrestling championship; impersonating a vulture and a "Cheshire Beagle"; enjoying golf and hockey; attempting a jaunt to France for an ice-skating championship; running for office on the "Paw" ticket; being traded to Peppermint Patty's baseball team, then un-traded and installed as team manager by a guilt-ridden Charlie Brown; as well as dealing with the return of his original owner, Lila. If you're surprised by that last one, imagine how Charlie Brown feels...

Lila makes only a brief appearance (as does Josè Peterson, a short-lived—and short—star member of Charlie Brown's baseball team), but this volume sees the appearance of what would be Schulz's most controversial major character: Franklin. (Yes, in 1968 the introduction of a Black character caused a stir.)

Peppermint Patty, working toward her ascendancy as one of the major Peanuts players in the 1970s and 1980s, also has several major turns, including a storyline in which she's the tent monitor for three little girls (who call her "Sir"—a joke Schulz would pick up later with Peppermint Patty's friend Marcie).

Stories involving other characters include a sequence in which Linus's flippant comment to his Gramma that he'll kick his blanket habit when she kicks her smoking habit backfires; Lucy bullies Linus, pesters Schroeder, and organizes a "crab-in"; plus Charlie Brown copes with Valentine's Day depression, the Little Red-Haired Girl, the increasingly malevolent kite-eating tree, and baseball losses. In other words: Vintage Peanuts!

NOTE: Good grief! Through a printer's error one strip (May 3, 1967) from this period is missing and one (May 1, 1967) is duplicated in this edition. All copies of this book contain this mistake; there are no "good" ones available, sorry. The missing strip will be printed in the next volume (1969-1970) and is available here: http://tinyurl.com/6bwf7r.
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As they have the previous three holiday seasons, Fantagraphics are offering a boxed set collecting the current (1965-66) and previous (1963-64) volumes, in a new slipcase designed by the award-winning graphic novelist, Seth. It's the perfect gift book item of the season!

In The Complete Peanuts 1963-64: this volume is particularly rich in never-before-reprinted strips: Over 150 (more than one fifth of the book!) have never seen the light of day since their original appearance over 40 years ago, so this will be a trove of undiscovered treasures even for avid Peanuts collectors. These "lost" strips include Linus making a near-successful run for class president that is ultimately derailed by his religious beliefs (two words: "great" and "pumpkin"), and Snoopy getting involved with a group of politically fanatical birds. One wonders: Was it the political edge in these stories that got them consigned to oblivion for so long? Also worthy of note is an extended, never-reprinted sequence in which Snoopy gets ill and heads to the veterinarian hospital...Also in this volume: Lucy's attempts at improving her friends branches out from her increasingly well-visited nickel psychiatry booth to an educational slideshow of Charlie Brown's faults (it's so long there's an intermission!). Also, Snoopy's doghouse begins its conceptual expansion, as Schulz reveals that the dog owns a Van Gogh, and that the ceiling is so huge that Linus can paint a vast (and as it turns out unappreciated) "history of civilization" mural on it.

And baseball continues to be a mainstay: Charlie Brown suffers from pitcher's elbow and is replaced by Linus, who turns out to be a vast improvement; he also blows several more crucial matches through various screw-ups (one with the little red haired girl in attendance); and adding insult to injury, his favorite baseball player is demoted to the minor league. The Complete Peanuts 1963-64 features a new introduction by animator Bill Melendez, producer of over 75 Peanuts animated specials and movies, including the classic A Charlie Brown Christmas.

In The Complete Peanuts 1965-66: We are now in the mid-1960s, one of Schulz's peak periods of creativity (and one third of the way through the strip's life!). Snoopy has become the strip's dominant personality, and this volume marks two milestones for the character: the first of many "dogfights" with the nefarious Red Baron, and the launch of his writing career ("It was a dark and stormy night..."). Two new characters—the first two from outside the strip's regular little neighborhood—make their bows. Roy (who befriends Charlie Brown and then Linus at summer camp) won't have a lasting impact, but upon his return from camp he regales a friend of his with tales of the strange kids he met, and she has to go check them out for herself. Her name? Peppermint Patty. The Complete Peanuts 1965-66 features a new introduction by Hal Hartley, writer/director of acclaimed independent films Trust, Henry Fool, Kimono, Simple Men, The Unbelievable Truth, and Fay Grim..
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Fantagraphics Books is pleased to present, for the first time, a single-volume collection of this 288-page landmark of journalism and the artform of comics. Interest in Sacoo has never been higher than with the release of his critically acclaimed book, Safe Area Gorazde.

Based on several months of research and an extended visit to the West Bank and Gaza Strip in the early 1990s (where he conducted over 100 interviews with Palestinians and Jews), Palestine was the first major comics work of political and historical nonfiction by Sacco, who has often been called the first comic book journalist.

Sacco's insightful reportage takes place at the front lines, where busy marketplaces are spoiled by shootings and tear gas, soldiers beat civilians with reckless abandon, and roadblocks go up before reporters can leave. Sacco interviewed and encountered prisoners, refugees, protesters, wounded children, farmers who had lost their land, and families who had been torn apart by the Palestinian conflict.

In 1996, the Before Columbus Foundation awarded Palestine the seventeenth annual American Book Award, stating that the author should be recognized for his "outstanding contribution to American literature," while his publisher, Fantagraphics, is "to be honored for their commitment to quality and their willingness to take risks that accompany publishing outstanding books and authors that may not prove 'cost-effective' in the short run."

This new edition of Palestine also features a new introduction from renowned author, critic, and historian Edward Said, author of Peace and Its Discontents and The Question of Palestine and one of the world's most respected authorities on the Middle Eastern conflict..
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Presenting the complete WWII cartoons of Bill Mauldin, the greatest cartoonist of the Greatest Generation.

"The real war," said Walt Whitman, "will never get in the books." During WW II, the closest most Americans ever came to the "real war" was through the cartoons of Bill Mauldin, the most beloved enlisted man in the U.S. Army. Here, for the first time, Fantagraphics Books brings together Mauldin's complete works from 1940 through the end of the war. This collection of over 600 cartoons, most never before reprinted, is more than the record of a great artist: it is an essential chronicle of America's citizen-soldiers from peace through war to victory.

Bill Mauldin knew war because he was in it. He had created his characters, Willie and Joe, at age 18, before Pearl Harbor, while training with the 45th Infantry Division and cartooning part-time for the camp newspaper. His brilliant send-ups of officers were pure infantry, and the men loved it.

After wading ashore with his division on the first of its four beach invasions in July 1943, Mauldin and his men changed—and Mauldin's cartoons changed accordingly. Months of miserable weather, bad food, and tedium interrupted by the terror of intense bombing and artillery fire took its toll. By the year's end, virtually every man in Mauldin's original rifle company was killed, wounded, or captured.

The wrinkles in Willie's and Joe's uniforms deepened, the bristle on their faces grew, and the eyes—"too old for those young bodies," as Mauldin put it—betrayed a weariness that would remain the entire war. With their heavy brush lines, detailed battlescapes, and pidgin of army slang and slum dialect, Mauldin's cartoons and captions recreated on paper the fully realized world of the American combat soldier. Their dark, often insubordinate humor sparked controversy among army brass and incensed General George S. Patton, Jr.

This is first of several volumes publishing the best of Bill Mauldin's single panel strips from 1940 to 1991 (when he stopped drawing). His Willie & Joe cartoons will be presented in a deluxe, beautifully designed two-volume slipcased edition of over 600 pages. The series is edited by Todd DePastino, whose Mauldin scholarship will be on full display in a biography of the artist coming in February 2008 from W. W. Norton. Willie & Joe will contain an introduction and running commentary by DePastino, providing context for the drawings, pertinent biographical details of Mauldin's life, and occasional background on specific cartoons (such as the ones that made Patton howl)..
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The fifth volume in Fantagraphics Books' Complete Peanuts series welcomes a new character: Sally, Charlie Brown's baby sister. It's interesting to see how the perpetually beleaguered CB--criticized for having a "face" face or a "failure face--now takes on the responsibility of worrying about the world his sister will grow up in. His role as manager of the baseball team continues to bring him woe, losing 600-0, losing all 20 games of the season, making a daring attempt to steal home, and having to miss a game to push his sister's stroller. Linus, at first wondering if Sally will someday go out with him, gets his answer in spades: "Isn't he the cutest thing?" But he'd much rather lavish his attention on the new teacher, Miss Othmar ("I'm very fond of the ground on which she walks"), even if his eggshell project doesn't work out as planned. Snoopy, though threatened by a hanging icicle and a possible freeway through his home, still finds joy in being a gopher, the Big Man on Campus, or the Mad Punter. "Peanuts" was well into its classic years in the 1959-60 period, with such signature moments as "Happiness is a warm puppy" and a lot of material that would become familiar staples of the Christmas and Halloween television specials. --David Horiuchi

By 1961-62, "Peanuts" was truly the comic strip that we all still know and love, with situations and sayings that would cement its place as one of the most memorable literary creations of all time. Linus is firmly center stage, and if not for baseball would probably eclipse Charlie Brown in status. His efforts to defend his blanket are legendary (Lucy buries it and turns it into a kite), he gets glasses, and his favorite teacher, Miss Othmar (now known as Mrs. Hagemeyer) returns, which leads to some consternation when he (1) learns that she's accepting money to teach and (2) tells her he'll give up his blanket if she gives up biting her fingernails. There's a new character, Frieda with the naturally curly hair, and her floppy cat strikes terror throughout the neighborhood. Oh, about that baseball team. Everyone quits when Schroeder gives up baseball for Beethoven (leading CB to take out a personal ad to manage another team), they decide their pep talk is making them hypocrites, and Linus is assigned to scout the opposing team. As much as "Peanuts" is a reflection of its era ("Why couldn't McCovey have hit the ball just three feet higher?"), it also had a self-awareness as a comic strip (Linus: "The most recent criticism is that there is too little action and far too much talking in the modern-day comic strip. What do you think about this?" CB: "Ridiculous!") that proved just how far Charles M. Schulz was ahead of his time. With fellow pianist Schroeder on the cover, Diana Krall wrote this volume's introduction. --David Horiuchi.
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