Comics Books

I love Get Fuzzy cartoons and I absolutely can't live without the 365 days a year calendar. Each day depicts another glimpse into the lives of Satchel and Bucky which in some small way always reminds me of my 3 Girls (Suzie, Trixie and Gracie). We can't help but relate to the lives of Bucky and Satchel since they always seem to hit upon something that happens in our own lives.

Keep up the good work.

Thank you, Pattie K

Get Fuzzy is something that can always be counted on to make me laugh. Sometimes out loud. Other times it just makes me grin. No matter what it always lifts my mood. Getting a new strip everyday is even better so the day to day calender is great. It is also nice that the strips are run in order so the small stories in the strip do not get messed up and are all the more funny when they are linked together the right way.

I am a tremendous lover of Bucky Katt. It is wonderful to have a Get Fuzzy comic to wake up to every day. I highly recommend buying this page-a-day calendar so that you can get that humorous lift to start your day.

A constant - as time itself ... every day Rob, Sachel and Bucky cat deliver something that helps the days beginnings.... its addictive as coffee and a donut ... but more healthy...

Darby Conley must be an animal lover, or has grown up with cats & dogs all his life. His 'animal' wit is astounding. Satchel is simply lovable Bucky Cat is, well, as sarcastic as a cat can be. If you want to have a LOL day, every day, this is a must for any desk top.

There is a lot of parody in Cerebus, of Elric, of Batman, etc. In High Society, Sim starts to write longer continuous stories that a little bit deeper.

Cerebus is a barbarian, and the movers and shakers around him are looking to exploit that as he enters their high society circle. The manipulators get him elected PM, which leads to bad things.

After reading the first I was hooked and this second volume game me the only thing missing from the first, a solid plot. With Cerebus trying to move up into high society and gain the role of prime minister his character becomes even more diverse and you love the little ardvark more and more. Best comic series I have ever read.

After having amusing but ultimatly directonless adventures as a wandering sword-for-hire, Cerebus finds his way to the City-State of Iest, where the six or so years of the comic will be taking place. This volume is noteable because it's officially the point where things start to get good,and where Sim begins to explore the more sophisticated directions he will be taking Cerebus in. The story of High Society is a clever, ironic, suspensful and above all hilariously sataric one. As Cerebus get caught up in his burgernoning politcal career, Sim finds time poke fun at democracy, feminism, religon, comic conventions and the X-men while keeping the story moving along at a brisk, satisfying pace. High Society is probably the funniest Cerebus story though not the best-written overall. It remains, however, much,much better than 99% of the other comics out there. Once Cerebus gets ahold of some power, he finds he likes it very, very much, and this will be a major factor in stories to come. If you're planning to read Cerebus all the way through (and you should) you should probably start with the first volume, "Cerebus" but if you need convincing, High Society will definatly hook you,and you can always go back and read the first volume to fill in the blanks. Either way, this is a brilliant read, both on it's own and as a component the larger saga, and not to be missed.

To my mind, High Society remains a high point in the Cerebus epic. Like the much later "Guys," it is a (relatively) self-contained chunk of the story, and takes place largely in a single locale. The political parody, which normally would not be my cup of tea, works incredibly well here because of the *detail* Sim injects it with. I never would've imagined that an electoral process could be so much fun to read in graphic novel form. Unlike later books, in High Society, Sim manages to remain focused on the story itself, sparing us the pretentious trappings and scattershot, heavy-handed meanderings that would mar later segments of Cerebus. In other words, this is when Dave Sim was still doing Cerebus, as opposed to his "Hi, I am Dave Sim and I am very clever and here is what I think about the world and here is what I look like and here is my latest experiment in the comic medium and oh, by the way, this is a comic book called Cerebus and yeah, it has something to do with him, when I'm not writing about whatever famous author I just finished reading and when I don't have anything arrogant and irrelevant to share with all of my fans" -- work. I like a lot of what Sim's done, but he's at his best when he leaves himself out of it and concentrates on coherent chunks of actual story.

I started reading "Cerebus" when Dave Sim's independent black & white comic book was on the cusp of the "High Society" story line. "Cerebus, Book 2: High Society" (issues #226-50) constitutes the first "novel" in the history of the book and the point at which Sim had clearly moved beyond the idea of Cerebus the Barbarian stage, where it was basically a strange animal walking around in a world that was drawn in the style of Barry Windsor-Smith. I first became aware of Sim for the work he did with funny animals, beavers in particular, for "Quack." Actually, what got me reading "Cerebus" was not just that the comic book was getting a reputation for being one of the best of the alternative comic books put out by the independent press, but more importantly that there was a character in it who looked and talked like Groucho Marx.

That would be Lord Julius, one of several key characters in "High Society" who is introduced during the first two years of the title, along with the Roach, the would-be superhero that Sim would transform into a parody of whichever Marvel character was the current flavor of the month. Then there is Jaka, the dancer Cerebus first met in a tavern in Beduin. These three characters represent three major impulses in Sim's work. Lord Julius represents the inclusion of real characters into the world of Cerebus, which would eventually include the likes of Mick Jagger and Oscar Wilde. What began as a sort of simple joke (Groucho popping up is always going to be funny), became serious when the characters started symbolizing the reality of their real world counterparts. The Roach symbolizes Sim's commentary on the comic book business, which for me is the weakest of the three impulses. The whole Petuniacon takeover on a comic book convention is funny at face value, but it detracts a bit from the political satire that is at the heart of "High Society." Then there is Jaka.

It is hardly surprising that the original characters created by Sims would become the most important. In "High Society" this means not only Jaka but also Astoria and the Regency Elf. The Roach can move on to become first the Moon Roach and then Sergeant Preston of the Royal Mounted Iestan Police, and you can throw in the brothers Dirty Fleagle and Dirty Drew McGrew, but they are mere comic relief while the trio of feminine figures are at the heart of the story. Suddenly we have moved well beyond a funny animal to larger issues such as politics and gender (with religion and creativity to come in future novels).

Cerebus shows up in Iest at the Regency Hotel carrying with him the last few pieces of loot he has acquired on his travels. Expecting to be denied admittance, Cerebus is surprised when he is given free lodgings and food. Suddenly people are paying him bribes to just to remember the name of a company that makes gold-plated streetlamps when he talks to Lord Julius. From Cerebus the Aardvark to Cerebus the Barbarian we now have Cerebus the Lobbyist. Actually, it seems Cerebus is now a ranking diplomatic representative of a southern city-state and if you think the aardvark is in over his head, wait until Astoria shows up and starts dispensing political advice. More importantly, wait until Cerebus runs against a goat for the office of Prime Minister, because that is when "High Society" shifts into high gear, even as Iestan society falls apart.

That is also the point where "Cerebus" gets told sideways, starting in issue #44 "The Deciding Vote." I highlight that particular issue because it includes my all-time favorite page by Dave Sim, which would be page 383. In several of the preceding pages Sim shows Cerebus and another character traveling across a snowy landscape. What he was doing was drawing the landscape, dividing the drawing into vertical panels, with Cerebus and his companion shown in each panel making their way along. But on my favorite page on the dozen pages the first eight include the exact same drawing, with the last two being identical. What changes is the sound of Cerebus walking away on snowshoes ("WUFFA wuffa") and walking back ("wuffa WUFFA"). The page represents one of Sim's best jokes ever and whenever I have had occasion to lecture on comic book art I have always shown these pages along with those in one of Frank Miller's "Daredevil" comics when he retells the character's origin and has a line representing the Fixer's heartbeat indicating a heart attack going across the panels of DD chasing the man down.

"High Society" is my favorite Cerebus novel, although it is neither as ambitious as "Church and State" nor as polished as "Mothers and Daughters." But the impression it made when it was clear that Sim was now working the deep end of the poem has stayed with me and I do have an inherent love of political satire. Besides, Cerebus' reconciliation with Jaka is more touching than their poignant parting, the Regency Elf shakes up things nicely at inopportune times, and I love liberty as much as the next person raised in a free democratic society. Still, more scenes with Lord Julius would have been nice, especially if Astoria is involved. After this novel Gerhard starts doing backgrounds for Sim and the look of "Cerebus" changes dramatically (Gerhard did the cover, so if you compare that to the first splash page inside you can see how much of a difference this will make for the rest of the 300 issues of "Cerebus").

Utterly and completely charming.
I'd read all her books but had never seen these.
I've returned to them often.

I have read every Moomin book available in English and I loved them all. I decided to get the comic for some children I know. I actually have not read the comic and my review is concerned only with the physical properties of the publication.

I have to say that the book look beautiful and makes a perfect gift. I will order second copy now so I can read it myself. :)

Moominfamily gets bumped around in a world that is much too big and chaotic for anyone to understand. Moomin may be driven into trouble, but his goal in life is beautifully pure: to "live in peace, plant potatoes and dream." While Moomin world may had its start in the books, in this English comic strip, its full richness floats to the surface like cream, and the love put into the art is visible. Tove Jansson's intricate illustrations and lettering are made clear and bold in this volume thanks to the carefully laid out folio.

If you've never heard of Tove Jansson's comic strip "Moomin," you're in for a treat. The title character is a troll, but looks like a hippopotamus. He is a loveable character with a childlike innocence. He tries to be friends with everyone, and like many nice people, doesn't know how to set limits. In the first sequence, he has dozens of friends and family visit him, and are extremely demanding, but he doesn't seem to be able to say no. He then gets a rather smelly friend to drive everyone away, but he eats Moomin's house! We then follow Moomin and his friend Sniff as they search for riches and fame. That's the first of four parts in this collection, and the storylines flow into each other nicely. There's great character development with real pathos, and the art is unique and a pleasure to look at. If you're looking for a comic strip that's different from the ones you typically see in the paper, look no further.

In 1953 the London Evening News began running Moomin comics on a daily basis - and soon the little fantasy animals were published in over 40 papers around the world. Tove Jansson, creator of the strip, drew it for five years and these black and white strips offers her complete Moomin features to delight new and old audiences alike. It's too whimsical and funny to limit to younger audiences, and is reviewed here as a top pick for any general-interest library strong in comics history and illustrator representations.

Diane C. Donovan
California Bookwatch

I retired from working at a nursing home. I happened across Mrs. Wilders books while working there. I only wish I had these books before my mother passed. She didn't like living alone but wanted to be in her own home. I know she would have liked living at The Home had she not been bombarded by others about the horrible things (they imagined)that went on there (Two of these people eventually lived in a home) and probably would have lived longer than her 80 yrs. She quit taking her meds. unbeknowst to me and died of a massive heart attack.
Reading about the shennigans, shall I say, that went on at Fair Acres was similiar to a day in my 'home.' The residents/folk become family and interacted as such. They took care of each other. And we staff felt like family to them and they to us. We staff/residents were the only 'family' some had. Despite the illnesses some had there was a lot of fun too.
I tried to get in touch with Mrs. Wilder but alas, unable to do as I wanted to thank her for writing those books.
I was saddened to learn this year of her death.

Cute, funny, poignant, sad, etc.--all the adjectives you would expect to describe a book like this. Effie Wilder takes us on a tour of the retirement home and introduces us to her friends and acquaintences. Being able to take people's stories and use them to make people smile is what makes books such as this so endearing and special to read.

Baby boomers should read what's in store for us when we, too go to "prison" in an old folks home. Hopefully, we'll have a neighbor there just like Hattie. Written with humor and insight, it rang all too true to the characters I met while visiting my mother when she was an "inmate." Lot of truth to it.
Wilder's also an inspiration to fledgling authors who say they're too old to write that book they've put away time and again. Not so. Go Effie go!

I am no where near "Out To Pasture" but I found this novel to be delightful. This book has the oddest group of senior citizens you will ever run across. Filled with both serious and light situations this book will make you cry and then laugh. Effie Wilder teaches us that just because you are older your life is still full and the possibilities are endless. Way to go Effie!!

Mrs. Wilder has given all generations a delightful and easy to swallow book about aging. The main character, Hattie, is into everyone's business, but in a kindhearted way. Through her eyes the reader can see much of the pain and joy of being older. Leaving your home and moving into a retirement home is never an easy choice, but I think Hattie shows us that if done with grace, it can work out to be a fairly good life. The book is a joy to read, offers lots of laughs, a few tears, and some good hard lessons about life. I look forward to sharing this book with my "adopted" eighty-four-year-old grandmother.

Peanuts are totally classic! Dude! Schroeder is like the coolest person on the face of the earth! He is so reserved and that make Peanuts worth the while to read. He also looks so cute at his little piano, playing Bethoven. This book clearly shows that and becuase I love little Schroeder, I love this book too! Beethoven forever! Rock on! (JK)

This book is a great buy! It has the classic lovable Peanuts strips we've all enjoyed. I love the format and size of the book and will purchase more in this series.

I find that after all this time I still love the Peanuts gang. Charlie Brown, Snoopy, Linus, Lucy and others still bring a smile to my face as the wonderful insight of the creator comes through. I wish that I was young again and still had the old paperbacks that I once read so I could go back to some and re-read them. I wish that Shultz could still create those drawings and tears just swelled up from inside reading the ending passage. Charles Shultz will be missed by me and I have read this and other books by him to my kids so they might gain an interest in these type of books. I wish they had more specials of the Peanuts ang for TV rather than some of the stuff on now. Anyone who wants great cartoons with very funny happenings for their children will definitely love this book and others by Shultz.

Peanuts has truly left its mark on the world. I can't honestly say I know anyone who has never heard of Charlie Brown, Snoopy, Linus and Lucy. We all know and love them. Who can ever forget Snoopy imagining himself as a World War I Flying Ace on the top of his doghouse? Or Charlie Brown's consistent, diligent, but always failing efforts to finally lead his baseball team to a win?

This final collection of Peanuts strips cannot quite live up to Schulz's genius from years past, but they are still very charming and fun to read. I'd like to see you try to come up with a funny idea every day for fifty years. In this collection, Schulz draws more self suffecient strips, than strories carrying accross the dailies, probably because it was easier on him at his old age.

Peanuts is a very rare commodity. It is certainly not gorgeously drawn, but the writing and lovable characters make up for it's visual spareness. Plus, although the drawings were somewhat crude, the were outragously funny, and the whole point of a comic strip is to make you laugh, so there you are.

Charles Schulz is a true comic genius. His later work (i.e. this collection) is not his best, but he was still able to draw a funny comic strip every day. In the words of Bill Watterson, the brilliant man behind the wonderful "Calvin and Hobbes"-"I've never met Charles Schulz, but long ago his work introduced me to what a comic strip could be, and made me want to be a cartoonist myself. He was a hero to me as a kid, and his influence on my work and life is long and deep. I suspect most cartoonists would say something similar. Schulz has given all his readers a great gift, and my gratitude for that tempers my disappointment at the strip's cessation. May there someday be a writer/artist/philosopher/humorist who can fill even a part of the void "Peanuts" leaves behind."

These were the final words in Peanuts comics delivered by the late Charles Schulz. To answer the question, you can never forget Charlie Brown, Lucy, Linus and Snoopy.

I remember the last "new" comic strip came out 13 February, the day after he died. Thanks, Sparky, for all the memories and the inspiration (I work on my own cartoon strip).

These cartoons were originally published early 1999 through February, 2000 in the newspapers. Charlie Brown has a date for a dance (something that rarely happened). Rerun holds the football for Charlie Brown (he got more and more parts in the cartoon strip in the final years). Charlie Brown pays tribute to the ever scowling Joe Torre! Cartoonist Day is remembered (5 May). Snoopy writes more novels and plays golf with the musical notes from Schroder's piano. "Wolves are making a comeback," as Sally philosophises. There's also a tribute to painter Andrew Wyeth and Valley Forge, as acted out by Snoopy. Snoopy Claws can be seen downtown around Christmas.

Also, Charlie Brown hits a grand slam, Linus kicks the habit once and for all and gives his blanket to Snoopy, Peppermint Patty gets straight A's, the Great Pumpkin comes as promised and Schroeder finally admits he's got a crush on Lucy! Don't hold your breath on the last 5, folks! I was just seeing if you were paying attention!

However, this book is poignant since these were the final strips of Peanuts. Charles Schulz must have known the days of the Peanuts cartoon were numbered when he let Rerun hold the football! If you're a Peanuts fan, you'll enjoy this book!

In 20/20 hindsight (or hindsound?) I bought the book intending to learn about music. Taken purely as an introduction to three genres of early American music, the book is a success. The pictures (and introduction to R. Crumb the artist) were a huge bonus. Wow! The CD with it completes the trifecta.

This is a fantastic introduction to multiple artistic elements - perhaps a few that will catch the reader/viewer/listener off guard. Enjoy!

Richard Nevins of Rounder Records first came up with the idea for Robert Crumb to illustrate a series of early Blues, Jazz, and Old Time Music and Bluegrass greats along the lines of the baseball cards of his childhood. Crumb went for the idea and produced what became three boxes of cards with illustrations taken from old photos on the front and write-ups about the players on the back (many of them by Nevins).

Now the famous fine arts publisher Abrams Books has designed and published a superb volume that includes the Crumb artwork as never before -- in brilliant color and on a larger scale than the cards -- along with expanded bios and a bonus CD that samples some of this great American roots music. Anyone interested in high-level cartoon art and this powerful expressive music will want to own this book.

I have the original jazz card set by R. Crumb, so I was very happy to receive this re-compendium as a gift. The reproductions of the artwork are better than the cards, and Zwigoff's introduction is amusing. The CD is a great bonus, also. One goof I noticed is that the final cut is not Jimmy Noone's "King Joe," but Paul Whiteman's Orchestra with Bing Crosby's vocal, "From Monday On," featuring a good Bix Beiderbecke solo.

What a gem to find on your doorstep on a sunny afternoon. Book-CD full of mystery and joy. I passed it around at a picnic and everyone had a personal take on it. The music took me way back to my early childhood and me dad playing that early jazz stuff on Swaggy records. Dock Boggs music is chilling - always sends shivers up my spine. Jaybird Coleman is a revelation. It would be worth it for these alone but theres much much more.

Wow! Every so often you run across something that knocks your socks off. R. Crumb's Heroes of Blues, Jazz, & Country left me barefooted.

In the 1980s, Robert Crumb, whom Robert Hughes appropriately once called the "Breughel of the 20th century," created sets of trading cards featuring some of his favorite blues, jazz, and country musicians. (The plan was to include one card per LP sold by innovative record firm Yazoo.) This collection, edited by Terry Zwigoff, the same guy who directed the documentary "Crumb," pulls together the illustrations from all three sets. They're wonderful. The blues and country illustrations are drawn, and are vintage Crumb: crosshatched, brooding characters. The jazz illustrations are water-colored. They're identifiably Crumb, but have a definitely different feel to them.

Crumb is a fascinating genius. Although his art and comics tend to be avant-garde (a term he might well disdain) and iconoclastic, Crumb also has a real affinity for late 19th and early 20th century American culture. Part of this love for an earlier time, no doubt, stems from his intense dislike of the fast-paced, loud, and garish American culture he eventually fled in the 1990s (Crumb now lives in France). But part of it is that he thinks the music produced in the early 20th century represents folk art at its finest and purest, before music became an industry. Crumb began collecting old 78s when he was still a teenager, and his love for the older music has never waned.

And so to the piece de resistance of this book: the accompanying 21 cut CD. Crumb personally chose the pieces, and they're absolutely fantastic. Except for a couple of the blues and jazz musicians, all of the artists are virtually unknown except to the afficionado. But man oh man, are they wonderful. Skip James' rendering of "Hard Time Killin' Floor Blues" is a heart-breaker. Dock Boggs' "Sugar Baby" and Burnett & Rutherford's "All Night Long Blues" are haunting in their strange but beautiful ways. And no matter how bad things get, Bennie Moten's Kansas City Orchestra's "Kater Street Rag" will pick you up. My son and I have listened to the CD over and over and over, and we never get tired of it. He prefers the blues and jazz, I'm in love with the hillbilly blue grass cuts. But the whole CD--well, it just knocks your socks off.

Wow.
_____
* From R. Crumb's essay "To Be Interested in Old Music is To Be a Social Outcast!", The R. Crumb Coffee Table Art Book, p. 191. "You play old records for most people, and, if they listen at all, after the record's over they turn to you and say, 'So what is it you like ab out that old music?' You just want to throw up your hands."

I was impressed by the courage shown by the women in this novel. I read it as part of my own research on Chernobyl. I have relatives living in the Ukraine and decided to write a mystery story with the Chernobyl disaster as a backdrop Chernobyl Murders. Irene's novel helped me understand the victims in what would eventually become the exclusion zone more deeply.

Irene Zabytko in this book presented the consequences of the worst civilian nuclear disaster in the world in a "humanely-digestible" way.The reader is initially reluctant to start reading this book, but later on , the author makes it more plausible and presents the deeply human feelings of the victims. Excellent work, Ms Zabytko!!

A short book, that can be read in one day, The Sky Unwashed is a highly important book in two respects. Foremost, this is one of the first full pictures we got about what really happened to the residents in the Chernobyl region and Kiev in April, 1986, albeit in fiction, but borne out now in articles and TV documentaries. Secondly, the lyrical beauty and masterful storytelling should elevate this novel to the stature of high literature. It is almost a year since this book came out and I read it, but it still haunts me. There are several themes interwoven and coalescing in the overriding struggle for life versus death's inevitability, the largeness of the nuclear accident, its cataclysmic proportions versus the helplessness of mankind or of the individual, of course another metaphor for the big Soviet Union and the communist ideal versus the individual. Although ironically the political and scientific disasters are of mankind's creation.

The novel plays out in snapshots: We see people working at the factory before the nuclear accident because it looks like a better life or the best alternative; the aftermath of the accident, the government putting people on buses in a hurry, telling them they can go home in a few days, but to leave everything behind; a skin rash or a burn or a breathing problem, just that, a denial of radiation sickness; Marusia and her friends planting a garden.

What can a person do when faced with a moral dilemma over which they seem to have no control and from which there is no escape, where it doesn't matter whether you are a hero or a coward, because you will die anyway? The novel asks this in several ways and on several levels, and the answers are as different as the personalities involved.

The grandmother Marusia, her daughter-in-law Zosia, and two grandchildren crowd the hospital in Kiev, where her son, Zosia's husband, lays dying, people crammed into hallways for weeks fight over blankets and food and toys, the train station is stampeded. Zosia escapes the hospital for awhile to watch a parade, to look at clean streets and flowers, and to try pretend that it's all a bad dream, even while plotting to get her children out of Kiev. Marusia takes a different route. She and other elderly women friends go back to their village and live life on their own terms with the time they have left. This is where the novel really takes its philosophical wing and its song. It is the heart and soul of the book.

As the sky becomes dirty and unnaturally clouded over Chernobyl, a society's vision gradually becomes clear and unclouded. One makes the inevitable connection to the collapse of the Soviet Union a few years later. We will never really know for sure, but the issue of handling nuclear energy safely is one that is relevant to everyone on the planet.

I must admit, I was initially drawn to this book because I myself derive from 100% Ukrainian lineage. As such, Zabytko's subject matter interested me. I thumbed through the book and thought "Hey, I've gotta read this."
The story centers around the Chernobyl nuclear disaster of April 26th, 1986. The fallout from this tragedy is said to have been the equivalent of eight Hiroshimas! Yet, as though the tragedy in itself were not bad enough, the government at that time chose to suppress information to the residents of villages surrounding Chernobyl, and to the nation at large. Folks were kept in the dark concerning the actual extent (and far-reaching effects) of the radioactive contamination. As a result, much PREVENTABLE damage was done to people at the time, and even to the children that would be born to those who survived.
The Unwashed Sky focuses on the situation facing the widow Marusia Petrenko, her son, daughter-in-law, and two grandchildren. By the time they flee their village of Starylis, it is too late. Their lives will never be the same.
Marusia decides to return to Starylis. She is not even aware that it has been declared a "forbidden zone"... all that she knows is that this is her village, the only home she's ever known, and since everything dear has been torn from her, this feeling of "home" may be the only thing she can yet embrace as her own.
She returns, and finds that her only companion is an old mangy cat. She keeps a perpetual fire, hoping that the smoke from her chimney will tell others of her presence. And slowly, some of her old friends do begin to trickle back. One by one, these old women (and one man), drawn by the same sense of a need to belong to their beginnings, return to rebuild their lives.
These tenacious Starylis "babysi" band together and draft a letter of demands that causes the Chernobyl officials to cede to their requests, and admit to certain wrongdoings, however late in the day! (Even then, they grant the women's wishes only because of how good this will look in the newspapers).
Zabytko paints a sensitive, touching picture of this time of loneliness and desolation, of undeserved and unwarranted hardship... a time when even the dirt rejected seed and the water tasted of metal.
I loved the authentic Ukrainian vernacular running through the book... I could hear my own grandmother clearly.
A wonderful testimony of the enduring power of the human spirit and its will to survive... a point made all the more sobering when one considers the non-fictional source of the author's inspiration.
In an interview with Rebecca Brown, Irene Zabytko said: "I hope that anyone who reads it comes away with the feeling that despite the cultural exoticisms, we're still part of one planet, and the endurance of the human spirit persists in all."
I think she succeeds in this.

The 1986 Chernobyl nuclear disaster scared the world witless. We all worried what might happen to us. But what became of those who lived there? It would be a mistake to read Irene Zabytko's The Sky Unwashed as a documentary novel, because, despite its commonplace beginning, it tells its story with characters who come to matter to us for their own sakes, not for what they can tell us about Chernobyl. Even so, Zabytko, a Ukrainian-American born in Chicago, writes from experience as well as imagination, for she has relatives and friends in Chernobyl, has spent time with them there and has taken their stories into herself.

The novel opens with a too-journalistic narrative of a Ukrainian family's dispirited life, pre-disaster, in a village where people seem to be going through the motions of life in a dying culture. Weddings are not celebrated festively so much as mockingly, less cheer than jeer. For young people, working at the nearby Chernobyl plant offers a chance to escape from ancestral poverty. Older ones, even in the gentler Gorbachev times, take a different view. They've lived through Stalin's engineered Ukraine famine; war; oppression. "The old women in babushkas who kept the old ways alive with their icons and litanies ... knew that the hard times never end," the prologue says.

The Petrenko family represents both attitudes. Old Marusia lives with her weak, dull son, whose wife, Zosia, nurses a vital spark that leads her into unhappy affairs in search of vibrant life. We don't like Zosia much at first. Irritable, nasty, she appears selfish despite having two young children. But after Chernobyl blows, her overbearing ill-temper and sharp tongue come in handy when the radiation-poisoned family encounters sneering incompetence at a Kiev hospital. Zosia bribes and browbeats her way to medical treatment for her husband; of course, we fear for those who lack such survival skills.

Yet it's the aged Marusia, with her traditional, lumbering ways, who carries the novel into our hearts. She goes along with the evacuation because there's no choice. When in the ensuing chaos she finds herself alone, though, she realizes that home is the only place to go. Arriving there after a hard journey, "She sank to her knees on the ground, and she made the sign of the cross. She uttered a prayer of thanks to be back on the land where her mother and grandmother had lived."

How Marusia survives in a deserted, radioactive village where the water tastes "like coins" is harrowing and fascinating. It's the center of the novel, much as the primacy of home and religious faith is Marusia's center. Eyes itching and red, body aching strangely, she goes to her church to ring its deafening bells every day. She tills her garden, aids a dying cat. Loneliness tries to crush her spirit. A few other residents return, bringing relief from isolation but also moral dilemmas and the pain of an old wrong that Marusia is now expected to forgive. She leads some villagers to an effective (but not very convincing) showdown with Soviet officials over basic demands. (It should be noted that this is a strong-women novel -- the men all tend to be weak, stupid or dead. Is that necessary to show that women are strong?)

The author resists any temptation to lard her story with lectures on the evils of nuclear power. A lesser writer would have introduced a character whose job was to pontificate instructively on radiation dangers and communist inefficiency (a lethal combination, for sure). Instead, Zabytko concentrates on showing what happens to her characters and how they respond, in their human particularity, to the terrors they face. Incidents affect them, and move us, without any sense of piling-on or wallowing in pathos. There are even mica-glints of humor.

Mainly we're left with astonished pride at human endurance, coupled with anguish and anger at what the novel shows so unflinchingly without preaching: that by accepting dangerous technologies, we risk irreversibly poisoning not only our bodies but also our very ground of being -- land, home, family.

My only previous experience with Gasoline Alley was a Mad Magazine parody called Gasoline Valley that focused on the interesting fact that the characters actually grew older as the series progressed. The Mad Magazine parody showed Skeezix aging from a baby into an old man just as the comic does however this volume features only a couple of years so at the end Skeezix is just a toddler. Gasoline Alley isn't a hilarious comic; instead it's a sweet, light hearted view of small town life in the early 1920's. The comic revolves around Walt, a big hearted confirmed bachelor who finds a baby deposited on his doorstep. This being the "good ol' days" Walt just keeps the baby becoming Uncle Walt (later in the book he does actually go to the effort to make it a legal adoption).

A lot of the jokes are repeated, for instance Walt, the only bachelor among his circle of friends, constantly uses the line `I know when I have it good' after seeing his hen pecked buddies. We also get to experience Walt's continual struggle with his weight. There are a few extended storylines including a shady land developer who takes the Gasoline Alley gang for a bit of money. The longest story is about the arrival of an attractive young lady named Blossom and her developing relationship with Walt.

Three things stood out for me in this collection. First was the always meticulous job done by editor Chris Ware who goes above and beyond the call of duty. There is a ton of fascinating background information on cartoonist Frank King. My tip is that any publisher who wants to release a comic collection like this one should call on Chris Ware. He is a man with serious passion for comics. The second thing that caught my attention is how clean and pleasant Frank King's drawings are. But what I enjoyed most about Walt and Skeezik's was the glimpse at life in the United States prior to the Great Depression.

What you need to do when reading through these comic strips is to try and put yourself into the era. These comics were created over 85 years ago and it's like peering into a time capsule. There is not a single mention of television or pop culture. Most of the residents of Gasoline Alley are chiefly concerned with the mileage they get on their tires or the cost of a new hat. Volume one pretty much satisfied my curiosity and I probably won't buy further volumes but that takes nothing away from this excellent collection. You definitely get your money's worth and it literally took me months to get through the entire book.

Commentary and editorial aside, the heart of this book is the wonderful Gasoline Alley strips. For those who honestly can't imagine what daily life was like before automatic shift, television, modern medicine, sexual liberation--this book is like being pulled through a time warp into the 1920s and 30s.

It has a lot of the same flavor as For Better or Worse. It's infested with genuine American characters. (Fair warning: the portrayals of African Americans are deeply stereotyped--but also remarkably sympathetic in terms of human feeling.)

DO NOT read it all in one sitting. Try to limit yourself to ten strips a night. Like movie serials, comic strips that appeared in daily newspapers took months or years to fully develop a story arc. You can't rush through that--and why the heck would you want to?

This collection was a little before my time, but it is great to read about the earlier days of Gasoline Alley.

I thoroughly enjoyed this book. The photographs really provide insite into the authours life and basis for the comic strips. I really enjoyed the dated chronology of the strips. It also provided me with a humorous way of conveying the social, political and economic happenings of that period in American History. Absolutely Fantastic, I can not wait to read the second book in the series.

I had never really understood the appeal of Gasoline Alley. I sensed that it was a pleasant enough "slice of life" comic strip, well drawn and harmless. I had given it a glance now and then over the years, not even beginning to sense the iceberg that was always there, just beneath the 3 or 4 daily comic panels. This was all before I was exposed to the collected early stuff and the absolute genius of creator Frank King. Now, after having just finished the first volume of "Walt and Skeezix" which covers years 1921 and 1922 of this wonderful strip, I am simply very grateful to the Montreal publishing house, Drawn and Quarterly, for undertaking the multi-year project of collecting all the dailies from the King years.

The effect of this strip is somewhat cumulative, and Jeet Heer puts it best in his introduction when he writes "Gasoline Alley needs to be read in bulk to be appreciated." As I read along, it became increasingly clear to me what an astonishingly bright gem I was looking at. After I had read about six months into the dailies from 1921, I knew I was onto something very, very unique. The story of Walt and Skeezix unfolded exactly at the pace of real life, with all the well drawn characters growing older in real time. This infuses the strip with an immediately gripping "realism" that in turn makes the reader identify in a powerful way with the characters. The moments of subtle insight into human nature are many and so brilliantly done I found myself re-reading a single daily strip two or three times to truly savor it, finding ever-deepening levels to appreciate (if this sounds like hyperbole for a review of a comic strip, all I can say is buy this volume and I bet you will agree).

I don't want to gush and ruin your enjoyment of this work. You should come to it yourself, on your own terms. I will just say that you can truly sense the earth turning as you read these pages, and that this strip contains some of the truest, purest moments of understanding that I have experienced in any book.

One can look at this collected work as an incredible record of American life, or simply appreciate Frank King's wonderful art, and be well rewarded for all effort. Just beneath the surface, though, lies a much larger and impressive piece of art. Chris Ware, editor of the series, writes in his preface "I am convinced that after all these books are published, Gasoline Alley will stand as one of the most individual, human, and genuinely great works in the history of comics." Amen to that, brother. I will go further even than Mr. Ware: I believe that Frank King's Gasoline Alley, taken as a whole, is one of the greatest works of literature by an American.

Drawn and Quarterly Books deserves a medal of recognition for this multi-volume publishing project, and I personally regret every mean thought I have ever had about our neighbors to the north.

This work is highly recommended. -Mykal Banta

First Off: When buying a slipcased, oversized comic book you should always CHECK THE QUALITY. This book in particular came with a torn up slipcase.

I'm by no means a "comic book" guy. Everyone I know puts this book in the league of extraordinary comics (such as Watchmen, Dark Night Returns) but I cannot figure out why.

The story is rushed and sporadic (see: the building/filling of the prison). The reproduction of the artwork is spotty (as many have pointed out). The overall length is depressingly short. The comic doesn't take its time and develop; it makes a mad dash for the finish line, ignoring its initial themes in favor of a quick, predictable ending.

The story is magnificent, the wide array of background characters and new characters provides a rich backdrop for the conflict, and the artwork is absolutely amazing.

A ground-breaking must-read for any fan of DC comics characters!

The hardcover Absolute Kingdom Come is one of the BEST hardcover comics I own. The story is excellent as well. If you want a comic that will boost your collection this is definitely one of the ones to choose!

Exactly what I was looking for at a great price! My husband could not get enough of it - he has read it from cover to cover!!

This book was the best gift I've ever given. I've read it before and its a must read by for any comic lover. Plus, the price is unbeatable because it normally goes for atleast $75 in any give bookstore. It came in awesome condition and very timely. A high reccomended item for any comic fan.

Tears Of An Angel shows another side of Alita that you don't get to see in the first graphic novel. The cyborg "Battle Angel" is in love. However, the person she's in love with lives a dangerous life. The ending may or may not suprise you. It's basically a sad love story. Tears Of An Angel is a great and I hope you enjoy it.

the love story in this book is beautiful, it's wonderful, and i luv it because of this. it's sad, rythmatic, and stays this way through the entire book. it DOES end a little suddenly, tho, but don't they all?

In this second poignant volume of Battle Angel Alita, Alita falls in love with a young street urchin named Hugo. Hugo's dream is to make enough money to move to Tiphares, the mid-air city where all your dreams can come true. Unknown to Alita, Hugo is making his money by assaulting and stealing body parts from cyborgs, a crime punishable by death. A character from the first volume, Zapan, who was humiliated by Alita, finds out about Alita's feelings for Hugo and begins to conspire a plot that will destroy Alita's heart. Will Alita's next bounty be Hugo?

This manga was fantastic. While I compared Battle Angel Alita to Ghost in the Shell in my review of the first volume, there really isn't a comparison. Alita operates in a more savage world, where laws don't function unless bounty hunters enforce them. It is a place where your fellow man will let you die on the street without lifting a finger. It's such a horrible world that Alita's love stands out in even starker contrast to the evil that surrounds her. Yes, there are scenes of "ultra-violence" but what makes that different from our world? The thing I like about Alita is that there are horrible scenes of graphic violence but there are also scenes of philosophic thought and tenderness. Just like real life. Horrible beauty.

If "Battle Angel Alita" merely introduced us to the amazing cyber world of Yukito Kishiro, then "Battle Angel Alita: Tears of an Angel" builds upon that world and, more than likely, sets in motion the plot.

After her victory over the all-powerful "King of the Maggots" in the first manga volume, Alita now faces her toughest challenge yet: love. Yes, love. While that phrase usually sounds cliched, it applies perfectly in this second manga volume. Alita has it tough to begin with, but when things start to spiral down even further, she must make a choice that could end up destroying her.

Like before, the artwork is beautiful and very detailed. And, like before, "Tears of an Angel" is riddled with violence and blood and gore that sticks it in the section of mature readers who have very strong stomahchs. The story is a superb, miniature masterpiece, and it undoubtedly adds to the internal conflict of Alita trying to find her identity.

This second volume is also featured in the "Gunnm" two episode OVA anime series ("Gunnm" is the original name of the "Battle Angel Alita" series.) Like before, I advise you to read the manga before watching the series, as comparisons will most likely decrease the enjoyment of the manga. But with that said, enjoy "Tears of an Angel". Along with the first volume, the second volume is a superb triumph.

As is true of almost any tale of cyborgs the question of the difference between mechanical consciousness and mechanized humanity is one of the driving forces behind the Battle Angel Alita series. At what point does a combination or brain, spinal column and hardware gain or lose its human nature. In this second stanza in the series, Alita, who was brought back to life in the first volume, re-finds her capacity for love when she meets Hugo, a human boy. Hugo's goal is to make his way from the traps of the Scrapheap to the upper city of Tiphares.

Hugo and Alita seem made for each other, despite the gulf of artificiality that separates them. But Hugo, despite being a complete human is willing to steal the spines out of their original possessors if it brings him closer to the day he can go to Tiphares. This gruesome sideline, and the ghouls he works for gradually eat away at his own humanity until it is clear that he and Alita are really going in opposite directions. Alita will discover her spirit as Hugo gradually loses his soul.

In the meantime, we get a close introduction to the grim nature of life below the city in the sky. Hunter Killers take heads for bounty, people feed on scraps while anything good is sent to Tiphares, and black market ops farm the neighbors for profit. For such as Hugo and Alita there is really no escape, only a dark struggle that can only lead to insanity and death if the dreamer refuses to waken.

Balancing what is almost a post-apocalyptic vision, is Yukito Kishiro's wonderful artwork. He has the same eye for detail that made 'Ghost in the Shell' such a compelling spectacle. The cover art made me wish, for the second time that this series had made it as a feature film or OAV series. If you have been feeling drawn deeper into the world of manga, Alita is a great introduction to Japanese science fiction.