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| we are on our own miriam katin: We Are On Our Own Miriam Katin, 2023-03-28 A memoir recounting how the author and her mother faked their deaths and fled Budapest after the Nazis occupied the city. With forged papers obtained from a black marketeer, they escaped to the countryside in the guise of a servant girl and her illegitimate child. Relates the story of their harrowing lives there and her mother's desperate search for her missing husband after the war. |
| we are on our own miriam katin: We Are On Our Own Miriam Katin, 2006-05-16 A memoir recounting how the author and her mother faked their deaths and fled Budapest after the Nazis occupied the city. With forged papers obtained from a black marketeer, they escaped to the countryside in the guise of a servant girl and her illegitimate child. Relates the story of their harrowing lives there and her mother's desperate search for her missing husband after the war. |
| we are on our own miriam katin: We Are on Our Own Miriam Katin, 2020-08-28 A stunning memoir of a mother and her daughter's survival in WWII and their subsequent lifelong struggle with faith In this captivating and elegantly illustrated graphic memoir, Miriam Katin retells the story of her and her mother's escape on foot from the Nazi invasion of Budapest. With her father off fighting for the Hungarian army and the German troops quickly approaching, Katin and her mother are forced to flee to the countryside after faking their deaths. Leaving behind all of their belongings and loved ones, and unable to tell anyone of their whereabouts, they disguise themselves as a Russian servant and illegitimate child, while literally staying a few steps ahead of the German soldiers. We Are on Our Own is a woman's attempt to rebuild her earliest childhood trauma in order to come to an understanding of her lifelong questioning of faith. Katin's faith is shaken as she wonders how God could create and tolerate such a wretched world, a world of fear and hiding, bargaining and theft, betrayal and abuse. The complex and horrific experiences on the run are difficult for a child to understand, and as a child, Katin saw them with the simple longing, sadness, and curiosity she felt when her dog ran away or a stranger made her mother cry. Katin's ensuing lifelong struggle with faith is depicted throughout the book in beautiful full-color sequences. We Are on Our Own is the first full-length graphic novel by Katin, at the age of sixty-three. |
| we are on our own miriam katin: Flying Couch , 2016-10-11 A New York Times Book Review Editors' Choice • A Kirkus Reviews Best Nonfiction Book of 2016 • A Junior Library Guild Fall 2016 Selection Flying Couch, Amy Kurzweil’s debut, tells the stories of three unforgettable women. Amy weaves her own coming–of–age as a young Jewish artist into the narrative of her mother, a psychologist, and Bubbe, her grandmother, a World War II survivor who escaped from the Warsaw Ghetto by disguising herself as a gentile. Captivated by Bubbe’s story, Amy turns to her sketchbooks, teaching herself to draw as a way to cope with what she discovers. Entwining the voices and histories of these three wise, hilarious, and very different women, Amy creates a portrait not only of what it means to be part of a family, but also of how each generation bears the imprint of the past. A retelling of the inherited Holocaust narrative now two generations removed, Flying Couch uses Bubbe’s real testimony to investigate the legacy of trauma, the magic of family stories, and the meaning of home. With her playful, idiosyncratic sensibility, Amy traces the way our memories and our families shape who we become. The result is this bold illustrated memoir, both an original coming–of–age story and an important entry into the literature of the Holocaust. |
| we are on our own miriam katin: The Other Side of the Wall Simon Schwartz, 2015-01-01 Simon Schwartz was born in 1982 in East Germany, at a time when the repressive Socialist Unity Party of Germany controlled the area. Shortly before Simon's birth, his parents decided to leave their home in search of greater freedoms on the other side of the Berlin Wall. But East German authorities did not allow the Schwartzes to leave for almost three years. In the meantime, Simon's parents struggled with the costs of their decision: the loss of work, the attention of the East German secret police, and the fragmentation of their family. In his debut graphic novel, Simon Schwartz tells the true story of his parents' coming of age in East Germany, their rejection of the communist way of life, and the challenges of leaving that world behind. |
| we are on our own miriam katin: American Widow Alissa R. Torres, 2008 Presents, in graphic novel format, the story of Alissa Torres, whose husband was killed in the September 11 terrorist attack on the World Trade Center, and her legal and psychological battles over his death. |
| we are on our own miriam katin: Red Rock Baby Candy Shira Spector, 2021-03-23 Shira Spector, whose drawing is visceral, symbolic and naturalistic, literally paints a vivid portrait of the most eventful 10 years of her life, encompassing her tenacious struggle to get pregnant, the emotional turmoil of her father’s cancer diagnosis and eventual death, and her recollections of past relationships with her parents and her partner. Set in a kaleidoscope of Montreal and Toronto, Red Rock Baby Candy begins in subtle, tonal shades of black ink and introduces color slowly over the next 50 pages until it explodes into a glorious full color palette. The visual storytelling eschews traditional comics panels in favor of a series of unique page compositions that convey both a stream of consciousness and the tactile reality of life, both the subjective impressions of the author at each moment of the life she depicts and the objective series of events that shape her narrative. |
| we are on our own miriam katin: Diary of the Dark Years, 1940-1944 Jean Guéhenno, 2014 Diary of the Dark Years is a sharply observed record of day-to-day life in occupied Paris, but far more: it is a remarkable essay on courage and cowardice (Wall Street Journal), expressing both shame at French collaboration with the Nazis and the stubborn resistance of an intellectual under great pressure. |
| we are on our own miriam katin: Grass Keum Suk Gendry-Kim, 2019-06-04 This true story of a Korean comfort woman documents how the atrocity of war devastates women’s lives Grass is a powerful antiwar graphic novel, telling the life story of a Korean girl named Okseon Lee who was forced into sexual slavery for the Japanese Imperial Army during the Second World War—a disputed chapter in twentieth-century Asian history. Beginning in Lee’s childhood, Grass shows the lead-up to the war from a child’s vulnerable perspective, detailing how one person experienced the Japanese occupation and the widespread suffering it entailed for ordinary Koreans. Keum Suk Gendry-Kim emphasizes Lee’s strength in overcoming the many forms of adversity she experienced. Grass is painted in a black ink that flows with lavish details of the beautiful fields and farmland of Korea and uses heavy brushwork on the somber interiors of Lee’s memories. The cartoonist Gendry-Kim’s interviews with Lee become an integral part of Grass, forming the heart and architecture of this powerful nonfiction graphic novel and offering a holistic view of how Lee’s wartime suffering changed her. Grass is a landmark graphic novel that makes personal the desperate cost of war and the importance of peace. |
| we are on our own miriam katin: As If It Were Life Philipp Manes, 2009-11-24 In 1942 German merchant Philipp Manes and his wife were ordered by the Nazis to leave their middle class neighborhood and go live in Theresienstadt, the only so-called showpiece ghetto of the Third Reich. This model ghetto was set up by the Nazis as a front to show the world that the Jews were being treated humanely. The ghetto was run by a council of Jewish elders, and organized like an idyllic socialist utopia with theatre groups and debating societies. All the while, this was just a holding post for Jews being shipped to forced labor and certain death at Auschwitz. Philipp Manes' intimate diary is filled with fascinating details of everyday life in the ghetto. Manes' voice brings us a step closer to understanding a little-known aspect of one of the most painful periods in the history of mankind. |
| we are on our own miriam katin: "How Come Boys Get to Keep Their Noses?" Tahneer Oksman, 2016-02-16 American comics reflect the distinct sensibilities and experiences of the Jewish American men who played an outsized role in creating them, but what about the contributions of Jewish women? Focusing on the visionary work of seven contemporary female Jewish cartoonists, Tahneer Oksman draws a remarkable connection between innovations in modes of graphic storytelling and the unstable, contradictory, and ambiguous figurations of the Jewish self in the postmodern era. Oksman isolates the dynamic Jewishness that connects each frame in the autobiographical comics of Aline Kominsky Crumb, Vanessa Davis, Miss Lasko-Gross, Lauren Weinstein, Sarah Glidden, Miriam Libicki, and Liana Finck. Rooted in a conception of identity based as much on rebellion as identification and belonging, these artists' representations of Jewishness take shape in the spaces between how we see ourselves and how others see us. They experiment with different representations and affiliations without forgetting that identity ties the self to others. Stemming from Kominsky Crumb's iconic 1989 comic Nose Job, in which her alter ego refuses to assimilate through cosmetic surgery, Oksman's study is an arresting exploration of invention in the face of the pressure to disappear. |
| we are on our own miriam katin: Tubes in My Ears Virginia Dooley, 1996 A boy describes what happens when he goes to the hospital to have tubes put in his ears. |
| we are on our own miriam katin: Marzi Marzena Sowa, Sylvain Savoia, 2011 Marzena Sowa's memoir of a childhood shaped by politics as told from a young girl's perspective. Structured as a series of vignettes that build on one another, MARZI is a coming-of-age story that portrays the harsh realities of life behind the Iron Curtain while maintaining the everyday wonders and curiosity of childhood. |
| we are on our own miriam katin: Documenting Trauma in Comics Dominic Davies, Candida Rifkind, 2020-05-21 Why are so many contemporary comics and graphic narratives written as memoirs or documentaries of traumatic events? Is there a specific relationship between the comics form and the documentation and reportage of trauma? How do the interpretive demands made on comics readers shape their relationships with traumatic events? And how does comics’ documentation of traumatic pasts operate across national borders and in different cultural, political, and politicised contexts? The sixteen chapters and three comics included in Documenting Trauma in Comics set out to answer exactly these questions. Drawing on a range of historically and geographically expansive examples, the contributors bring their different perspectives to bear on the tangled and often fraught intersections between trauma studies, comics studies, and theories of documentary practices and processes. The result is a collection that shows how comics is not simply related to trauma, but a generative force that has become central to its remembrance, documentation, and study. |
| we are on our own miriam katin: Holocaust Graphic Narratives Victoria Aarons, 2019-12-19 In Holocaust Graphic Narratives, Victoria Aarons demonstrates the range and fluidity of this richly figured genre. Employing memory as her controlling trope, Aarons analyzes the work of the graphic novelists and illustrators, making clear how they extend the traumatic narrative of the Holocaust into the present and, in doing so, give voice to survival in the wake of unrecoverable loss. In recreating moments of traumatic rupture, dislocation, and disequilibrium, these graphic narratives contribute to the evolving field of Holocaust representation and establish a new canon of visual memory. The intergenerational dialogue established by Aarons’ reading of these narratives speaks to the on-going obligation to bear witness to the Holocaust. Examined together, these intergenerational works bridge the erosions created by time and distance. As a genre of witnessing, these graphic stories, in retracing the traumatic tracks of memory, inscribe the weight of history on generations that follow. |
| we are on our own miriam katin: A Companion to American Literature Susan Belasco, Theresa Strouth Gaul, Linck Johnson, Michael Soto, 2020-04-02 A comprehensive, chronological overview of American literature in three scholarly and authoritative volumes A Companion to American Literature traces the history and development of American literature from its early origins in Native American oral tradition to 21st century digital literature. This comprehensive three-volume set brings together contributions from a diverse international team of accomplished young scholars and established figures in the field. Contributors explore a broad range of topics in historical, cultural, political, geographic, and technological contexts, engaging the work of both well-known and non-canonical writers of every period. Volume One is an inclusive and geographically expansive examination of early American literature, applying a range of cultural and historical approaches and theoretical models to a dramatically expanded canon of texts. Volume Two covers American literature between 1820 and 1914, focusing on the development of print culture and the literary marketplace, the emergence of various literary movements, and the impact of social and historical events on writers and writings of the period. Spanning the 20th and early 21st centuries, Volume Three studies traditional areas of American literature as well as the literature from previously marginalized groups and contemporary writers often overlooked by scholars. This inclusive and comprehensive study of American literature: Examines the influences of race, ethnicity, gender, class, and disability on American literature Discusses the role of technology in book production and circulation, the rise of literacy, and changing reading practices and literary forms Explores a wide range of writings in multiple genres, including novels, short stories, dramas, and a variety of poetic forms, as well as autobiographies, essays, lectures, diaries, journals, letters, sermons, histories, and graphic narratives. Provides a thematic index that groups chapters by contexts and illustrates their links across different traditional chronological boundaries A Companion to American Literature is a valuable resource for students coming to the subject for the first time or preparing for field examinations, instructors in American literature courses, and scholars with more specialized interests in specific authors, genres, movements, or periods. |
| we are on our own miriam katin: The Ukrainian and Russian Notebooks Igort, 2016-04-26 Written and illustrated by an award-winning artist and translated into English for the first time, Igort’s The Ukrainian and Russian Notebooks is a collection of two harrowing works of graphic nonfiction about life under Russian foreign rule. After spending two years in Ukraine and Russia, collecting the stories of the survivors and witnesses to Soviet rule, masterful Italian graphic novelist Igort was compelled to illuminate two shadowy moments in recent history: the Ukraine famine and the assassination of a Russian journalist. Now he brings those stories to new life with in-depth reporting and deep compassion. In The Russian Notebooks, Igort investigates the murder of award-winning journalist and human rights activist Anna Politkovskaya. Anna spoke out frequently against the Second Chechen War, criticizing Vladimir Putin. For her work, she was detained, poisoned, and ultimately murdered. Igort follows in her tracks, detailing Anna’s assassination and the stories of abuse, murder, abduction, and torture that Russia was so desperate to censor. In The Ukrainian Notebooks, Igort reaches further back in history and illustrates the events of the 1932 Holodomor. Little known outside of the Ukraine, the Holodomor was a government-sanctioned famine, a peacetime atrocity during Stalin’s rule that killed anywhere from 1.8 to twelve million ethnic Ukrainians. Told through interviews with the people who lived through it, Igort paints a harrowing picture of hunger and cruelty under Soviet rule. With elegant brush strokes and a stark color palette, Igort has transcribed the words and emotions of his subjects, revealing their intelligence, humanity, and honesty—and exposing the secret world of the former USSR. |
| we are on our own miriam katin: Yossel Joe Kubert, 2005-10 His name is Yossel. In another time, in another place, this fifteen-year-old boy could have grown to be a great artist, but in Nazi-occupied Poland Yossel, a Jew, is an untermensch and thus has no rights -- and no future. When the Nazis confiscate his family's home and force them to live in the overcrowded tenements of the Warsaw ghetto, it appears that Yossel's artistic gift will be shattered. Instead, the awful suffering of his family, the terrible conditions of the ghetto, and the increasingly barbaric treatment inspire him. Yossel: April 19, 1943 is this boy's story, told through his sketches. It is a compelling account of increasing horror depicted by an artist whose soul drives him to bear witness through his art. |
| we are on our own miriam katin: Rebetiko (SelfMadeHero) David Prudhomme, 2013-09-24 Athens, 1936. General Metaxas is cracking down on rebetis and their way of life. A small group of friends - Rebetiko musicians - wind their way through the Athenian backstreets, ouzeris and market squares dodging the police while settling disputes over hashish and women. With music at its heart, the narrative builds to a joyous party at its climax in this multi-award-winning graphic novel. |
| we are on our own miriam katin: The Jewish Graphic Novel Samantha Baskind, Ranen Omer-Sherman, 2010 The Jewish Graphic Novel is a lively, interdisciplinary collection of essays that addresses critically acclaimed works in this subgenre of Jewish literary and artistic culture. Featuring insightful discussions of notable figures in the industryùsuch as Will Eisner, Art Spiegelman, and Joann Sfarùthe essays focus on the how graphic novels are increasingly being used in Holocaust memoir and fiction, and to portray Jewish identity in America and abroad |
| we are on our own miriam katin: I Was a Child of Holocaust Survivors Bernice Eisenstein, 2007-09-25 I Was a Child of Holocaust Survivors distills, through text and drawings, including panels in the comic-book format, Bernice Eisenstein’s memories of her 1950s’ childhood in Toronto with her Yiddish-speaking parents, whose often unspoken experiences of war were nevertheless always present. The memories also draw on inherited fragments of stories about relatives lost to the war whom she never met. Eisenstein’s parents met in Auschwitz, near the end of the war and were married shortly after Liberation. The book began to take root in her imagination several years ago, almost a decade after her father’s death. With poignancy and searing honesty, Eisenstein explores with ineffable sadness and bittersweet humour her childhood growing up in the shadow of the Holocaust. But more than a book about the Holocaust and its far-reaching shadows, this moving, visually ravishing graphic memoir speaks universally about memory, loss, and recovery of the past. No one who sees this book will not be deeply affected by its beautiful, highly evocative writing and brilliantly original and haunting artwork created by the author. I Was a Child of Holocaust Survivors is destined to become a classic. “I am lost in memory. It is not a place that has been mapped, fixed by coordinates of longitude and latitude, whereby I can retrace a step and come to the same place again. Each time is different. . . . “While my father was alive, I searched to find his face among those documented photographs of survivors of Auschwitz — actually, photos from any camp would do. If I could see him staring out through barbed wire, I thought I would then know how to remember him, know what he was made to become, and then possibly know what he might have been. All my life, I’ve looked for more in order to fill in the parts of my father that had gone missing. . . .” —Excerpts from I Was a Child of Holocaust Survivors |
| we are on our own miriam katin: Yossel Joe Kubert, Pete Carlsson, 2011-07-01 His name is Yossel. In another time, in another place, this 15-year-old boy could have grown to be a great artist. But in Nazi-occupied Poland during World War II, Yossel, a Jew, is an 'untermensch' and thus has no rights - and no future. |
| we are on our own miriam katin: If This Is A Man/The Truce Primo Levi, 2014-01-23 A new edition of Primo Levi's classic memoir of the Holocaust, with an introduction by David Baddiel, author of Jews Don't Count 'With the moral stamina and intellectual poise of a twentieth-century Titan, this slightly built, dutiful, unassuming chemist set out systematically to remember the German hell on earth, steadfastly to think it through, and then to render it comprehensible in lucid, unpretentious prose... One of the greatest human testaments of the era' Philip Roth 'Levi's voice is especially affecting, so clear, firm and gentle, yet humane and apparently untouched by anger, bitterness or self-pity... If This Is a Man is miraculous, finding the human in every individual who traverses its pages' Philippe Sands 'The death of Primo Levi robs Italy of one of its finest writers... One of the few survivors of the Holocaust to speak of his experiences with a gentle voice' Guardian '[What] gave it such power... was the sheer, unmitigated truth of it; the sense of what a book could achieve in terms of expanding one's own knowledge and understanding at a single sitting... few writers have left such a legacy... A necessary book' Independent |
| we are on our own miriam katin: The Property Rutu Modan, 2013 After the death of her son, Regina Segal takes her granddaughter Mica to Warsaw, hoping to reclaim a family property lost during World War II. As they get to know modern Warsaw, Regina is forced to recall difficult things about her past, and Mica begins to wonder if maybe their reasons for coming aren't a little different than her grandmother led her to believe. Rutu Modan offers up a world populated by prickly seniors, officious public servants, and stubborn women - a world whose realism is expressed alternately in the absurdity of people's behaviour, and in the complex consequences of their sacrifices. Modan's ever-present wit is articulated perfectly in her clear-line style, while a subtle, almost muted colour palette complements the true-to-life nuances of her characterisation. Savvy and insightful, elegant and subtle, The Property is a triumph of storytelling and fine lines. Modan's first full-length graphic novel, Exit Wounds, made a huge splash for this signature combination of wit, style and realism; The Property cements Modan's status as one of the foremost cartoonists working today. Winner of the 2014 Eisner Comic Industry Award |
| we are on our own miriam katin: Poppies of Iraq Brigitte Findakly, Lewis Trondheim, 2021-04-22 A personal account of an Iraqi childhood Poppies of Iraq is Brigitte Findakly’s nuanced tender chronicle of her relationship with her homeland Iraq, co-written and drawn by her husband, the acclaimed cartoonist Lewis Trondheim. In spare and elegant detail, they share memories of her middle class childhood touching on cultural practices, the education system, Saddam Hussein’s state control, and her family’s history as Orthodox Christians in the arab world. Poppies of Iraq is intimate and wide-ranging; the story of how one can become separated from one’s homeland and still feel intimately connected yet ultimately estranged. Signs of an oppressive regime permeate a seemingly normal life: magazines arrive edited by customs; the color red is banned after the execution of General Kassim; Baathist militiamen are publicly hanged and school kids are bussed past them to bear witness. As conditions in Mosul worsen over her childhood, Brigitte’s father is always hopeful that life in Iraq will return to being secular and prosperous. The family eventually feels compelled to move to Paris, however, where Brigitte finds herself not quite belonging to either culture. Trondheim brings to life Findakly’s memories to create a poignant family portrait that covers loss, tragedy, love, and the loneliness of exile. Poppies of Iraq has been translated from the French by Helge Dascher. Dascher has been translating graphic novels from French and German to English for over twenty years. A contributor to Drawn & Quarterly since the early days, her translations include acclaimed titles such as the Aya series by Marguerite Abouet and Clément Oubrerie, Hostage by Guy Delisle, and Beautiful Darkness by Fabien Vehlmann and Kerascoët. With a background in art history and history, she also translates books and exhibitions for museums in North America and Europe. She lives in Montreal. |
| we are on our own miriam katin: ... I Never Saw Another Butterfly... Hana Volavková, 1962 A selection of children's poems and drawings reflecting their surroundings in Terezín Concentration Camp in Czechoslovakia from 1942 to 1944. |
| we are on our own miriam katin: Marble Season Gilbert Hernandez, 2013-05-13 In his first book with Faber, Hernandez tells the untold stories of these American comics legends' youth, and portrays the reality of life in a large family in suburban 1960s California. Told largely from the point of view of middle child Huey - who stages Captain America plays and treasures his older brother's comic book collection almost as much as his approval - Marble Season deftly follows these boys as they navigate their cultural and neighborhood norms. Set against the golden age of the American dream and the silver age of comics, and awash with pop-culture references - TV shows, comic books, super-heroes and music - Marble Season subtly details how their innocent, joyfully creative play changes as they grow older and encounter name-calling, abusive bullies, and the value judgments of others. A coming-of-age story both comic and moving, it will have timeless resonance for children and adults alike. |
| we are on our own miriam katin: Graphic Details Sarah Lightman, 2014-08-22 The comics within capture in intimate, often awkward, but always relatable detail the tribulations and triumphs of life. In particular, the lives of 18 Jewish women artists who bare all in their work, which appeared in the internationally acclaimed exhibition Graphic Details: Confessional Comics by Jewish Women. The comics are enhanced by original essays and interviews with the artists that provide further insight into the creation of autobiographical comics that resonate beyond self, beyond gender, and beyond ethnicity. |
| we are on our own miriam katin: Here Richard McGuire, 2020-06-16 SOON TO BE A MAJOR MOTION PICTURE • From one of the great comic innovators, the long-awaited fulfillment of a pioneering comic vision: the story of a corner of a room and of the events that have occurred in that space over the course of hundreds of thousands of years. “A book like this comes along once a decade, if not a century…. I guarantee that you’ll remember exactly where you are, or were, when you first read it.” —Chris Ware, The Guardian In Here McGuire has introduced a third dimension to the flat page. He can poke holes in the space-time continuum simply by imposing frames that act as transtemporal windows into the larger frame that stands for the provisional now. Here is the comic-book equivalent of a scientific breakthrough. It is also a lovely evocation of the spirit of place, a family drama under the gaze of eternity and a ghost story in which all of us are enlisted to haunt and be haunted in turn.” —The New York Times Book Review With full-color illustrations throughout. |
| we are on our own miriam katin: We Spoke Out: Comic Books and the Holocaust Rafael Medoff, Neal Adams, 2018-04-17 Crucial comic book stories about the Holocaust and interviews with their artists and writers, with a cover drawn especially for this book by Neal Adams. An amazing but forgotten chapter in comics history. Long before the Holocaust was taught in schools or presented in films such as Schindler's List, the youth of America was learning about the Nazi genocide from Batman, the X-Men, Captain America, and Sgt. Rock. Comics legend Neal Adams, Holocaust scholar Rafael Medoff, and comics historian Craig Yoe bring together a remarkable collection of comic book stories that introduced an entire generation to an engaging and important subject. We Spoke Out is an extraordinary journey into a compelling and essential topic. |
| we are on our own miriam katin: The Listener Taylor Caldwell, 1960 |
| we are on our own miriam katin: Arsène Schrauwen OLIVIER. SCHRAUWEN, 2025-05-20 Utopia comes with a price in this new 10th anniversary paperback edition of the acclaimed comedic graphic novel inspired by the author's mid-century colonialist grandfather. |
| we are on our own miriam katin: 1001 Comics You Must Read Before You Die Paul Gravett, 2011-10-25 Visually amazing, this critical history of comic books, manga, and graphic novels is a must-have for any comic buff or collector. Over the centuries, comic books and their offshoots, such as graphic novels, manga, and bandes dessinées, have evolved into a phenomenally popular, influential, and unique art form with which we can express our opinions, our fantasies, our nightmares, and our dreams. In short: comics are emphatically no longer just for kids. This diverse, constantly evolving medium is truly coming into its own in the 21st century, from Hollywood's blockbuster adaptations of super-powered caped crusaders to the global spread of Japan's manga and its spinoffs, and from award-winning graphic novels such as Maus and Persepolis to new forms such as online webcomix. This volume is the perfect introduction to a dynamic and globally popular medium, embracing every graphic genre worldwide to assess the very best works of sequential art, graphic literature, comics, and comic strips, past and present. An international survey, this engaging volume is organized according to the year of first publication in the country of origin. An opening section acknowledges pioneering pre-1900 masterpieces, followed by sections divided by decade, creating a fascinating year-by-year chronicle of the graphic medium worldwide. The material includes the very earliest one-off albums to the latest in online comics and features some series and characters that have run for decades. Packed with fantastic reproductions of classic front covers and groundbreaking panels, this book is visually stunning as well as a trove of information--perfect for the passionate collector and casual fan alike. |
| we are on our own miriam katin: Hark! A Vagrant Kate Beaton, 2011-09-27 FEATURED ON MORE THAN TWENTY BEST-OF LISTS, INCLUDING TIME, AMAZON, E! AND PUBLISHERS WEEKLY! Hark! A Vagrant is an uproarious romp through history and literature seen through the sharp, contemporary lens of New Yorker cartoonist and comics sensation Kate Beaton. No era or tome emerges unscathed as Beaton rightly skewers the Western world's revolutionaries, leaders, sycophants, and suffragists while equally honing her wit on the hapless heroes, heroines, and villains of the best-loved fiction. She deftly points out what really happened when Brahms fell asleep listening to Liszt, that the world's first hipsters were obviously the Incroyables and the Merveilleuses from eighteenth-century France, that Susan B. Anthony is, of course, a Samantha, and that the polite banality of Canadian culture never gets old. Hark! A Vagrant features sexy Batman, the true stories behind classic Nancy Drew covers, and Queen Elizabeth doing the albatross. As the 500,000 unique monthly visitors to harkavagrant.com already know, no one turns the ironic absurdities of history and literature into comedic fodder as hilariously as Beaton. |
| we are on our own miriam katin: The Book of Sarah Sarah Lightman, 2019-05-23 The Jerusalem Bible, Ellerdale Road, St Paul's Girls School and a baby monitor: books and streets, buildings and objects fill this bildungsroman set in Hampstead, North West London. Sarah Lightman has been drawing her life since she was a 22-year-old undergraduate at The Slade School of Art. The Book of Sarah traces her journey from modern Jewish orthodoxy to a feminist Judaism, as she searches between the complex layers of family and family history that she inherited and inhabited. While the act of drawing came easily, the letting go of past failures, attachments and expectations did not. It is these that form the focus of Sarah's astonishingly beautiful pages, as we bear witness to her making the world her own. |
| we are on our own miriam katin: Comics Art Paul Gravett, 2013 Comics are a uniquely autonomous art form, one that has its own rich traditions that have given rise to a remarkably vibrant contemporary scene. In this richly illustrated book, Paul Gravett traces the history of comics from the late 19th century right through to the huge current interest in manga and graphic novels and the explosion of comics on the Internet. |
| we are on our own miriam katin: Lighter Than My Shadow Katie Green, 2014-10-14 Growing up, Katie Green had a normal and extremely happy childhood. However, as a child, she had an aversion to finishing certain foods (like toast), foods that she would end up hiding behind her bookshelf when she didn't want to eat them. As Katie entered her teenage years, she found herself becoming more averse to eating altogether. Before she knew it, she had become obsessive about consuming very limited amounts of calories and within months, found that she was severely anorexic. In Katie's inspirational graphic memoir Lighter than My Shadow, Katie takes readers on her painful journey, as she goes from starving herself to binging and purging. Along the way, Katie tries everything to cure herself (including having an extremely manipulative and dangerous relationship with a zealous alternative healer). It is not until she gives in to her passion for drawing (something she'd tried to ignore all her life) that she begins the long process to her recovery. Katie's voice is both honest and accessible and her art is mesmerizing and beautiful. This is the kind of book that is not just for those suffering from an eating disorder but the perfect read for anyone struggling with their emotional life or with |
| we are on our own miriam katin: George Sprott Seth, 2009-05-26 First serialized in The New York Times Magazine Funny Pages The celebrated cartoonist and New Yorker illustrator Seth weaves the fictional tale of George Sprott, the host of a long-running television program. The events forming the patchwork of George's life are pieced together from the tenuous memories of several informants, who often have contradictory impressions. His estranged daughter describes the man as an unforgivable lout, whereas his niece remembers him fondly. His former assistant recalls a trip to the Arctic during which George abandoned him for two months, while George himself remembers that trip as the time he began writing letters to a former love, from whom he never received replies. Invoking a sense of both memory and its loss, George Sprott is heavy with the charming, melancholic nostalgia that distinguishes Seth's work. Characters lamenting societal progression in general share the pages with images of antiquated objects—proof of events and individuals rarely documented and barely remembered. Likewise, George's own opinions are embedded with regret and a sense of the injustice of aging in this bleak reminder of the inevitable slipping away of lives, along with the fading culture of their days. |
| we are on our own miriam katin: Precarious Youth in Contemporary Graphic Narratives María Porras Sánchez, Gerardo Vilches, 2022-09-26 This volume explores comics as examples of moral outrage in the face of a reality in which precariousness has become an inherent part of young lives. Taking a thematic approach, the chapters devote attention to the expression and representation of precarious subjectivities, as well as to the economic and professional precarity that characterizes comics creation and production. An international team of authors, young and senior systematically examines the representation of precarious youth in graphic fiction and autobiographic comics, superheroes and precarity, market issues and spaces of activism and vulnerability. With this structure, the book offers a global perspective and comprehensive coverage of different aspects of a complex and multifaceted field of knowledge, with a special attention to minorities and liminal subjects. The comics analyzed function as examples of ethical solicitation that bear witness of the precarious existence younger generations endure, while at the same time creating images that voice their outrage and might move readers to act. This timely and truly interdisciplinary volume will appeal to comics scholars and researchers in the areas of media and cultural studies, modern languages, education, art and design, communication studies, sociology, medical humanities and more. |
| we are on our own miriam katin: The Quest for Jewish Belief and Identity in the Graphic Novel Stephen E. Tabachnick, 2014-06-30 Many Jewish artists and writers contributed to the creation of popular comics and graphic novels, and in The Quest for Jewish Belief and Identity in the Graphic Novel, Stephen E. Tabachnick takes readers on an engaging tour of graphic novels that explore themes of Jewish identity and belief. The creators of Superman (Jerry Siegel and Joe Shuster), Batman (Bob Kane and Bill Finger), and the Marvel superheroes (Stan Lee and Jack Kirby), were Jewish, as was the founding editor of Mad magazine (Harvey Kurtzman). They often adapted Jewish folktales (like the Golem) or religious stories (such as the origin of Moses) for their comics, depicting characters wrestling with supernatural people and events. Likewise, some of the most significant graphic novels by Jews or about Jewish subject matter deal with questions of religious belief and Jewish identity. Their characters wrestle with belief—or nonbelief—in God, as well as with their own relationship to the Jews, the historical role of the Jewish people, the politics of Israel, and other issues related to Jewish identity. In The Quest for Jewish Belief and Identity in the Graphic Novel, Stephen E. Tabachnick delves into the vivid kaleidoscope of Jewish beliefs and identities, ranging from Orthodox belief to complete atheism, and a spectrum of feelings about identification with other Jews. He explores graphic novels at the highest echelon of the genre by more than thirty artists and writers, among them Harvey Pekar (American Splendor), Will Eisner (A Contract with God), Joann Sfar (The Rabbi’s Cat), Miriam Katin (We Are On Our Own), Art Spiegelman (Maus), J. T. Waldman (Megillat Esther), Aline Kominsky Crumb (Need More Love), James Sturm (The Golem’s Mighty Swing), Leela Corman (Unterzakhn), Ari Folman and David Polonsky (Waltz with Bashir), David Mairowitz and Robert Crumb’s biography of Kafka, and many more. He also examines the work of a select few non-Jewish artists, such as Robert Crumb and Basil Wolverton, both of whom have created graphic adaptations of parts of the Hebrew Bible. Among the topics he discusses are graphic novel adaptations of the Bible; the Holocaust graphic novel; graphic novels about the Jews in Eastern and Western Europe and Africa, and the American Jewish immigrant experience; graphic novels about the lives of Jewish women; the Israel-centered graphic novel; and the Orthodox graphic novel. The book concludes with an extensive bibliography. No study of Jewish literature and art today can be complete without a survey of the graphic novel, and scholars, students, and graphic novel fans alike will delight in Tabachnick’s guide to this world of thought, sensibility, and artfulness. |
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