Recently Gene Yang has been out touring in support of his newest graphic novel, the just-released Dragon Hoops. But of course he hasn't been touring in the flesh; the COVID-19 pandemic has had him—like so many of us—holed up at home, trying to find creative new ways to engage with both his family and his public. Happily, he hit upon the idea of a virtual book tour: that is,  promoting Dragon Hoops through a series of Instagram comic strips in which he responds to readers’ questions. These quick comics are formulaic, but the formulas are clever and engaging: Yang repeats shots and gags across the series, making it feel much like whistle stops before a loving audience that tends to ask the same few questions again and again. Of course, these comics are self-deprecating—more than anyone else, Yang is the object of his own jokes. He makes an excellent comic strip character.

Dragon Hoops aims for this quality too, though it lacks the big structural conceits of the three-part American Born Chinese or two-part Boxers & Saints. It differs in another important way too: this time the tale is not historic, mythic, or crypto-autobiographical, but instead a literal memoir, an account of a year in Yang’s life as a teacher at Bishop O’Dowd High, a Catholic school in the Bay Area. Dragon Hoops is the longest overtly autobiographical work Yang has done. Yet it’s really about (huh?) basketball: on one level, Bishop O’Dowd’s varsity men’s basketball team, the Dragons, hungry for a state championship, but more broadly the entire history of the sport and how it intersects with race, class, and even Catholic schooling. In short, Dragon Hoops takes on basketball as a social force. This is something that the book’s version of Gene, archetypally geeky and sports-averse, has to struggle to understand. The story follows Gene from standoffish sideline observer (he is, at first, simply a storyteller looking for a new story) to ardent booster of the school’s basketball squad. At the same time, it charts a major shakeup in Yang’s own life, and offers multiple stories of struggle and vindication if not redemption. Further, it explores ethical issues involved in coaching, mentoring young people, and even Yang’s own storytelling. In fact, Yang worries on the page about what he is doing on the page. Here the book seems boldest--or perhaps most vulnerable?

Visually, Dragon Hoops is likewise purposeful and designing. Breathless scenes of action on the court, sometimes parsed down to the split second, recall the sort of intense basketball manga popularized by Takehiko Inoue (Slam Dunk, Buzzer Beater, Real). These scenes attain an energy and forcefulness that exceed Yang’s previous work (even the martial violence of Boxers & Saints). There are sequences that fairly set my pulse racing. What makes these explosions of action thrilling is the way the book as a whole carefully measures out its storytelling, and uses the very controlled braiding of repeated imagery to reinforce its themes. Yang recycles and repurposes the same signal images over and over, to point up thematic parallels between past and present, among the different players, and between the Dragons’ quest for the championship and his own concern about going “all in on comics” as a career. Dragon Hoops is a library of key images, reworked and re-inflected (indeed, it could take the place of the vaunted Watchmen when it comes to classroom lessons about braiding!). In fact, it’s a brilliant sustained feat of cartooning for the graphic novel form; the book echoes back and forth, as Yang plays the long game.

There’s a kind of nervousness, though, behind Yang’s cleverness. Dragon Hoops is an anxious, self-conscious work. Like Spiegelman’s Maus—​and a great many other graphic memoirs since—it reveals and worries over its own stratagems. The authorial notes in the book’s back matter frankly discuss Yang’s sourcing and his occasional resort to artistic license. Said notes relate to the main story dialectically and at times critically (reminding me of the disarming notes in several books by Chester Brown). In particular, Yang admits that he has cast his wife Theresa as, essentially, his sounding board and proverbial better half: wise and practical, humorously tolerant of his anxieties, and full of advice and encouragement (or reasonable doubts about his judgment, as the occasion demands). Talking to Theresa becomes a means of registering Gene’s doubts about his own project, and the sometimes choppy ethical waters that the project gets him into. Though Theresa makes an impression, she does not really emerge as a full-blown character (and the same could be said of Theresa and Gene’s children). Yang notes that he took “particular liberty” with her dialogue: “I figured I could because, y’know, we’re married.” His notes are full of revealing asides like these, which invite a closer look at Dragon Hoops as a performance and a made thing, not just an artless recording of real-life events.

But, man, it's hard to begrudge Yang the effort, because so much good stuff happens along the way. Dragon Hoops captures a culture, community, and season vividly, and is the very definition of what we should want from a major artist: a step in a new direction, and a dare-to-self that plays out in complex ways. No one could accuse Yang of making things easy on himself. And the book has taught me a lot. As my wife Mich and I take our daily break from isolation, walking the quiet neighborhoods around us, waving (distantly) at passers-by, we see a lot of basketball hoops on driveways and in yards. In fact, a couple of days ago, as we walked uphill through another neighborhood, we heard the sounds of shooting hoops before we came upon the sight: a quick dribble, a silence, a thudding backboard, then more of the same. Sure enough: someone was practicing basketball, solo, in a rear driveway, just barely visible above a tall gate. I had this book on my mind, and had to smile.

A month ago, Jerry Craft’s graphic novel New Kid became the first comic to win the coveted Newbery Medal for children’s literature. I came to New Kid late, and KinderComics readers may remember that I did not include it among my faves of 2019. I wish I had. I confess I put off reading New Kid because I did not love its graphic style, which struck me as cobbled together digitally, with elements seemingly cloned, rescaled, and reused across its pages. At first the work looked patchy to me, compositionally choppy, and too tech-dependent for my tastes. I didn’t see the visual flow or elegance of design that I tend to crave. So, I was closed-mind about this one, I have to say.

(This would not be the first time my aesthetic preferences blocked me from recognizing good work. For instance, I recently read Maggie Thrash’s fine comics memoir Honor Girl, done in a seemingly naive watercolor style, and realized that I had been avoiding that one also. I had sold it short.)

New Kid deserves better from me. It’s an excellent school story, not only smartly written but visually clever and insinuating throughout. Craft, with exceeding sharpness, depicts African American scholarship boy Jordan Banks and his private school mates at awkward intersections of race, class, and gender. Indeed New Kid, with miraculously high spirits, examines the effects of racism and classism without ever actually breathing those words. Craft is astute and at times can be blunt, but is also endlessly subtle; his touch is marvelously light, yet telling. New Kid manages to be hopeful and often funny, even while acknowledging racism as both systemic feature and stubborn habit.

The story of one school year, New Kid gently critiques the class aspirations of private school parents, the casual racist carelessness of teachers, and the blunders of overcompensatory liberal tone-deafness, all while painting Jordan and his fellow students as canny survivors. The book abounds with sly, knowing recognitions, unexplained but pointed, including many gags that show Jordan trying to deal quietly with racial and class-based awkwardness. A middle-class Black boy in a (to him) new school that defines the very notion of privilege, Jordan is alive to the implications of every social move. Craft’s approach is at once realistic, worldly, amused, jaded even, and yet guardedly optimistic; he is properly impatient with ingrained prejudice, yet fatalistically aware that, well, young people have to get on in this broken world. New Kid humorously acknowledges the ways young people of color are too often seen, or rather mis-recognized, and fences smartly with the usual stereotypes about young urban Blackness.

The school kids mostly come out well here: they see and deal with social inequality and the willed blindness of adults while upholding their sense of humor and camaraderie. Running gags and droll in-jokes are everywhere: a kind of code and coping mechanism among the kids. For example, Jordan and his classmate Drew call each other mistaken names throughout, mimicking the cluelessness of their white teacher who cannot distinguish one Black student from another. The jokes in New Kid are not just funny, but insightful—as are the young people who tell them.

One of the best things in New Kid is a self-reflexive spoof of children’s and young adult publishing that mocks the narrowness of Black depictions in the field. This spread made me laugh out loud (please forgive my crummy scan):

If, as Philip Nel argues in Was the Cat in the Hat Black?, the cordoning off of genres marks a de facto line of segregation (Genre Is the New Jim Crow, in Nel’s phrasing), then Craft gets this exactly, and takes the whole publishing field to task. Indeed, the sight of a “gritty” novel for Black teen readers becomes a repeated joke in New Kid, one that stings with its insight but is also downright hilarious. Bravo! This is a supremely wise and charming book that jousts with, and defeats, a thousand cliches.  

In assembling this “cheat sheet,” I've been guided not only by my own taste but also by the amount of scholarship and criticism these works have inspired. For the most part, the books listed here are touchstones for creators and critics; they represent genres or trends that are important in the field, as well as creators who have influenced others. That is, this list consists mostly of landmarks to which other graphic novels are often compared, and which have changed the way we talk about book-length comics. (That said, my own tastes and biases remain a factor, of course.)

A bouquet of caveats: This list is biased toward the self-contained literary graphic novel as practiced in anglophone North America, particularly the US. As such, it neglects a lot of important and delightful stuff — most of the comics world, in fact. I certainly don't claim that these are the only important comics out there, or even that these are the "most" important ones (actually, most great comics IMO are not graphic novels, but that's an argument for another day). Moreover, this list does not quite capture the present moment, that is, does not represent the range and diversity of comics these days (the newest books here are three years old). Nor does this list do the important work of advocating for greater inclusivity (a principle I weigh whenever I craft a syllabus). But if you want to join conversations about the literary graphic novel as currently understood in English-language criticism, this list can give you a head start. Just think of it as one possible point of entry, time-stamped 2020...

PS. Clicking on a book's title will take you to an informational page maintained by its publisher.

100 Demons, by Lynda Barry (2002)
Barry is one of the greatest writers in comics, and hugely influential. Whether writing, cartooning, or illustrating, she insists on composing everything by hand, and invites her readers into the process of composition — bodily, messy, human. This volume collects strips Barry did for Salon.com, and adds layers of collage and commentary; the result is an evocative storytelling scrapbook. Funny, haunting, troubling, these are memories of childhood and adolescence, transformed into what Barry calls “autobifictionalography.” Gender, culture, growing up, feeling different — all are reflected in Barry’s wonderfully loose, quirky style and intimate voice. An essential book in alternative and feminist comix.

Alec: "The Years Have Pants", by Eddie Campbell (2009)
Scots cartoonist Campbell found fame in the 1980s British small press with these autobiographical stories, thinly veiled by his use of an alter ego, “Alec MacGarry.” The Alec tales capture Campbell’s relationships and career over a span of decades, with a loose, gestural style and incisive, ironic, sometimes self-damning wit. From love, sex, and family life to Campbell’s take on the ever-changing comics world, these stories evoke the life and times of a brilliant artist and raconteur. They even chronicle Campbell’s work on From Hell (see below). The Years Have Pants gathers thirty years of Alec into one 640-page brick.

American Born Chinese, by Gene Luen Yang (2006)
This acclaimed and influential book — a key example of the graphic novel for young readers — has an unusual structure consisting of three ostensibly separate stories in different genres: fantasy, sitcom, and realistic, semi-autobiographical fiction. The interaction of these stories yields a whole greater than the sum of its parts, and speaks to issues of divided identity, as hinted by the title. Yang brings it all together unexpectedly, ingeniously, in ways that capture the dilemma of immigrants' children caught between cultures, desperate to transform and “fit in.” His accessible, cartoony, clear-line style evokes idealized childhood, belying the book’s darkness and complexity.

Asterios Polyp, by David Mazzucchelli (2009)
This graphic novel by former Daredevil and Batman artist Mazzucchelli shows what can be done when every resource of the medium — layout, drawing style, colors, letterforms, balloons, everything — is deliberately varied to match different characters and shifting points of view. The story concerns architect Asterios — arrogant, out of touch — and his wife Hannah, and how their lives are transformed by circumstance. Mazzucchelli, one of the most electrifying talents in mainstream comic books in the 1980s, retreated from the limelight to explore alternative comics, then spent years crafting this layered masterpiece of form. Almost too clever, but also moving and beautiful.

Barefoot Gen, by Keiji Nakazawa (1973-1987; translation completed in 2009)
Gen, a semi-autobiographical tale, recounts Nakazawa's life as a survivor of the atomic bombing of Hiroshima — in ten volumes. It's a fierce, emotionally raw, yet deliberately crafted work: an intimate epic. Nakazawa depicts war, more particularly the Bomb, with brutal honesty, unquenchable anger, and a wounded heart. Gen makes a powerful dramatic argument for pacifism and anti-militarism, yet brims with violence, from large scale to small. A furious indictment of imperialism and warmongering (including Japan’s), this is searing, melodramatic, nakedly political storytelling — yet oddly hopeful too. A hugely influential autobiographical comic, and the first book of manga translated into English.

Batman: The Dark Knight Returns, by Frank Miller, Klaus Janson, and Lynn Varley (1986)
An aged, PTSD-haunted Batman comes out of retirement to save a dystopian Gotham; turns out he’s a righteous lunatic who insists on seeing the world in stark, uncompromising terms. This seminal Bat-story has influenced every Bat-movie and TV show made since the eighties, but it’s really in dialogue with the history of superhero comics and the comic book industry. Brash, brutal, Miller’s story runs roughshod over the DC Universe, bending the genre to personal and satirical purposes. Miller is unafraid to draw ugly to get the kind of intensity he wants — the result is an expressionistic nightmare. Forget the pointless sequels.

The Best We Could Do, by Thi Bui (2017)
​Like several other books here, this memoir inhabits a genre made habitable by Spiegelman's Maus: the multigenerational family memoir woven out of war, atrocity, and trauma, informed by the author’s ambivalence toward her parents. Bui chronicles five generations of her family, first in Vietnam, then the US, all while examining her own resentments, fears, and complex, divided identity. Rigorously self-critical, artfully braided, and beautifully drawn in a fluid, brush-inking style, this book imparts a library’s worth of history, but also subtle, tangled feelings. Though familiar in its approach, it remains tonally and aesthetically distinct. A brilliant, gorgeous, revelatory autobiography.

Binky Brown Meets the Holy Virgin Mary, by Justin Green (1972)
Binky stands in for author Green, and this comic recounts Binky/Green’s struggles with religious guilt and what he now recognizes as obsessive-compulsive disorder. An embarrassing, even harrowing memoir that reveals the author’s darkest secrets, this is also a beautifully crafted and hilarious high-water mark in the underground comix movement. It inspired Spiegelman’s Maus and the whole autobiographical comics genre. Weird, disturbing, and poignant, this comic still makes me laugh — and cringe with guilt every time I do. Green’s obsessive renderings, imaginative flights, and ironic humor about his own struggles have influenced comics ever since. Not for the fainthearted, but great.

Blankets, by Craig Thompson (2003)
Inspired by French artists, Thompson has a voluptuous, sensual style that carries readers away. Blankets is his breakout book, a memoir of adolescence, sexual awakening, and strict religious upbringing. Some readers find the heart of the book in its depictions of love and longing; I find it in Thompson’s rebellion against fundamentalism. This is not a memoir in the same vein as Green’s Binky; its images are more beautiful, its perspective less ironic, more Romantic, for some readers even mawkish. But read it to see how graphic memoir has been mainstreamed, and for a lovely example of the book as art object.

Bone, by Jeff Smith (2004)
Originally self-published, then republished by Scholastic, and now translated worldwide, Bone is a 1300-page epic (serialized over thirteen years). Smith has described it as Looney Tunes meets The Lord of the Rings, and his animation background comes out in the work, which combines Disneyesque charm and childlike heroes with unexpected depths. Smith’s style, influenced by Walt Kelly (Pogo), mixes slapstick cartooning with elegant brushwork and lush landscapes. His comic timing is terrific. The usual tropes of fantasy are here (princesses, dragons, dark lord, prophecy), but freshly redone for comics. Smith’s influence, particularly on children’s comics, would be hard to overstate.

Building Stories, by Chris Ware (2012)
The formalist comics achievement of the 21st century, so far? Depending on your POV, Building Stories either perfectly fulfills or violates the notion of “graphic novels.” It consists of a large box that recalls board games like Monopoly but contains fourteen different “Books, Booklets, Magazines, Newspapers, and Pamphlets” that can be read in any order (I don’t know any two readers who’ve read it the same way). The drama — poignant, sometimes heartbreaking — centers on a Chicago apartment building and a lonely, unnamed woman as she grows up and has a family. Ware captures sensations I never expected comics to capture.

A Contract with God, by Will Eisner (1978)
Veteran artist Eisner, a comics pioneer since the 1930s, launched his career’s last great phase with this “graphic novel” — actually four short stories about working-class Jewish lives, rooted in a common locale, a Bronx neighborhood remembered from Eisner’s youth. These stories mix social realism and melodrama. Here Eisner put his mature style — loose, rumpled, gritty — to new use, adopting a literary aesthetic and book format that lent legitimacy to the emerging graphic novel genre. Most impressive is the semi-autobiographical title story, a fable inspired by the death of Eisner’s daughter. Often wrongly called the “first” graphic novel, yet still seminal.

Epileptic, by David B. (1996-2003, complete English trans. 2005)
Another memoir whose brutal candor recalls Maus, Epileptic recounts the author’s family’s struggle to heal his brother’s severe epilepsy, which gradually isolates the brother and chokes off any chance of autonomous living. The family seeks cures in pseudoscience and mysticism, but is thwarted time and again, and haunted by its powerlessness. Concurrently, the book unfolds a history of postwar France, and 20th century atrocities generally, as the author-protagonist processes the world through a filter of rage and his art fearfully evokes an epileptic’s loss of control. Dark, hallucinatory, symbolically dense, swirling with hypnotic detail—a troubling masterpiece of graphic expressionism.

From Hell, by Alan Moore & Eddie Campbell (1999)
A fair candidate for Moore’s “other” great graphic novel (after Watchmen): a dense, paranoid retelling of the “Jack the Ripper” killings in London circa 1888, here treated as part of an occult conspiracy and an indictment of Victorian misogyny and classism. This project took a decade to complete, and shows not only Moore’s obsessiveness but also artist Campbell’s sense of period. Architecture, medicine, politics, freemasonry — it all gets caught up in their web. Campbell’s inky, scratchy, black-on-white pages, influenced by penny dreadfuls, are far from Watchmen's slickness. Magisterial, sinister, frightening, with alarming violence and butchery, and brutal commentary on gender.

Fun Home, by Alison Bechdel (2006)
Bechdel, known for her strip Dykes to Watch Out for, shifted gears with this memoir, which quickly became one of the US’s most-analyzed comics. Fun Home explores the relationship between Alison (an out lesbian) and her father Bruce (gay, closeted), whose death shortly after her coming-out may have been a suicide. The learned Bechdels often communicated through reading and writing rather than face to face, so Fun Home deploys myriad literary references (Joyce, Proust, Wilde, Colette, Fitzgerald) to weave an ambivalent portrait — precise, detailed, self-reflexive, darkly funny — of a complex, difficult man. After Maus, the most academically influential graphic book.

Ghost World, by Daniel Clowes (1997)
Drawn from Clowes’s comic book Eightball, Ghost World epitomizes mid-nineties alternative comics. A fiction with veiled autobiographical elements, it tracks the relationship between two young women, Enid and Becky, and what happens when they discover that their hip air of contempt for the world is not enough to carry them over the threshold to adulthood. Clowes’s satirical, deadpan humor runs throughout — the book is at times hilarious — but is matched by tacit emotional undercurrents. Beneath a chill, almost antiseptic style (emphasized by cold blue-green shading), Ghost World hints at psychological unease and turmoil, and ultimately tells a moving coming-of-age story.

The Girl from H.O.P.P.E.R.S., by Jaime Hernandez (2007)
The Hernandez brothers’ Love and Rockets (1981-) is arguably the most groundbreaking US comic book series of the past forty years. It defined alternative comics with its diverse cast, Latina/o and LGBTQ characters, punk rock/DIY ethos, mixture of underground and mainstream aesthetics, and experiments in form. Jaime’s “Locas” serial, based in Hoppers, a barrio inspired by his childhood in Oxnard, follows the lives and loves of Maggie Chascarillo and her circle, and is still going strong today. This volume captures Jaime’s amazing artistic growth in the mid-eighties, and boasts fluent, elegant cartooning, vivid, indelible characters, and searching, deeply moving stories.

Heartbreak Soup, by Gilbert Hernandez (2007)
While Jaime Hernandez was doing “Locas,” brother Gilbert created the other acclaimed serial in Love and Rockets: the stories of Palomar, a mythical Central American village populated by families, friends, lovers, and rivals. Gilbert’s style, broader and more grotesque than Jaime’s elegant naturalism, perfectly fits this magic-realist chronicle of love, loss, jealousy, psychological trauma, and social and political upheaval. This is bold work, exploring queer identities and sexualities, fearlessly depicting childhood and the traumas of growing up, and reflecting on art’s role in the world. This volume collects an extraordinary mid-80s run that shows Gilbert growing by leaps and bounds.

Hicksville, by Dylan Horrocks (1998)
Hicksville is a bucolic New Zealand town where everyone lives and breathes comics: a utopia for comics lovers. But what happens when a journalist comes to town determined to unearth the secret of a millionaire artist from Hicksville, a hometown boy turned pariah? Horrocks’ love letter to comic art is also a lament for the history of the comics business, one that has treated its artists like dirt. This funny yet melancholy meta-comic epitomizes alternative comics, and reflects on artistry-versus-commerce, the very nature of the comics form, and New Zealand's colonial history. Brilliantly cartooned: crisp yet scruffy, lively, organic.

I Never Liked You, by Chester Brown (1994)
A guilt-haunted memoir of adolescence, this book treats the ordinary stuff of high school relationships with a seriousness and graphic austerity that make it emotionally wrenching. Chester, a severely repressed young man, cannot seem to perform masculinity in the expected way, and his social relationships are punctuated by moments of almost-autistic withdrawal. His relationship with his mother is particularly fraught, and leads to a shattering climax. Beautifully drawn, with a fragile, minimalist line and dreamlike emotional reserve. A seminal example of graphic memoir from early-nineties comic books, and a key work of Canadian alternative comics from a restless, controversial creator.

Jimmy Corrigan: The Smartest Kid on Earth, by Chris Ware (2000)
Ware may be the most acclaimed cartoonist of the 21st century. He is famed for his command of, and willingness to push, the comics form; his dense, blueprint-like pages; his unerring, diagram-like style; the bleak honesty of his stories; and his focus on sad, isolated characters. He is comics’ poet laureate of loneliness. Some find Ware’s work unlovable, but others find in it a poignancy that few comics have reached. Jimmy Corrigan, his breakout novel, is a multi-generational chronicle of the screwed-up Corrigan family, and a devastating portrayal of failed, self-deluding White masculinity. Quiet, heartrending, epic, anticipating Ware's Building Stories.

March, by John Lewis, Andrew Aydin, and Nate Powell (three volumes, 2013-2016)
Adapted from the memoirs of Civil Rights activist John Lewis (Freedom Rider, onetime chair of the Student Nonviolent Coordinating Committee, and longtime Congressman), this trilogy is a testament: a personal window onto a history at once traumatic and exhilarating. While unfolding Lewis’s personal story, the book shows, clearly and unblinkingly, the politics and process of nonviolent Civil Rights protest. Powell’s organic drawing sets the rhythms, conjures a full, believable world, and brings the pages to life with an assured naturalism and graphic fluency that recall (without mimicking) Will Eisner. An autobiographical American epic, and an eye-opening work of comics historiography.

Maus, by Art Spiegelman (two volumes, 1986 and 1991)
Maus evokes the Holocaust from one survivor’s perspective—and that of his son, cartoonist Spiegelman, who works to get his father’s memories down on paper. It contains stories inside of stories, tracing the Shoah from prewar Poland to its still-traumatic aftereffects today, all while exploring the antagonism between father and son. Oddly, it exploits the so-called funny animal tradition: Jewish people appear as mice, Nazis as cats: a startling, sacrilegious device. Academically and critically, Maus has become America’s most talked-about book of comics ever: a generative project that inspired other books on this list. Its influence is hard to overstate.

My Favorite Thing Is Monsters, by Emil Ferris (2017)
Karen, a lonesome queer girl who envisions herself as a monster, investigates the death of an neighbor in her Chicago apartment building. That neighbor turns out to have been a Holocaust survivor with a knotted, complicated past. Karen's detective work brings her to dark places, and Ferris renders her quest in stunning art, lovingly detailed, obsessively dense, drawn almost entirely with a ballpoint pen in a series of spiral school notebooks (Karen's journals). Atmospheric, laced with references to high art and monster movies, suspenseful, and affecting, this staggering book does things with a comics page that I hadn’t seen before.

Palestine, by Joe Sacco (1996)
Journalist Joe Sacco makes comics about war zones and contested places in the world: Bosnia, Chechnya, the Middle East. These comics draw from his travels and investigative reporting. Influenced by underground comix, Sacco at first favored satire and grotesque exaggeration, but with Palestine, his foray into the Occupied Territories, he began shifting toward hyper-detailed realism, as he pursued his subjects with greater journalistic seriousness. Palestine advocates the Palestinian cause, giving an unabashedly political, while also scrupulous, unflinching, and human, perspective on the Israeli-Palestinian conflict. Sacco’s work has earned praise as both reportage and literature and fueled the graphic journalism movement.

Persepolis, by Marjane Satrapi (2000-2003, English trans. 2003-2004)
Persepolis, an Iranian autobiography first published in France, joins Maus and Fun Home as one of the most acclaimed graphic memoirs. Satrapi, born into a progressive Persian family, grew up during the Iranian Revolution and ensuing Iran-Iraq War. Her family, opposed to the Shah, welcomed revolution, but found the new fundamentalist regime even more oppressive. Satrapi left Iran for France. Using a stark, pared-down style, and an ironic voice that filters politics and violence through a child’s perspective, Persepolis explores traumatic memories and the bitterness of exile, while countering anti-Iranian stereotypes. Widely translated; adapted to film (2007) by Satrapi herself.

Smile, by Raina Telgemeier (2010)
Telgemeier, America’s best-selling graphic novelist, has legions of readers, especially girls aged 8 to 12. In 2019, her new graphic novel Guts (her ninth) got a million-copy print run. She started in self-published minicomics, but hit big with Scholastic, for whom she adapted four of Ann Martin’s Baby-sitters Club novels (2006-2008) before undertaking original GNs, starting with this memoir of girlhood, growth, and, um, dentistry. Phenomenally successful, Smile opened the door to further books by Telgemeier, both autobiographical (Sisters, 2014; Guts) and fictional (Drama, 2012; Ghosts, 2016). Accessible, energetic, crystal-clear, her work has become THE template for middle-grade GNs.

Soldier's Heart, by Carol Tyler (2015)
First published as a trilogy titled You’ll Never Know (2009-2012), Soldier’s Heart is now available in a single, revised volume. It tells the story of WW2 veteran Chuck Tyler and of his daughter Carol’s efforts to understand the War’s impact on his psyche. Working in the tradition of Maus, this intergenerational memoir digs into repressed wartime memories in order to understand and pay homage to a distant, sometimes irascible man whose hard exterior hides the aftereffects of trauma. Exquisitely illustrated in flowing, textured drawings and ravishing washes of color, this is a gorgeous, moving, heartfelt exploration of family (and) history.

This One Summer, by Mariko Tamaki and Jillian Tamaki (2014)
In this acclaimed Young Adult graphic novel, a girl, Rose, spends summer at the beach with her parents and her friend Windy. Rose’s mother, depressed, bears a secret that weighs on the family, Rose’s parents are at odds, and Rose blames her mom for the conflict. Windy and her family provide contrast. Rose, seeing through eyes clouded with mistrust and jealousy, tries to understand what’s expected of her as a woman, and what’s wrong with mom. A subtle exploration of girlhood and gender expectations, poetic in its rhythms and imagery. Transporting, haunting, a benchmark for its genre, though often unfairly maligned as "not for children."

Understanding Comics, by Scott McCloud (1993)
A book of theory presented in comics form, Understanding Comics may be the most-cited textbook in the field — but no textbook should be this much fun to read. Using his own cartooning as evidence, McCloud strives to build a grand theory that encompasses nearly everything about comic form: drawing style, breakdown/transitions, image/text interplay, line, color, on and on. It’s a terrific, insanely ambitious performance, one that has influenced comics studies ever since. To be honest, it changed my life, though nowadays I find myself arguing with it! The best candidate for a “primer” in comics studies. (We'll sample in class.)

Watchmen, by Alan Moore and Dave Gibbons (1987)
This most acclaimed of superhero comics asks, what would superheroes be like in the real world? Set in an alternate 1985, it’s a dystopian philosophical novel about the Cold War, empire, surveillance, paranoia, and fate. Obsessively detailed, Watchmen epitomizes the idea of the graphic novel as a system: dense, complex, full of echoes. Gibbons’s meticulous art perfectly captures scriptwriter Moore’s thirst for order. This book persuaded many that a superhero story could be Literature. (Forget the comic book spinoffs and movie, and take the 2019 TV series on its own terms; Watchmen’s meaning resides in its readability and book form.)

Well, it seems to be a time for reckoning. Best-of-the-decade lists by comics critics and fans have popped up all over these past couple of months. I'll repeat what has already become a truism: that for comics in North America, the 2010s were a decade of real change and outward expansion. For a number of overlapping reasons, I think—including the explosive growth of original graphic novels for children and young adults, the vitality of webcomics, the overdue recognition of marginalized readers and creators, the continuing ripples of the early-century manga boom, the visibility of comics adaptations in the wider culture, and the further flowering of small-press art comics and comics by interdisciplinary artists—the comics field has blown wide open, in a very encouraging way. It's dizzying for this longtime observer, but delightful too. The future has become hard to predict, and that's good. (See this piece by Rob Salkowitz on comics industry trends of the past decade.)

The best-of-decade lists I've found most interesting and useful are:

• The 100 Best Comics of the Decade, at The Beat, 11 Dec. 2019 (a crowdsourced effort by twenty-four different thinkers, big, smart, and diverse).
• The Best Comics of the Decade, by Robert Boyd, at his blog The Great God Pan Is Dead, 1 Jan. 2020.
• The various best-of lists published at the new comics criticism site SOLRAD, Jan. 6-10, including those by Rob Clough, Alex Hoffman, Daniel Elkins, Ryan Carey, and most especially Kim Jooha, who turns the genre of the best-of list into a polemic and a prophecy. All of the SOLRAD lists are distinctive and smart as hell, but Jooha drops some especially provocative arguments and models a scarcely-bounded sense of what comics can be. Her piece implies a bold new vision of comic art; it's a tremendous piece of art criticism disguised as a listicle. 

All of the above are worth bookmarking in perpetuity; I'll be using them as guides for a long time. My own list, consisting of fifty beloved comics from the past decade, is below. I tried designating a Top Ten here, but cripes that’s hard—so, fifty. Sorry!

One caveat, regarding the narrowness of my choices. Though I read translated manga fairly often, and increasingly I'm reading and teaching webcomics, those fields are either unrepresented or badly under-represented here. I used to think that I knew translated manga well, but that was many years ago; I am somewhat out of touch, and struggling to get back up to speed (thanks to my daughter Nami for helping with that). The sheer volume of manga to choose from has been daunting! As for webcomics, I've long resisted reading for pleasure onscreen for more than a few minutes at a time, but I've been working to change that. This past year I've learned a lot about webcomics, thanks to my teaching, but I must admit I don't yet feel expert in that area. All this is to say that my bullseye continues to be long-form comics storytelling in print, with a bias toward work originally published in English. Art-comics readers may detect my resistance to comix brut, primitivism, and deskilled comics (though see what Kim Jooha has to say about that); I suppose I tend to favor accessible storying delivered with high levels of obvious craft. But come back in a year and see what I have to say about all this! :)

The books below are alphabetized by title. Clicking on a book's image will take you to its publisher's site. I wish I could do a write-up on each one of these excellent comics, but alas the new semester has started, and I have to leapfrog into other business. Happy reading! We are indeed living in a golden age of independent, artistically aspiring, aesthetically diverse comics, and that gives me joy.

This past Monday, Jan. 27, the American Library Association (at its Midwinter Meeting in Philadelphia) announced the winners of its Youth Media Awards for 2020. These include the fabled Newbery Medal, the US's oldest literary prize for children's literature (awarded since 1922), the Caldecott Medal, the US's top prize for picture book art (1938-), the Coretta Scott King Book Awards for African American-focused literature (1969-), the Michael L. Printz Award for young adult literature (2000-), and numerous other prizes.

This year, for the first time, a comic has won the Newbery: Jerry Craft's graphic novel New Kid (HarperCollins), which also won the Coretta Scott King (Author) Book Award (and had already won a 2019 Kirkus Prize for Young Readers’ Literature). The reception of New Kid, as New York Times reporter Concepción de León puts it, "reflects changing attitudes about the literary merits of graphic novels" (though interestingly, some others, such as NPR's Colin Dwyer, have not even remarked that New Kid is a comic). 

This year's recipients of the Sydney Taylor Book Award for Jewish-themed children's and young adult literature (awarded since 1968 by the Association of Jewish Libraries) included Middle Grade winner White Bird: A Wonder Story, a graphic novel by R. J. Palacio, with finishes by Kevin Czap (Knopf).

This year's Asian/Pacific American Award for Children's Literature (awarded by the Asian/Pacific American Librarians Association since 2001) went to the superb graphic novel Stargazing, by Jen Wang (First Second).

This year's Asian/Pacific American Award for Young Adult Literature (also awarded by the APALA, of course) went to the graphic history/memoir They Called Us Enemy, written by George Takei, Justin Eisinger, and Steven Scott and drawn by Harmony Becker (Top Shelf/IDW).

This year's Alex Awards for the ten best adult books "that have special appeal to young adults" (awarded since 1998 by the Young Adult Library Services Association) included both Maia Kobabe's graphic memoir Gender Queer (Lion Forge/Oni Press) and AJ Dungo's graphic memoir/history In Waves (Nobrow).

Mariko Tamaki and Rosemary Valero-O'Connell's graphic novel Laura Dean Keeps Breaking Up with Me (First Second) won a Michael L. Printz Honor. 

Cece (El Deafo) Bell won a Theodor Seuss Geisel Honor for her graphic early reader Chick and Brain: Smell My Foot! (Candlewick Press). (The ALA established the Geisel Award for outstanding American book for beginning readers in 2004.)

The American Indian Youth Literature Award (awarded by the American Indian Library Association since 2006) this year recognized as a Young Adult Honor book the graphic novel Surviving the City, Vol. One (Highwater Press), written by Tasha Spillett (Nehiyaw-Trinidadian) and drawn by Natasha Donovan (Métis Nation British Columbia).

I also want to single out a title Honored by the American Indian Youth Literature Award in the Picture Book category, At the Mountain’s Base (Kokila/Penguin), written by Traci Sorell (Cherokee) and illustrated by Weshoyot Alvitre (Tongva/Scots-Gaelic). This book does remarkable things to the design of page and opening, using drawn threads to separate some spreads into sequences of panels. It's a captivating picture book:

I've always thought of picture books as part of this blog's focus. Let me briefly mention some comics-adjacent picture books honored this year:

Artist Duncan Tonatiuh has created a number of graphic books in a distinctive style inspired and informed by Mixtec codices, among them the accordion-fold Undocumented: A Worker's Fight (Abrams, 2018). Without presuming to claim Tonatiuh's work for "comics," I'd say that his books fascinate me as (distinct from yet undeniably) related to the young reader's graphic novel. The Pura Belpré Medal for outstanding Latinx work for young readers (awarded since 1996 by the Association for Library Service to Children and by REFORMA, the National Association to Promote Library and Information Services to Latinos and the Spanish-Speaking) has often honored his work. This year Tonatiuh earned Honors for Soldier for Equality: José de la Luz Sáenz and the Great War (Abrams).

Also recognized as a Belpré Honor Book this year was ¡Vamos! Let's Go to the Market, a picture book by artist Raúl The Third, known for his comics work, particularly the Lowriders graphic novel series (with writer Cathy Camper). 

I see many connections among this year's honorees. ​¡Vamos! is part of the Versify imprint at Houghton Mifflin Harcourt curated by poet Kwame Alexander, author of The Crossover and related verse novels, which have had a terrific impact. Kwame Alexander and Kadir Nelson's picture book The Undefeated, also part of Versify, joins New Kids as one of the most celebrated books of this year's ALA awards, winning the Caldecott Medal as well as the Coretta Scott King (Illustrator) Book Award and a Newbery Honor. Alexander seems to have an infinity for comics, by the way: The Crossover has been adapted into a graphic novel with artist Dawud Anyabwile, who also provided comics sequences for Alexander's Rebound​ (Anyabwile is known for Brotherman and the comics adaptation of Walter Dean Myers's Monster, among other projects). Graphic novels, viewed within children's and YA publishing, are part of a larger trend of formal experimentation that also includes, for example, verse novels and verse memoirs, a movement that of course includes Alexander and continues with this year's honorees Other Words for Home by Jasmine Warga (Balzer + Bray), a Newbery Honor Book, and Ordinary Hazards: A Memoir by Nikki Grimes (Wordsong), which received Honors from both the Printz and the Robert F. Sibert Informational Book Award (given by the Association for Library Service to Children since 2001).

My CSUN colleague Dr. Krystal Howard, expert in the verse novel, Künstlerroman, and comics, is the person I need to talk to about all this!

On the matter of formal innovation and multimodal storytelling, I have to mention artist Ashley Bryan's multimedia visual memoir Infinite Hope (Atheneum), which earned a Coretta Scott King Illustrator Honor. Collaging together photography, painting, drawing, and historical artifacts, Infinite Hope is a transporting, visually rich evocation of the artist's life and times. (This would be another great book to discuss with Krystal!)

I note one other (by me) unexpected comics connection among this year's awards: the Odyssey Award for best audiobook for young people went to the audio adaptation of Jarrett Krosoczka's graphic memoir Hey, Kiddo (2018). And I see that there are also audio adaptations of Palacio's White Bird and Craft's New Kid. In all cases, these are audio performances by a full cast, not just a narrator. This is a trend I need to look into! Here's a sample of Hey, Kiddo​ in audio:

All in all, the ALA Youth Media Awards for 2020 affirm how embedded graphic novels are in the children's and young adult publishing world, and how dramatically they have engaged the challenge of boosting inclusivity, diversity, and meaningful representation in that world. This continues to be a dizzying, promise-filled time for young readers' comics!

One last note: comics-related or not, there are a few other honorees this year whom I must mention:

• Mildred D. Taylor, author of Roll of Thunder, Hear My Cry and the whole Logan family saga, who received the Coretta Scott King's Virginia Hamilton Award for Lifetime Achievement. 
• Kevin Henkes, author of Kitten's First Full Moon, Waiting, The Year of Billy Miller, and many more books, who received the Children's Literature Legacy Award.
• Dr. Rudine Sims Bishop, who received the ALSC's Children’s Literature Lecture Award in recognition of her influential and socially urgent scholarship.
  

Such news!

This week my wife Mich and I are bound for the Modern Language Association (MLA) convention in Seattle, an outsize academic gathering that's been going on yearly in various cities since, oh, 1883. It's a professional whirlwind and a bit of a madhouse: the kind of event that requires making plans well in advance (even social plans take effort: you can hardly have lunch or coffee with a colleague without making arrangements way ahead of time). After all, the MLA is one of the largest, oldest, and best-known organizations in the profession, and now boasts some 25,000 members in a hundred countries. 

This year the Forum for Comics and Graphic Narratives (whose current executive committee includes my colleagues Lan Dong, Margaret Galvan, Aaron Kashtan, Susan Kirtley, and Leah Misemer) is sponsoring two panels, one of which I am lucky enough to take part in:

587. A Decade in Comics
3:30–4:45pm, Saturday, Jan. 11, 2020, Sheraton Grand Seattle, Willow A

Description: On the tenth anniversary of panels sponsored by the MLA Forum for Comics and Graphic Narratives, established and emerging scholars reflect on the history, the present, and the future of the field of comics studies.

• Jonathan W. Gray, John Jay C of Criminal Justice, City U of New York
• Charles Hatfield, California State U, Northridge
• Joshua Kopin, U of Texas, Austin
• Martha B. Kuhlman, Bryant U
• Rachel Kunert-Graf, Antioch U
• Valentino Zullo, Kent State U

Presiders: Margaret Galvan, U of Florida; Susan E. Kirtley, Portland State U

In addition, on Saturday evening, Jan. 11, starting at 7pm, the Comics and Graphic Narratives forum will be sponsoring an outside social event at the Fantagraphics Bookstore & Gallery, a hub of Seattle's independent comics culture, located in the Georgetown neighborhood (1201 S Vale St., Seattle, WA 98108). The event will include a signing by cartoonist Natalie Dupille, and refreshments will be served. Not to be missed if you're a comics lover anywhere near Seattle that Saturday night!

Besides all this, I have the good fortune to be presenting in a special session outside of the Comics and Graphic Narratives forum:

500. Humanities in Five
​12:00–1:15pm, Saturday, Jan. 11, 2020, Washington State Convention Center, 4C-4

Description: Scholars from different fields present their research in five minutes, aiming to do justice to the complexity of the research and at the same time to make its significance clear to a nonspecialist audience.

• Ricia Anne Chansky, U of Puerto Rico, Mayagüez
• Sarah Dimick, Lafayette C
• Robert Gabbard-Rocha, Purdue U, West Lafayette
• Matthew Goodwin, U of Puerto Rico, Cayey
• Charles Hatfield, California State U, Northridge
• Elizabeth Mathews Losh, C of William & Mary
• Michelle R. Warren, Dartmouth C
• Elizabeth Anne Wheeler, U of Oregon
• Crystal B. Lake, Wright State U

Presider: Manu Samriti Chander, Rutgers U, Newark

(I'll be calling my talk "Making Reading Strange Again, or, Thinking about Comics Literacy.")

KinderComics readers may wish to know about all the work on this year's MLA program that relates to comics, children's literature, and/or childhood studies, not just within specific forums but across the convention as a whole. To that end, I recommend both the helpful list of comics-related presentations at the Comics and Graphic Narrative forum's website and the annual list of all children's literature, childhood studies, and comics-related activity at my colleague Philip Nel's website (compiled by Ramona Caponegro, Phil's colleague in the Children's and YA Literature  forum). Since the MLA is a vast organization that does not usually publicize its proceedings outside of academia, it takes some sleuthing to find out what's going on within, but it's worth the effort!

If you're interested in how comics studies have been received within this particular corner of academia, consider that, since its founding, the MLA Forum for Comics and Graphic Narratives has sponsored some twenty-five panels (not including this year's) and collaborated with various other MLA forums: Children's Literature; Age Studies; Autobiography, Biography, and Life Writing; Literature and Other Arts; European Literary Relations; 20th- and 21st-Century Comparative Literary and Cultural Studies; Speculative Fiction; Global Arab and Arab American Comparative Literary and Cultural Studies; and Medical Humanities and Health Studies. During that same period, the amount of comics studies activity at the MLA convention has varied, with somewhere between two and ten comics-focused panels occurring outside of the forum (in some cases sponsored by other forums, and in some cases organized as independent special panels outside of any forum). By my count, this year there will be five comics studies panels outside the Comics and Graphic Narratives forum. (Peak years of comics-themed activity outside the forum have included Seattle in 2012, with ten outside panels, Philadelphia in 2017, with seven, NYC in 2018, with six, and Chicago in 2019, with eight.)

To put all this in perspective, this year's total MLA program includes almost 800 official events. It's huge. During this century, the convention has drawn, on average, some 7000 attendees or more, although the numbers have dipped in the past handful of years (peak attendance, circa 1992 to 2002, sometimes hit 10,000 to 12,000; last year's reportedly dipped below 5,000). This year, more than 3000 people are listed as officially participating in the convention program (and there will probably be many attendees not on the program). Within that context, comics studies may seem like a small thing, but in truth the MLA's Comics and Graphic Narratives forum has been an important beachhead for comics scholarship, as well as the first venue or launch point for a great deal of subsequently published research. 

The patchiness of my reading matches the patchiness of this blog over the past year. Due to academic scheduling pressures, I published nothing substantial here between my best-of list for 2018 and late July. That was painful. I finally got in a few posts in the late summer, then returned more decisively in October, finishing out the year with a string of reviews that made me feel better. I had thought that I might need to shutter KinderComics entirely, but the sprint I was able to do late in the year has convinced me that I should stick around. Thank goodness. I love doing this work.

The 5 Worlds series, a planet-hopping space opera for young readers, at last finds its rhythm and delivers a fairly transparent but still affecting allegory about how to maintain hope in dark times. This has always been a wildly ambitious series whose reach exceeds its grasp, but The Red Maze won me over. I reviewed this here on KinderComics at the end of July.

A beautiful, mystifying graphic novel in which two young women, fugitives, drive through a fantastical version of West Texas, pursued by shadowy figures and their own traumas and losses.  Perhaps not Walden's strongest story, but a transporting experience, gorgeously drawn and colored. I reviewed this here in early November.

Razor-sharp satire and oozy body horror collide in a wickedly funny fable about gentrification. I reviewed a beta version of this novel on the Comics Studies Society's Extra Inks blog way back in Feb. 2018. So glad to see it out in the world now.

Seth's long-simmering novel of failed ambition, social withdrawal, and psychological isolation, now collected. Chilling, in the end. I expressed ambivalence about this book in my contribution to the Comics Journal roundtable, back in June, but, damn, it is a monumental, haunting work.

Reviewed here very recently. What a resource!

An anthology of wrenching work, and a project of real artistic courage. Inevitably uneven in terms of professional finish, but so, so powerful. So many very strong emotions have been funneled into this book, and so many different ways of delivering hard truths. Far from despairing, the book is, as promised, a power source -- and a timely, necessary intervention. 

James Romberger's biographical fiction about the great Jack Kirby: an understated yet moving comic book, short but full, light years away from the usual thoughtless evocations of Kirby as "king." Great cartooning and real insight. I reviewed this on my Kirby studies blog in October.

I'll join the chorus of voices hailing Davis as the cartoonist of the decade. I'm not sure what to think of this dystopian near-future fable, but I can tell you that I literally shook while reading it, and stared at its final pages, stunned.

I so want to write more about this series and its creator here on KinderComics. The latest and most complex of the Hilda albums, and a perfect capper for everything that has come so far. Breathlessly exciting, as usual; also sensitive, subtly moral, and an unexpected broadening of Pearson's world. This has been my favorite new children's series of the decade.

Finding the first issue (#0) of this, Ronald Wimberly's et al.'s annual broadsheet anthology, was one of the highlights of my CALA 2018 experience. A year later, finding the second issue (oddly, it's called #4) was one of the highlights of CALA 2019. A brilliant, troubling collection of giant-sized comics (Wimberly, Hellen Jo, Emily Carroll, Richie Pope, Ben Passmore, etc.) and provocative essays and arguments. This particular issue concerns environmental catastrophe, necropolitics, and horror.

I came late to this, at year's end. I wish I had reviewed it. A matter-of-factly queer YA story of high school romance, friendship, and the struggle for moral agency, this novel is distinguished by a thousand grace notes of observation and expression. A bodily and culturally diverse cast of characters dances a complicated social dance, courtesy of nuanced dialogue and cartooning that makes them feel wholly real.

Wise as well as useful, Beautiful as well as strange. Try it on for size; it might change the way you feel about your own ability to create. See my event report from mid-October.

I happened to run into Kevin Huizenga at CALA 2019, and stood there like a tongue-tied idiot, trying to think of novel ways to gush. I love the thoughtfulness and rigor of his cartooning, and the formalist inventiveness too. Those qualities come through in this philosophical novel about an insomniac's sleepless night of contemplation and mental journeying. It feels like a super-dense lesson in thinking about thinking. Or simply a lesson in living?

I reviewed this here in early December. It's a graceful and moving evocation of friendship among two outwardly mismatched but deeply bonded Chinese American schoolgirls. A fresh new approach to what is rapidly becoming a familiar type of graphic novel, delivered by one of America's best comics artists and storytellers.

Lovely and rather terrifying: a ripe, rapturous erotic horror story in a deluxe package, formally daring, disorienting, and like no one else's work. NSFW, but to hell with safe.

Another CALA 2019 discovery: cartoonist Cristian Castelo and his colleagues in the Bay Area comic artists' collective Freak Comics. They had so many good things at their table, I could hardly decide what to get, but I settled on the above book: an oversized, riso-printed beauty that collects and revises the first three chapters of Castelo's ongoing series Wild, a period fantasy about mid-1970s high-school roller derby girls. It's drawn in a voluptuous style that for me recalls both Paul Pope and Los Bros Hernandez. Castelo's outsized characters fill the pages and demand attention; this is gutsy cartooning, full of sensuous, heroic figures. And the coloring and production are enough to make me swoon. I can't wait to read more from Castelo and his Freak colleagues.

This is meant to be a book "for kids." I'll be using it next term as a textbook in a college class. That ought to tell you something.

Comics: Easy as ABC! is both a book by Ivan Brunetti and a showcase for the entire TOON Books line. Not for nothing does the spine say Brunetti/Mouly, pointing to the crucial role of TOON's editorial director, Françoise Mouly, who commissioned, edited, and designed the book, drawing on a who's who of TOON authors to complement and fill out Brunetti's text. I imagine that this book was her idea; I note that it reuses the "coaching tips" for parents and educators found on TOON's website. In any case, Comics: Easy as ABC! works as both a young reader's adaptation of Brunetti's pedagogy, as modeled in his previous instructional book Cartooning: Philosophy and Practice (Yale, 2011), and a distillation of Mouly's (and TOON's) editorial ethos. That ethos brings kid-friendly storytelling and cartooning into contact with frank avant-gardism (shades of The World Is Round!).

Who would have thought that Brunetti, author behind the scabrous, post-Crumbian Schizo and other bitter, depressive, and often savage alt-comix, would become one of TOON's signature authors, and an ambassador for children's cartooning? The mind reels. But the role suits him, and his methods can help adults as well as kids. Anyone who has carefully read (or has taught) his Cartooning textbook knows that his pedagogy is precisely the sort to encourage those who "can't draw"; Brunetti extols comic art not as illustration but as a form of "writing with pictures" accessible to almost everybody. Whereas Cartooning imagines itself as a syllabus crafted by an authoritative (and strict) teacher with a classroom of official students, Comics: Easy as ABC envisions an audience of free-spirited kids with time on their hands, doing what they want to do. A comparison to Lynda Barry's new Making Comics may help: whereas Barry exhorts her adult students and readers to recover the openness and energy of childhood drawing, Easy as ABC aims right at kids themselves (though with imagined grownups peeking solicitously over the kids' shoulders, as it were). The result is a dual-purpose book: part how-to for a young (or any aspiring) cartoonist, part exhortation to "parents, teachers, and librarians."

Woven through Brunetti's pages of advice and demonstration are miscellaneous contributions from other cartoonists, with those by Elise Gravel, Sergio García Sánchez, Art Spiegelman, and the late Geoffrey Hayes being perhaps the most substantial. ​Benny and Penny pages by Hayes, endpapers by Gravel, a draw-your-own-conclusion strip by Spiegelman, a (too dense?) page on perspective by García Sánchez—the book is filled with diversions. Short, elliptical strips by various artists from the 4PANEL Project website insinuate an art-comics vibe by means of a traditional comics structure. Sprinkled here and there throughout the book are blurbs labeled "What works?" that offer advice either to artists or to adults coaching children through comics-reading. It's a Whitman's Sampler on the surface, a deliberate curriculum underneath.

I could quibble with some of the book's claims. Consider, for example, this exhortation to rapid-fire doodling: “When we have no time to think about the drawing, we get closer to the idea of the thing being drawn” (6). This idea that the quiddity or basic “whatness” of a thing is best conveyed without fussiness or craft, and without worrying about how to capture its visual particularities, fits Brunetti’s favored notion of comics as picture writing, but seems to deny the importance of observational drawing or the evocative this-ness of a distinctive drawing. At times, Brunetti’s advice seems designed to steer artists toward semiotically handy visual cliches. This is consistent with his ethos of writing over illustrating, and is likely to be liberating good advice for up and coming artists, but it soft-pedals the considerable effort often required to find distinctive, personal ways of rendering things as cartoons. If you believe that eloquence and distinctiveness of drawing are important, Brunetti’s embrace of simplicity and very familiar forms may grate on your nerves. On the other hand, I have given similar assurances to students in my (emphatically non-studio) classes (i.e. English classes), and I find that this sort of advice and exhortation does indeed serve to unlock visual storytelling. So, I dunno, maybe I should keep my big trap shut. In any case, I will be using this book next term! I expect it will be a great guide. It’s also a delightful read on its own terms, and a summation of what makes TOON Books such a terrific publisher.

What is CALA, exactly? I'm going to say just about exactly what I said last year: Organized by Jen Wang, Angie Wang, and Jake Mumm, CALA is a free, public, welcoming event that aims to promote (as its website says) "the appreciation of comics, graphic novels, and sequential arts among the broader Los Angeles public." It's friendly, inclusive, and diverse: a space that offers you a chance to interact with great artists whose work will be defining comics for years to come. ​

If you're interested in comics as an art form, not just a source of IP to be mined for other media, then CALA is your kind of happening. It's one of Los Angeles's signal events for independent publishing and art-making. As I say each year, CALA always teaches me new things and helps me discover new artists to watch out for. This year's lineup is strong as usual: special guest artist Raúl The Third (Lowriders in Space; ¡Vamos! Let’s Go to The Market!); exhibiting artists such as Jessica Campbell, Ezra Claytan Daniels, Charles Glaubitz, Laura Knetzger, Sloane Leong, Ben Nadler, Anders Nilsen, Lark Pien, Rosemary Valero-O'Connell, Malachi Ward, and so many others; and publishers such as Czap Books, Iron Circus, and Youth in Decline. And who knows what other creators, publishers, and art communities that I haven't learned about yet?

Plus, once again CALA is sponsoring this​ wonderful thing:

Stargazing, Jen Wang’s follow-up to last year’s The Prince and the Dressmaker, is recognizably by the same artist—one of America’s best comics artists. Yet it’s a very different sort of book. A middle-grade graphic novel about friendship and jealousy among girls, it falls squarely into Raina Telgemeier territory: a school story about finding your complementary opposite and becoming friends, but then pulling back, but then stepping forward again. 

As it traces a relationship between two girls, Christine and Moon, Stargazing evokes the camaraderie and intimacy of friends sharing secrets. At the same time, it registers how selfishness and anxiety may complicate our friendships. Wang treats small betrayals among school friends as the stuff of moral drama. In particular, she pays attention to what it may mean to be an immigrant’s daughter driven by certain dreams of success, and how such a driven child might look to another girl, one far from her in class and temperament, for a kind of relief, a liberating counter-example of a life lived more freely or less anxiously. But of course that “other” girl has complications of her own. Along the way, Wang conveys differences of class and circumstance within a Chinese American community, showing how adaptation and resistance may take diverse forms. Building on her own memories of girlhood, and detailing how different families may cleave to different standards and impose different pressures, Wang fashions a portrait of community and an understated story of girlhood friendship with a very particular cultural setting. In short, this is a terrific book.

Female friendship is a, or maybe the, abiding theme in post-Raina graphic Bildungsromane. I’ve noticed various author-artists tacking in that direction (KinderComics readers may recall, for example, reviews of Larson’s All Summer Long or Brosgol’s Be Prepared). At the recent PAMLA conference in San Diego, scholar Erika Travis (California Baptist University) presented on this very topic, drawing on Jamieson’s Roller Girl, Bell’s El Deafo, and Hale and Pham’s Real Friends for examples. She showed how these books stake out the traditional concerns of girls’ middle-grade books, only in comics form. Stargazing leans in that direction too—it’s the simplest, most grounded of Wang’s books, harking back to the slice-of-life of Koko Be Good but framed as a school story. Thematically, it invites comparison to Telegemeier’s recent Guts; for example, in both books characters uses their art to cement relationships. Stargazing, though, shoulders the added complexity of immigrants’ children in a specific Chinese American context. Its protagonist is weighed down by her father’s aspirations for success—perhaps an oblique commentary on the model minority myth—and this complicates, almost undermines, her friendship with her complementary opposite.

Christine, studious, high-achieving, and serious, contrasts sharply with her new neighbor Moon, impetuous, high-spirited, and hyper. The former is quiet and restrained, and driven to academic success—partly by her well-meaning but at times insensitive father. The latter is a spitfire: bright and scattered, cheerfully defiant of rules, and prone to cold-cock other kids who are mean to her friends. Christine is the idealized academic success, Moon the subject of nervous gossip. Christine’s family is well-off; Moon’s single mother struggles to make ends meet. When Moon and her mother move into the guest home rented out by Christine’s family, the two girls strike up an unlikely friendship, and Moon’s energy rubs off on Christine, whose reserve begins to melt a bit. Moon introduces Christine to K-pop and dance. Christine’s family introduces Moon to Chinese language class (but it doesn’t take). The two bond, in a series of delightful scenes. Moon confesses to Christine her belief that she, Moon, is not an ordinary Earth girl but rather a creature from the stars—that one day she will return to a home on high. Sharing this with Christine is a gesture of friendship. 

While Stargazing may be in, broadly speaking, familiar territory, it isn’t generic at all. It seems to be a dialogue around Chinese American experience and different ways of being a Chinese American girl. It evokes specific familial and communal settings with a brilliant economy. At the same time, it’s aesthetically gorgeous: Wang’s cartooning and layouts boast an elegance and lightness of touch that are rare. The book’s use of negative space—of unenclosed figures and the whiteness of the page—give it a free-breathing, eminently readable quality. The same delicacy with character and emotion seen in The Prince and the Dressmaker comes through here, abundantly; Wang knows how to capture the finest nuances of expression. This is simply first-rate comics—and highly recommended.