DescriptionJillian Tamaki, co-author of This One Summer, picks the best graphic pieces of the year. "The pieces I chose were those that stuck with me, represented something important about comics in this moment, and exemplified excellence of the craft. Surveying the final collection, I'm moved by the variety of individual approaches. There are so many ways to make us care about little marks on a page."--Jillian Tamaki, from the introduction The Best American Comics 2019 showcases the work of established and up-and-coming artists, collecting work found in the pages of graphic novels, comic books, periodicals, zines, online, in galleries, and more, highlighting the kaleidoscopic diversity of the comics form today. Featuring Vera Brosgol, Eleanor Davis, Nick Drnaso, Margot Ferrick, Ben Passmore, John Porcellino, Joe Sacco, Lauren Weinstein, Lale Westvind, and others.
October 01, 2019
6.9 X 1.3 X 9.1 inches | 2.25 pounds
Earn by promoting books
Earn money by sharing your favorite books through our Affiliate program.Become an affiliate
About the Author
Jillian Tamaki is an illustrator and comics artist. She is the co-creator of Skim and This One Summer, and the author of SuperMutant Magic Academy and Boundless (2017). She has taught comics and illustration in New York City at SVA and The New School. She lives in Toronto. jilliantamaki.com
BILL KARTALOPOULOS is the publisher/editor of Rebus Books and the programming coordinator for SPX: The Small Press Expo. He was a cofounder and the programming director for the Brooklyn Comics and Graphics Festival. He is a member of the Executive Committee for the International Comic Arts Forum (ICAF), a contributing editor for Print magazine, and has worked as an assistant to Art Spiegelman for several years. He lives and works in Brooklyn.
"Series editor Kartalopoulos taps Tamaki (They Say Blue, 2018, etc.) to help curate the 2019 edition of this annual collection of exceptional graphic storytelling...Eleanor Davis' incisive 'Hurt or Fuck' contemplates art and human need on an allegorical, visceral level in what could almost be a two-actor stage play. Erik Nebel's 'Why Don't We Come Together' ingeniously explores the possibilities of a rigid format--repeating but shifting shapes and colors, figures and patterns play across a set of equal-sized panels stacked into a grid, clicking through simple, whimsical stories like a filmstrip of thesis, antithesis, and synthesis...It's called 'best' for a reason."--Kirkus