|HO CHE ANDERSON
|by Ho Che Anderson
|Paperback: 80 pages
Anderson has produced a grand, interpretive biography of Martin Luther
King Jr. that seeks to probe the man, his accomplishments and America's
racial dilemma. Powerfully cinematic, the work opens with a series of anonymous
characters, the attestors, speaking of their personal attraction to, or
disdain for, King. Then a short sequence focuses on four urban black communities,
presenting a contemporary sampling of racial conflict and violence, before
introducing King's childhood in Atlanta, Ga., in 1934. From there he plunges
into King's life with a passion: graduate studies in liberal Boston; meeting
Coretta; his collaboration with Ralph Abernathy; Rosa Parks and the Montgomery
bus boycott; and the ever present physical danger. This first of a projected
three-volume series ends with King's stabbing at a boycott in 1960. Anderson
has produced a vividly complex portrait of a legendary American figure,
detailing King's flaws--his woman-chasing and domineering personality--as
well as his courage and moral vision. The stark black-and-white illustrations
erupt from the page, perfectly capturing the visual force of a violent
and heroic period in American history.
Cahners Business Information, Inc.
look at a very great, but very human, man.
This book is a revealing
documentary about one of the greatest men in American history, Martin Luther
King, Jr. It essentially reveals that this man who is now seen as the Twentieth
Century's equivalent of Abraham Lincoln was also a man of foibles and some
weaknesses, and how much of his crusade still has to be won. And yet, the
book does not take away the essential nobility of his fight, even though
it was shown to be tougher than we remember. In fact, this book, by showing
how King had flaws, emphasizes that we have ability to take up his cause
and not be intimidated by the lionized image of this very great, but very
|Edited by Monte Beauchamp
|Edited by Monte Beauchamp & Chris Ware
|Paperback: 144 pages
comics anthology currently in production shows as wide a variety of the
medium's potential as BLAB!"
periodical or book, BLAB! is quite obviously a work of art."
|Two years after
the multiple-award winning Blab #8 comes editor Monte Beauchamp's
next installment of America's premiere comics anthology. The front and
back covers are by Gary Baseman, and you'll find new comics stories by
Richard Sala, Doug Allen, Spain, Terry Laban, Peter Kuper, Chris Ware,
and others. Plus there are essays on America's first serial killer, Howard
Unruh (by Jeffrey Steele), and the cover art of Dell mystery paperbacks
(by Beauchamp). The cornerstone of this issue is an amazing 13-page retrospective
of the art of Boris Artsybasheff, an expatriate Russian designer/illustrator
who created more than 200 covers for Time. His images of war and industry
influenced a generation of artists.
the modest digest size of its first eight numbers, Blab has evolved into
a square, oversize affair. The elaborate ninth edition includes strips
from Richard Sala, Spain Rodriguez, Peter Kuper, and Chris Ware (the latter
two's stories appear in vibrant color, and they are not the only ones that
do). Nearly as impressive are newcomers Archer Prewitt, Brad Johnson, and
Peter Hoey, and editor Beauchamp casts his net beyond the comics world
to gather work by Tony Fitzpatrick and Christian Northeast. All these artists'
contributions are enjoyable, but those of some cartoonists who work in
more conventional modes, such as Terry LaBan and Doug Allen, don't particularly
benefit from the lavish packaging, careful production, and cutting-edge
design. A retrospective of illustrator Boris Artzybasheff's work and a
portfolio of vintage Dell paperback mystery bookcover art round out the
volume. With the demise of Art (Maus) Spiegelman's Raw, Blab is the leading
showcase for contemporary cartoonists; may its new publisher publish it
1998, American Library Association. All rights reserved.
its peak, it's like The New Yorker--
|Edited by Monte Beauchamp & Chris Ware
|Paperback: 112 pages
is, simply, a great book."
the demise of the groundbreaking Raw nearly a decade ago, the vaguely annual
Blab has become the premier showcase for comics as art. The latest edition
features leading names in the field and some promising newcomers. Standouts
include Peter Kuper's paean to porn, Al Columbia's vision of the Apocalypse
that resembles an old black-and-white Max Fleischer film cartoon, Spain's
autobiographical story of a visit to a degenerate carny, Richard Sala's
take on German expressionistic film, Pamela Butler's feverishly sexual
Red Riding Hood drawings (mature readers only here), and a Rocket Sam tale
by Chris Ware, who does more in two pages than most artists can accomplish
in an entire graphic novel. Raw mainstay Gary Panter makes his Blab debut
with an uncharacteristic, rather inconsequential illustration. But why
does editor Beauchamp fill the volume out with mundane essays on boxer
Jack Johnson and R & B singer Jackie Wilson? (Drew Friedman's caricature
almost redeems the latter, though.) Aside from such prose miscues, the
only bad thing about Blab is the long wait between volumes.
1999, American Library Association. All rights reserved.
|by Monte Beauchamp (Editor)
|Paperback: 120 pages
anthology of cutting-edge comics and illustration art is back with its
most spectacular volume yet. Sporting all-new covers by acclaimed painter
Mark Ryden, Vol. 11 features the return of comics giants Richard Sala,
Peter Kuper, Drew Friedman, as well as illustration legends David Goldin
and Jonathan Rosen. Newcomers include American Illustration award-winner
Greg Clarke and Lou Brooks. With the cream of the crop of comics and illustration
talent from around the world, BLAB! is a fan-favorite in both comics circles
and the world of graphic design.
The latest edition of the
roughly annual anthology Blab is always welcome. Originally an elegantly
packaged showcase for alternative cartoonists, Blab now includes cutting-edge
graphics of all forms. New-to-Blab talents--notably the Clayton brothers
and cover painter Mark Ryden, all known for their appearances in the alternative-art
magazine Juxtapose --appear alongside Blab regulars, who are among the
brightest luminaries in the comics-as-art world. Standout contributions
include a droll story by American Illustration Award-winner Greg Clarke,
David Goldin's tale of nautical child abuse, and disquieting visual fairy
tales from Blanquet and Pamela Butler. Strong contributions from relative
traditionalists Richard Sala, Peter Kuper, and Spain Rodriguez prompt regret
that Blab has largely turned away from its comic-strip roots. Letdowns
include a one-page toss-off from Drew Friedman and an inconsequential prose
story by illustrator Lou Brooks (such occasional prose pieces are Blab'
s Achilles' heel). Editor Beauchamp's contribution is an assortment of
vintage German postcards depicting Krumpus, a Satanic anti-Santa who punishes
wicked children. Sharply designed and attractively assembled, Blab belongs
in libraries' graphic novel and fine-art collections.
Copyright © American
Library Association. All rights reserved.