A Bunch of Jews (A Minyen Yidn) is a collection of stories written in Yiddish in the 1930s adapted to an English graphic novel by Trina Robbins and a collection of artists including Willy Mendes, Steve Leialoha, Shary Flenniken, Eve Furchgott, Miriam Katin, Miriam Libicki, Sarah Glidden, Anne Timmons, Robert Triptow, Jen Vaughn, Elizabeth Watasin, Caryn Leschen, Joan Steacy, Ken Steacy, and Terry Laban. These are stories of jealous schoolteachers, yearning husbands, loyal pets, and all the emotional moments of friends and neighbours that make up a community. Touching, funny, and heartfelt tributes to Jewish life in the early 1900s in Europe and USA.

A “fascinating and enlightening” collection of comics and writings that explore the Yiddish language and the Jewish experience (The Miami Herald). We hear words like nosh, schlep, and schmutz, but how did they come to pepper American English? In Yiddishkeit, Harvey Pekar and Paul Buhle trace the far-reaching influences of Yiddish from medieval Europe to the tenements of New York’s Lower East Side. This comics anthology contains original stories by such notable writers and artists as Barry Deutsch, Peter Kuper, Spain Rodriguez, and Sharon Rudahl. Through illustrations, comics art, and a full-length play, four major themes are explored: culture, performance, assimilation, and the revival of the language. “The book is about what Neal Gabler in his introduction labels ‘Jewish sensibility.’...he writes: ‘You really can’t define Yiddishkeit neatly in words or pictures. You sort of have to feel it by wading into it.’ The book does this with gusto.” —TheNew York Times “As colorful, bawdy, and charming as the culture it seeks to represent.” —Print magazine “Brimming with the charm and flavor of its subject...a genuinely compelling, scholarly comics experience.” —Publishers Weekly “A book that truly informs about Jewish culture and, in the process, challenges readers to pick apart their own vocabulary.” —Chicago Tribune “A postvernacular tour de force.” —The Forward “With a loving eye Pekar and Buhle extract moments and personalities from Yiddish history.” —Hadassah “Gorgeous comix-style portraits of Yiddish writers.”––Tablet “Yiddishkeit has managed to survive, if just barely...because [it] is an essential part of both the Jewish and the human experience.” —Neal Gabler, author of An Empire of Their Own: How the Jews Invented Hollywood, from his introduction “A scrumptious smorgasbord of comics, essays, and illustrations...concentrated tastes, with historical context, of Yiddish theater, literature, characters and culture.” —Heeb magazine

An expectant father, Mendleman's life goes through an upheaval when he discovers he can no longer earn a living doing the work that defines him: making well-crafted rugs by hand. A proud artisan, he takes his donkey-drawn cart to the market only to be turned away when the distinctive shop he once sold to now only stocks cheaply manufactured merchandise. As the realities of the market place sink in, Mendleman unravels. Sturm draws a quiet, reflective and beautiful portrait of eastern European in the early 1900s, bringing to life the hustle and bustle of an old-world market place on the brink of the Industrial Revolution. Market Day is a timeless tale of how economic and social forces can affect a single life.

Frimme Hersh breaks his contract with God and ends up as a Depression-era slumlord, while Jacob Shtarkah strives to help an old friend trapped in Nazi Germany and struggles with poverty and the corruption of the residents of Dropsie Avenue.

The revelation at Rabbi David Kahn's funeral that he was never Jewish forces his family and congregation to rethink their lives.

"Zade Holder has always been a free-spirited young woman, from a long dynasty of tarot-card readers, fortunetellers, and practitioners of magick. Growing up in a small town and never quite fitting in, Zade is determined to forge her own path. She leaves her home in Tennessee to break free from her overprotective mother Dela, the local resident spellcaster and fortuneteller. Zade travels to Las Vegas and uses supernatural powers to become part of a premiere magic show led by the infamous magician Charles Spellman. Zade fits right in with his troupe of artists and misfits. After all, when everyone is slightly eccentric, appearing 'normal' is much less important. Behind the scenes of this multimillion-dollar production, Zade finds herself caught in a love triangle with Mac, the show's good-looking but rough-around-the-edges technical director and Jackson, the tall, dark, handsome and charming bandleader. Zade's secrets and the struggle to choose between Mac or Jackson creates reckless tension during the grand finale of the show. Using Chaos magick, which is known for being unpredictable, she tests her abilities as a spellcaster farther than she's ever tried and finds herself at death's door. Her fate is left in the hands of a mortal who does not believe in a world of real magick, a fortuneteller who knew one day Zade would put herself in danger and a dagger with mystical powers"--Amazon.com

In the late ’60s, underground comix changed the way comics readers saw the medium ― but there was an important pronoun missing from the revolution. In 1972, ten women cartoonists got together in San Francisco to rectify the situation and produce the first and longest-lasting all-woman comics anthology,Wimmen’s Comix. Within two years the Wimmen’s Comix Collective had introduced cartoonists like Roberta Gregory and Melinda Gebbie to the comics-reading public, and would go on to publish some of the most talented women cartoonists in America ― Carol Tyler, Mary Fleener, Dori Seda, Phoebe Gloeckner, and many others. In its twenty year run, the women of Wimmen’s tackled subjects the guys wouldn’t touch with a ten-foot pole: abortion, menstruation, masturbation, castration, lesbians, witches, murderesses, and feminists. Most issues of Wimmen’s Comix have been long out of print, so it’s about time these pioneering cartoonists’ work received their due.