ENJOY THE ECSTASY OF AGONY. Amy and Jordan are just like us: hoping for the best, even when things go from bad to worse. They are menaced by bears, beheaded by ghosts, and hunted by the cops, but still they struggle on, bickering and reconciling, scraping together the rent and trying to find a decent movie. It’s the perfect solace for anxious modern minds, courtesy of one of the great innovators of American comics. Now if only Amy’s skin would grow back ... This NYRC edition features a recreation of the original, pocket-size, slipcovered, paperback, designed by Art Spiegelman and Francoise Mouly.

From despair to D'Spayre! With Tyrone Johnson dead and buried, a blind and grief-stricken Dagger deals with the agony of loss - while the villainous Ecstasy wears Cloak's cloak! But rumors of Ty's death have been greatly exaggerated - does he have what it takes to reclaim his mantle? He'd better hope so, because when the Acts of Vengeance hit, our reunited duo will encounter the Avengers! Meanwhile, the evil Mr. Jip has been scheming for months - and his multifaceted plans will soon come to fruition! But what does Doctor Doom have to do with it? Plus, Spider-Man and Ghost Rider help Cloak and Dagger take on...Mephisto? And can our heroes cope with the demonic D'Spayre, who bears shocking revelations about their origins? COLLECTING: MUTANT MISADVENTURES OF CLOAK AND DAGGER 5-13, CLOAK AND DAGGER (1990) 14-19, DOCTOR STRANGE (1974) 78

Presents a collection of nearly three hundred 'Amy and Jordan' cartoons which originally appeared in the 'New York Press' between 1988 and 1996.

The Mystery, Inc. team investigates four mysteries, featuring a shark monster, a siren, the theft of the Star of India diamond, and a phantom haunting a rock club.

Having given readers the last word (and laugh) on work and love, Matt Groening turns to that most hellish subject of all: childhood. Black-and-white cartoons throughout.

Laughter, Literature, Violence, 1840-1930 investigates the strange, complex, even paradoxical relationship between laughter, on the one hand, and violence, war, horror, death, on the other. It does so in relation to philosophy, politics, and key nineteenth- and twentieth-century literary texts, by Edgar Allan Poe, Edmund Gosse, Wyndham Lewis and Katherine Mansfield – texts which explore the far reaches of Schadenfreude, and so-called ‘superiority theories’ of laughter, pushing these theories to breaking point. In these literary texts, the violent superiority often ascribed to laughter is seen as radically unstable, co-existing with its opposite: an anarchic sense of equality. Laughter, humour and comedy are slippery, duplicitous, ambivalent, self-contradictory hybrids, fusing apparently discordant elements. Now and then, though, literary and philosophical texts also dream of a different kind of laughter, one which reaches beyond its alloys – a transcendent, ‘perfect’ laughter which exists only in and for itself.

Irving Stone's powerful and passionate biographical novel of Michelangelo. His time: the turbulent Renaissance, the years of poisoning princes, warring popes, the all-powerful Medici family, the fanatic monk Savonarola. His loves: the frail and lovely daughter of Lorenzo de Medici; the ardent mistress of Marco Aldovrandi; and his last love - his greatest love - the beautiful, unhappy Vittoria Colonna. His genius: a God-driven fury from which he wrested the greatest art the world has ever known. Michelangelo Buonarotti, creator of David, painter of the Sistine ceiling, architect of the dome of St Peter's, lives once more in the tempestuous, powerful pages of Irving Stone's marvellous book.