This is an inventive a well-researched study which explores the production and consumption of graphic design in Europe.

This comics anthology delves deeply into the messy and often taboo subject of human reproduction. Featuring work by luminaries such as Carol Tyler, Alison Bechdel, and Joyce Farmer, Graphic Reproduction is an illustrated challenge to dominant cultural narratives about conception, pregnancy, and childbirth. The comics here expose the contradictions, complexities, and confluences around diverse individual experiences of the entire reproductive process, from trying to conceive to child loss and childbirth. Jenell Johnson’s introduction situates comics about reproduction within the growing field of graphic medicine and reveals how they provide a discursive forum in which concepts can be explored and presented as uncertainties rather than as part of a prescribed or expected narrative. Through comics such as Lyn Chevley’s groundbreaking “Abortion Eve,” Bethany Doane’s “Pushing Back: A Home Birth Story,” Leah Hayes’s “Not Funny Ha-Ha,” and “Losing Thomas & Ella: A Father’s Story,” by Marcus B. Weaver-Hightower, the collection explores a myriad of reproductive experiences and perspectives. The result is a provocative, multifaceted portrait of one of the most basic and complicated of all human experiences, one that can be hilarious and heartbreaking. Featuring work by well-known comics artists as well as exciting new voices, this incisive collection is an important and timely resource for understanding how reproduction intersects with sociocultural issues. The afterword and a section of discussion exercises and questions make it a perfect teaching tool.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

This illuminating study examines the cultural meaning of artistic reproduction in a refreshingly new context through its consideration of how three artists managed the reproduction of their work.

“With subtlety and wit, [a] prizewinning debut” novel set in 1970s Toronto “explores a liaison across race and class divisions in Canada” (The Guardian, UK). Felicia and Edgar come from different worlds. She’s a nineteen-year-old student and Caribbean immigrant while he is the impetuous heir to his German family’s fortune. When their ailing mothers are assigned the same Toronto hospital room, their chance encounter leads to an unlikely relationship full miscommunications, misunderstandings, and very surprising results. Years later, Felicia’s son Armistice—“Army” for short—is a teenager fixated on get-rich-quick schemes, each one more absurd than the next. The. Edgar finally re-enters Felicia’s life, at yet another inopportune moment, putting this “witty, playful and disarmingly offbeat” saga on the path to its heartfelt conclusion (The Toronto Star, CA). Winner of the Scotiabank Giller Prize