The legendary Norwegian pop artist Pushwagner’s scathing comics masterpiece—lost for decades, and never before published in the U.S.—is an epic vision of a single day in a world gone wrong: a brightly smiling, disturbingly familiar dystopia of towering skyscrapers, omnipresent surveillance, and endless distant war. “CLEAN BOMB THE HAPPY-HAPPY WAY,” blares the morning paper. “Heil Hilton!” barks an overlord on the news. Welcome to Soft City. Now don’t be late for work. This NYRC edition is a giant-sized hardcover extra-thick paper and spot-color throughout.

This is the story of a girl and a boy and and a deserted reservoir. The girl wants only to impress her mother, and finds the perfect challenge to prove herself. The boy suffers a tragedy, becomes fixated with a lost memento and makes it his mission to find it. The water is where, one day, the two will meet. Cormorance is a story of an accidental encounter, an unbreakable bond, and the redemptive force of connecting with the natural world. A wordless, purely visual story, it is - like any work by Nick Hayes - a book of the utmost beauty, and a wonder to hold in your hand.

A surreal and stunningly beautiful graphic novel about death, mourning, and family by one of the most promising young artists working today. “We buried one of dad’s lungs,” announces the narrator of The Tenderness of Stones. The lung is so large it takes three men to carry it—and that is just the beginning. The family looks on as, under the dispassionate orders of anonymous white-clad strangers, their father is disassembled, piece by piece: His nose is removed from his face and tied, temporarily, to his neck; his other lung is pulled out and he is forced to lug it around in a cart; his mouth is pried off and stored away, leaving him mute. Beneath it all is one devastating truth: Soon, he will be gone entirely. Marion Fayolle is one of the most innovative young artists in contemporary comics, and in this startling, gorgeously drawn fable she offers a vision of family illness and grief that is by turns playful and profound, literal and lyrical. She captures the strange swirl of love, resentment, grief, and humor that comes as we watch a loved one transformed before our eyes, and learn to live without them.

This is the first major monograph on the cult Norwegian artist Hariton Pushwagner (aka Terje Brofos, b. 1940). Provocative, unconventional and wild, Pushwagner is fêted as a celebrity in his home country, renowned for his homelessness and hedonistic lifestyle and compared to a modernday Edvard Munch. Recent international exposure has also seen him enjoy growing recognition and acclaim beyond Norway. Pushwagners defining creation is the graphic novel Soft City, produced between 1969 and 1976 and set in a dehumanized, dystopian metropolis. Arguably his central work, it was a highlight of the 2008 Berlin Biennial, both timely and prescient with its epic satire on capitalism and modern life. His art also takes the form of intricate and obsessively detailed paintings, presenting a personal mythology of a world under perpetual siege from pollution, totalitarianism and mass destruction. This book, which accompanies the artists first international touring solo exhibition, includes critical writings on Soft City, the silkscreen series A Day in the Life of Family Man, and the intricate Apocalypse frieze of paintings, the zenith of his technical and imaginative accomplishment. An interview with the artist, in which in typically colourful fashion he discusses these and other key works, and an illustrated biography of his extraordinary life complete this visually striking and compelling volume.

In the wake of the monstrous projects of Hitler, Stalin, Mao, and others in the twentieth century, the idea of utopia has been discredited. Yet, historian Jay Winter suggests, alongside the “major utopians” who murdered millions in their attempts to transform the world were disparate groups of people trying in their own separate ways to imagine a radically better world. This original book focuses on some of the twentieth-century’s “minor utopias” whose stories, overshadowed by the horrors of the Holocaust and the Gulag, suggest that the future need not be as catastrophic as the past. The book is organized around six key moments when utopian ideas and projects flourished in Europe: 1900 (the Paris World's Fair), 1919 (the Paris Peace Conference), 1937 (the Paris exhibition celebrating science and light), 1948 (the Universal Declaration of Human Rights), 1968 (moral indictments and student revolt), and 1992 (the emergence of visions of global citizenship). Winter considers the dreamers and the nature of their dreams as well as their connections to one another and to the history of utopian thought. By restoring minor utopias to their rightful place in the recent past, Winter fills an important gap in the history of social thought and action in the twentieth century.

Now in paperback, a collection of “darkly humorous, existential, erotic, trance inducing” (The New York Times) short stories by the lauded French comics artist Nicole Claveloux. Nicole Claveloux’s short stories—originally published in the late 1970s and never before collected in English—are among the most beautiful comics ever drawn: whimsical, intoxicating, with the freshness and splendor of dreams. In hallucinatory color or elegant black-and-white, she brings us into lands that are strange but oddly recognizable, filled with murderous grandmothers and lonely city dwellers, bad-tempered vegetables and walls that are surprisingly easy to fall through. In the title story, written with Edith Zha, a new houseplant becomes the first step in an epic journey of self-discovery and a witty fable of modern romance—complete with talking shrubbery, a wised-up genie, and one very depressed bird. This selection, designed and introduced by Daniel Clowes, presents the full achievement of an unforgettable, unjustly neglected master of French comics.