Art Young was one of the most renowned and incendiary political cartoonists in the first half of the 20th century. And far more ― an illustrator for magazines such as The Saturday Evening Post and Colliers, a magazine publisher, a New York State Senatorial candidate on the Socialist ticket, and perhaps the only cartoonist to be tried under the Espionage Act for sedition. He made his reputation appearing in The Masses on a regular basis using lyrical, vibrant graphics and a deep appreciation of mankind’s inherent folly to create powerful political cartoons. To Laugh That We May Not Weep is a sweeping career retrospective, reprinting ―often for the first time in 60 or 70 years― over 800 of Young’s timeless, charming, and devastating cartoons and illustrations, many reproduced from original artwork, to create a fresh new portrait of this towering figure in the worlds of cartooning and politics. With essays by Art Spiegelman, Justin Green, Art Young biographer Marc Moorash, Anthony Mourek, and Glenn Bray, with a biographical overview of Young’s life and work by Frank M. Young, To Laugh That We May Weep is a long-awaited tribute to one of the great lost cartoonists whose work is as relevant in the 21st century as it was in its own time.

The preeminent American political cartoonist's classic reinterpretation of Dante's Inferno as a satirical indictment of capitalism ― as it has never been seen before. Capitalist oligarchs and their minions have been condemned to Hell, but they lead a hostile takeover, throw out Satan, and privatize the Inferno. Operated by a corporate monopoly who maximizes profits and misery, Hell has become the perfect capitalist paradise. Fantagraphics, the premier publisher of cartoon art, presents each page of Young's art scanned from the original and reproduced in full color. His brushstrokes are clearly visible and this artwork appears as it did on his drawing board. This edition also includes the original 1934 essays by Young and his "friend, admirer, and attorney" Charles Recht, a foreword by acclaimed graphic designer Steven Heller, and an introduction by art collector and documentarian Glenn Bray.

The Blighted Eye is the most copious, the most diverse, and the most lavish compilation of original comic art ever published ― all from the mind-boggling collection of Glenn Bray. Bray was an enthusiast of marginal or outsider American pop culture when he started to collect original comic art in 1965 ― a time when very few people, including the artists themselves, truly valued the original art. Bray has, over the last nearly 50 years, amassed the most eclectic collection of original comic art in private hands. The book features work by a pantheon of cartooning masters, including Charles Addams, Carl Barks, Charles Burns, Al Capp, Dan Clowes, Jack Cole, R. Crumb, Jack Davis, Kim Deitch, Will Elder, Al Feldstein, Virgil Finlay, Drew Friedman, Chester Gould, Justin Green, Rick Griffin, Bill Griffith, Matt Groening, George Grosz, V.T. Hamlin, Jaime Hernandez, George Herriman, Al Hirshfeld, Graham Ingels, Bernard Krigstein, Harvey Kurtzman, Gary Panter, Virgil Partch, Savage Pencil, Peter Pontiac, Charles Rodrigues, Spain Rodriguez, Charles Schulz, Gilbert Shelton, Joost Swarte, Stanislav Szukalski, Irving Tripp, Chris Ware, S. Clay Wilson, Basil Wolverton, Wallace Wood, Jim Woodring, Art Young, and ― it should go without saying ― many more.

From the globally acclaimed, best-selling novelist and author of We Should All Be Feminists, a timely and deeply personal account of the loss of her father: “With raw eloquence, Notes on Grief … captures the bewildering messiness of loss in a society that requires serenity, when you’d rather just scream. Grief is impolite ... Adichie’s words put welcome, authentic voice to this most universal of emotions, which is also one of the most universally avoided” (The Washington Post). Notes on Grief is an exquisite work of meditation, remembrance, and hope, written in the wake of Chimamanda Ngozi Adichie's beloved father’s death in the summer of 2020. As the COVID-19 pandemic raged around the world, and kept Adichie and her family members separated from one another, her father succumbed unexpectedly to complications of kidney failure. Expanding on her original New Yorker piece, Adichie shares how this loss shook her to her core. She writes about being one of the millions of people grieving this year; about the familial and cultural dimensions of grief and also about the loneliness and anger that are unavoidable in it. With signature precision of language, and glittering, devastating detail on the page—and never without touches of rich, honest humor—Adichie weaves together her own experience of her father’s death with threads of his life story, from his remarkable survival during the Biafran war, through a long career as a statistics professor, into the days of the pandemic in which he’d stay connected with his children and grandchildren over video chat from the family home in Abba, Nigeria. In the compact format of We Should All Be Feminists and Dear Ijeawele, Adichie delivers a gem of a book—a book that fundamentally connects us to one another as it probes one of the most universal human experiences. Notes on Grief is a book for this moment—a work readers will treasure and share now more than ever—and yet will prove durable and timeless, an indispensable addition to Adichie's canon.

Ulysses has been read obsessively for a century. What if instead of focusing on the words to understand the structure, design, and history of Joyce’s masterpiece, we pay attention to the numbers? Taking a computational approach, Ulysses by Numbers lets us see the novel’s basic building blocks in a significantly new light—words, paragraphs, pages, and characters, as well as the original print run and the dates marking the beginning and end of its composition. Numbers provide access into Joyce’s creative process, enhanced by graphs, diagrams, timelines, and maps, and they also give us a startling new perspective on the proportions that continue to structure, organize, and pace the reading experience. Numbers are there to help us navigate the history of Ulysses from its earliest material beginnings, and they offer a concrete basis upon which we can explore the big questions about its length, style, origins, readership, and design. An innovative computational reading on both a micro and macro level, Ulysses by Numbers is a timely intervention into debates about the use and abuse of quantitative methods in literary analysis. Eric Bulson demonstrates how reading by numbers can bring us closer to the words of Ulysses, helping us rediscover a novel we thought we already knew.

In her darkly funny memoir and guide to the depressed life, comedian Jacqueline Novak doesn’t offer help overcoming depression—just much-needed comfort, company, and tips for life inside the fog. “Jacqueline Novak’s unapologetic and original comedy is the kind that gives me hope in this business.”—Amy Schumer With advice that ranges from practical (Chapter 17: Do Your Crying on a Cat) to philosophical (Chapter 21: Make Peace With Sunshine), this laugh-out-loud memoir traces the depression thread from Novak's average suburban childhood to her current adult New York City existence, an imperfect but healthy-ish life in which Novak is mostly upright but still rarely does laundry. At heart, How to Weep in Public provides a no-pressure, safe-zone for the reader to curl up inside. Keep this book on the shelf to be returned to it as needed–after all, depression is recurring. Jacqueline will be waiting to you tell you “You can fight another day.” No, not as in “fight on another day” but “fight this some other day.” Whether you’re coping with the occasional down day, or thriving fully in Picasso’s blue period, How to Weep in Public is the perfect place to regroup during a dark stint. So sit back, relax, and let Jacqueline Novak show you how to navigate the shadowy corridors of your troubled mind or the cheese display at the supermarket when food is the only thing that can save you.

'No one characteristic clasps us purely and universally in its embrace.' Glittering essays by the Renaissance master of the form, exploring contradictions in human thoughts and actions.