“You’ll wonder how anything can be so sad and so funny at the same time.” —Lev Grossman, Time Inspired by a sixteenth-century Zen monk’s painting of a hundred demons chasing each other across a long scroll, acclaimed cartoonist Lynda Barry confronts various demons from her life in seventeen full-color vignettes. In Barry’s hand, demons are the life moments that haunt you, form you, and stay with you: your worst boyfriend; kickball games on a warm summer night; watching your baby brother dance; the smell of various houses in the neighborhood you grew up in; or the day you realize your childhood is long behind you and you are officially a teenager. As a cartoonist, Lynda Barry has the innate ability to zero in on the essence of truth, a magical quality that has made her book One! Hundred! Demons! an enduring classic of the early twenty-first century. In the book’s intro, however, Barry throws the idea of truth out of the window by asking the reader to decide if fiction can have truth and if autobiography can have a fiction, a hybrid that Barry coins “autobiofictionalography.” As readers get to know Barry’s demons, they realize that the actual truth no longer matters because the universality of Barry’s comics, true or untrue, reigns supreme.
Provides lessons on the art of cartooning along with information on terminology, tools, techniques, and theory.
Cartoons describe the experiences of two sisters, Maybonne and Marlys, and look at school, parents, adolescence, runaways, friendships, child abuse, divorce, and alcoholism
What It Isdemonstrates a tried-and-true creative method that is playful, powerful and accessible to anyone with an inquisitive wish to write or remember. Bursting with full-colour drawings, comics and collages, autobiographical sections and gentle creative guidance, each page is an invigorating example of exactly what it is: 'The ordinary is extraordinary'. Lynda Barry explores the depths of the inner and outer realms of creation and imagination, where play can be serious, monsters have purpose and not knowing is an answer unto itself. How do objects summon memories? What do real images feel like? These types of questions permeate the pages ofWhat It Is, with words attracting pictures and conjuring places through a pen that first and foremost keeps on moving. Her insight and sincerity will tackle the most persistent of inhibitions, calling back every kid who quit drawing to feel alive again at the experiential level.
A series of portraits by the creator of What It Is follows a myopic monkey through her everyday routines of preparing food, waiting for the bus, hogging the remote and associating with her imaginary friend.
Cartoons offer a satirical look at first dates, male psychology, friendship, parents, singles bars, sexual harassment, personal grooming, and sleeplessness
She's back! This is a Lynda Barry double-tall: the long-awaited collection of the best strips from her syndicated comics. Way back in the mid-1980s, comic illustrator and writer Lynda Barry introduced the character of Marlys Mullen, her crazy groovy teenage sister Maybonne, her sensitive and strange little brother Freddie, a mother like no other, and an array of cousins and friends from the 'hood. This oversized book presents the long strange journey through puberty and life that Marlys and company have experienced. Marlys's universe and galaxy are funny, rude, disturbing, tearful . . . in short, very, very Lynda Barry.
Cartoons show the humorous side of everyday life
The comics within capture in intimate, often awkward, but always relatable detail the tribulations and triumphs of life. In particular, the lives of 18 Jewish women artists who bare all in their work, which appeared in the internationally acclaimed exhibition "Graphic Details: Confessional Comics by Jewish Women." The comics are enhanced by original essays and interviews with the artists that provide further insight into the creation of autobiographical comics that resonate beyond self, beyond gender, and beyond ethnicity.
From her first comics published in the Evergeen State College school paper to her influential weekly comic strip, Ernie Pook's Comeek; from her bestselling creative how-to memoir comic books, What It Is and Picture This, to her novels, graphic memoirs, plays, and awards in between, Lynda Barry has been part of the North American alternative comics scene for thirty years. Fans around the world rejoiced at D+Q's announcement of Blabber Blabber Blabber: Volume 1 of Everything, which collects all of the seminal Ernie Pook's Comeek, some of which has been out of print for decades, and includes her earliest books, such as Girls and Boys and Big Ideas, and features an introduction penned by Barry, complete with photographs. Reflective of the early 1980s before the appearance of Barry's well-known characters Marlys and Arna, the comics in Blabber Blabber Blabber cover the more adult subjects of bad love, bad perms, being single, Prince, and miserable break-ups--resulting in one of the most oft-quoted Barry sayings: "Love is an exploding cigar which we all willingly smoke." Though Barry's early drawing style is most often described as "scratchy," her affinity for large swaths of text and narration; her fondness for exclamation marks, angular shapes, and cursive penmanship; and her uncanny ability to zero in on the very essence of life all within a few panels is as present as ever in this collection.
Explores the diversity and creativity that can be captured in zines, handmade mini-comics or magazines, with helpful tips and practical suggestions for writing, producing, editing, and printing one.
Lynda Barry’s classic heartbreaking and heartwarming coming of age novella back in print Young Edna Arkins lives in a neighborhood that is rapidly changing, thanks to white flight from urban Seattle in the late 1960s. As the world changes around her, Edna is exposed to the callous racism of adults; sometimes subtle and other times blatant, but always stinging. At the heart of The Good Times Are Killing Me is the forbidden friendship between Edna who is white and Bonna Willis who is black, and how the world around them forces them to challenge their loyalties to each other. As Barry does in her comics, she perfectly captures the awkward and earnest adolescent voice as Edna moves from childhood to middle school. Originally published in 1988, The Good Times Are Killing Me is as relevant now as it ever was. Its influence cannot be overstated as it was adapted into an off-Broadway play and won the Washington State Governor's Award. D+Q will be publishing the novella in hardcover with a new cover and the color illustrations from the first edition.
Presents a series of one-page comics that tell the same story in a variety of ways.
This little book arose spontaneously, in the late spring of 2015, when a series of conversations emerged -- first in a university roundtable on graduate student dissertation-writing, and then in a rapidly proliferating series of blog posts -- on the topic of how we write. One commentary generated another, each one characterized by enormous speed, eloquence, and emotional forthrightness. This collection is not about how TO write, but how WE write: unlike a prescriptive manual that promises to unlock the secret to efficient productivity, the contributors talk about their own writing processes, in all their messy, frustrated, exuberant, and awkward dis/order. The contributors range from graduate students and recent PhDs to senior scholars working in the fields of medieval studies, art history, English literature, poetics, early modern studies, musicology, and geography. All are engaged in academic writing, but some of the contributors also publish in other genres, includes poetry and fiction. Several contributors maintain a very active online presence, including blogs and websites; all are committed to strengthening the bonds of community, both in person and online, which helps to explain the effervescent sense of collegiality that pervades the volume, creating linkages across essays and extending outward into the wide world of writers and readers. Contributors include: Michael Collins, Suzanne Conklin Akbari, Alexandra Gillespie, Alice Hutton Sharp, Asa Simon Mittman, Jeffrey Jerome Cohen, Maura Nolan, Richard H. Godden, Bruce Holsinger, Stuart Elden, Derek Gregory, Steve Mentz, and Dan Kline.