one of the most tumultuous periods in U.S. history and for its accuracy in depicting the personal and public lives of King, from his birth to his assassination. emKing/em probes the life story of one of America's greatest public figures with an unflinchingly critical eye, casting King as an ambitious, dichotomous figure deserving of his place in history but not above moral sacrifice to get there. Anderson's expressionistic visual style is wrought with dramatic energy; panels evoke a painterly attention to detail but juxtapose with one another in such a way as to propel King's story with cinematic momentum. Anderson's successful use of the graphic novel to tell a major work of nonfiction has drawn favorable comparisons to Art Spiegelman's emMaus: A Survivor's Tale/em, Joe Sacco's emPalestine/em, and Osamu Tezuka's emAdolph./em /ppHo Che Anderson's biography traces King's life from his childhood in Atlanta and his education at Booker T. Washington High School, Morehouse College, and the Crozer Theological Seminary and his centrality to the civil rights movement: his @Z9™™™™šÿ¾Û€  (less)

once expected Ditko to return to the book within a few months and when he didn't, history was truly made. A history that is now fully explored by writer Tom Spurgeon and this presentation of the definitive book - lavishly illustrated with classic and unseen art -- starring Jazzy John Romita! From his days before Marvel, through the Sliver Age, and his days designing and creating the characters we know and love still today (including Wolverine, the Punisher and many, many more), Romita: Generations covers it all. Spurgeon's exhaustive interview includes not only Romita Sr., but the second beloved artist in the family, John Romita Jr.! About Tom Spurgeon Tom Spurgeon is one of North America's best-known experts on the comic strip and comic book art forms and the industries that service them. The son of a newspaperman in East Central Indiana, Tom and his brothers helped their father select new strips for the paper's comic-book page, making the Muncie Star-Press one of the first publications to carry Calvin and Hobbes and The Far Side, as well as sone of the few to carry Rudy. After receiving a broad education at Washington and Lee University and a focused one at Garrett seminary on the campus of Northwestern University, Tom worked briefly for QVC, Inc. Drawing on experience in his nepotism-fueled career as a beat writer, editor and entertainment reporter, Tom in 1994 took the position of managing editor at The Comics Journal in Seattle, Washington. Tomedited the Journal for five years, first as managing editor and then as executive editor. During that time, the magazine won multiple industry awards, increased its focus on world comics and encouraged the comics community to see small press and mini-comics as legitimate artistic outlets rather than a training ground for traditionally published works. In forcing the magazine to build on the breadth and depth of its coverage, Tom helped improve the magazine's general mainstream profile as one of American Arts' most unique and valuable publications. When literary comics began to make a major impact in the late 1990s, the Journal was the gateway publication for many editors and writers to understand the phenomenon. Tom also edited the magazine's infamous Stan Lee issue (October 1995) and helped launch its popular companion Web site. In 1999, Tom left the magazine to become a freelancer. He remains a columnist, reviewer and occasional newsman for the publication he previously edited. He has written about comics and a variety of arts-related subjects for Suck.com, Feed, The Stranger, and more than a dozen newspapers and regional magazines. From 1999 to 2002, he wrote the critically lauded newspaper comic strip Wildwood, which enjoyed a daily presence in more than 18 mill  (less)

Kick-Ass is realistic super heroes taken to the next level. Miss out and you''re an idiot! Wolverine: Enemy of the State''s team of Mark Millar (Civil War) and John Romita Jr. (World War Hulk) reunite for the best new book of the 21st century. Collects Kick-Ass #1-6.  (less)

while solving mysteries and righting wrongs. Standish said, The name was symbolic of the chief characteristics I desired my hero to have. Frank for frankness, merry for a happy disposition, well for health and abounding vitality. The Frank Merriwell comic strip began in 1928, continuing until 1936. The main characters in the series were Frank his half brother Dick and Frank''s son Frank Jr. In this book Frank Jr. ends up helping a professor who wants to find a gold mine.  (less)

unveils the contemporary world of Indian magic of street and stage entertainers.BRBRSiegel's journeys take him from ancient Sanskrit texts to the slums of New Delhi to find remnants of a remarkable magical tradition. In the squalid settlement of Shadipur, he is initiated into a band of Muslim street conjurers and performs as their shill while they tutor him in their con and craft. Siegel also becomes acquainted with Hindu theatrical magicians, who claim descent from court illusionists and now dress as maharajahs to perform a repertoire of tricks full of poignant kitsch and glitz.BRBRMasterfully using a panoply of narrative sleights to recreate the magical world of India, Net of Magic intersperses travelogue, history, ethnography, and fiction. Siegel's vivid, often comic tale is crowded with shills and stooges, tourists and pickpockets, snake charmers and fakirs. Among the cast of characters are Naseeb, a poor Muslim street magician who guides Siegel into the closed circle of itinerant performers; the Industrial Magician, paid by a bank, who convinces his audience to buy traveler's checks by making twenty-rupee notes disappear; the Government Magician, who does a trick with condoms to encourage family planning; P. C. Sorcar, Jr., the most celebrated Indian stage magician; and the fictive Professor M. T. Bannerji, the world's greatest magician, who assumes various guises over a millennium of Indian history and finally arrives in the conjuring capital of the world—Las Vegas.BRBRLike Indra's net—the web of illusion in which Indian performers ensnare their audience—iNet of Magic/icaptures the reader in a seductive portrayal of a world where deception is celebrate@E¸Që…ÿ¾Û€  (less)

personal, Champ undertakes to write a public poetry dealing with the events and attitudes that gave the period its particular ambience. Thus, the reader will encounter poems about rock festivals, free love, Vietnam, the 1968 Democratic Convention, and the assassination of Dr. Martin Luther King, Jr. The book is an unapologetic look backward, but it is neither celebratory nor sentimental. Indeed, it offers a hard look at the era, and eschews much of what has passed as received wisdom about it. brbrBlue Denim Days is divided into three sections that explore three of the '60s' great concerns: music, love relationships, and politics. Many of the forty-two poems are ''sincere,'' that is, without a pronounced ironic edge, while others are openly satiric. None, however, is without a strong lyrical note, including the overt narratives. The poems are readily accessible, especially to those baby-boomers who lived through the counterculture and experienced at first hand the promise, and consequences, of nearly endless ''drugs and sex and rock-and-roll.'' The vision of the book is comic throughout--though the author is careful never to let the reader forget that in every garden a serpent awaits.  (less)