This wordless graphic novel follows the lives of the title character and other men in twenty-six short vignettes.

Written over an eleven-year period, these letters between Thomas Wolfe and Aline Bernstein chronicle a love affair that was by turns stormy, tender, bitter, and contrite. When Wolfe met Mrs. Bernstein shortly before his twenty-fifth birthday in 1925, she was forty-four, married, and at the pinnacle of a successful career as a stage and costume designer. Bernstein gave the young writer not only the unstinting love of an experienced older woman but the financial assistance and belief in his ability that enabled him to create Look Homeward, Angel. "I am deliberately writing the book for two or three people," he writes to her, "first and chiefest, for you." In letters written while Wolfe traveled in Europe, Bernstein describes the exciting world of the theater in New York and her own work on countless productions. Wolfe's descriptions of life, culture, and language from Oxford to Budapest rank with the best of his collected writings. Reproach becomes a more common theme in the letters as the affair continues, however, by 1931 Wolfe acknowledges that his feelings for Bernstein have altered: "I need your help, and I need your friendship, and I need your love and belief--but the time of madness, darkness, passion is over, we can never relive that, we can never live through it again." That time continues to live, however, in these letters and in the books that both Wolfe and Mrs. Bernstein wrote about their relationship. For those who have read Wolfe's Of Time and the River, The Web and the Rock, or You Can't Go Home Again, or Aline Bernstein's Three Blue Suits or The Journey Down, this correspondence provides remarkable insights into the authors' sources.

A powerful modern day reimagining of Charlotte Bronte's classic novel Jane Eyre. Jane learns that in the world of New York's elite, secrets are the greatest extravagance and she must decide if she should trust the man she loves or do whatever it takes to protect his daughter from the consequences of his deception.

The early work of the pioneering feminist cartoonist plus her acclaimed new story “Dream House" Aline Kominsky-Crumb immediately made her mark in the Bay Area’s underground comix scene with unabashedly raw, dirty, unfiltered comics chronicling the thoughts and desires of a woman coming of age in the 1960s. Kominsky-Crumb didn’t worry about self-flattery. In fact, her darkest secrets and deepest insecurities were all the more fodder for groundbreaking stories. Her exaggerated comix alter ego, Bunch, is self-destructive and grotesque but crackles with the self-deprecating humor and honesty of a cartoonist confident in the story she wants to tell. Collecting comics from the 1970s through today, Love That Bunch is shockingly prescient while still being an authentic story of its era. Kominsky-Crumb was ahead of her time in juxtaposing the contradictory nature of female sexuality with a proud, complicated feminism. Most important, she does so without apology. One of the most famous and idiosyncratic cartoonists of our time, Kominsky-Crumb traces her steps from a Beatles-loving fangirl, an East Village groupie, an adult grappling with her childhood, and a 1980s housewife and mother, to a new thirty-page story, “Dream House,” that looks back on her childhood forty years later. Love That Bunch will be Kominsky-Crumb’s only solo-authored book in print. Originally published as a book in 1990, this new expanded edition follows her to the present, including an afterword penned by the noted comics scholar Hillary Chute.

Aline Kominsky Crumb, one of the earliest female cartoonists, presents a collection of her own highly inventive and daring artwork over the last four decades, along with unusual photographs and memorabilia.

When Orhan’s brilliant and eccentric grandfather, Kemal Türkoglu, who built a dynasty out of making kilim rugs, is found dead, submerged in a vat of dye, Orhan inherits the decades-old business. But Kemal has left the family estate to a stranger thousands of miles away, an aging woman in a retirement home in Los Angeles. Intent on righting this injustice, Orhan unearths a story that, if told, has the power to undo the legacy upon which Orhan’s family is built, a story that could unravel his own future. “Breathtaking and expansive . . . Proof that the past can sometimes rewrite the future.” —Christina Baker Kline, author of Orphan Train “Stunning . . . At turns both subtle and transcendent.” —Los Angeles Review of Books “To take the tumultuous history of Turks and Armenians in the early part of this century, and to tell the stories of families and lovers from the small everyday moments of life to the terrible journeys of death, to make a novel so engrossing and keep us awake—that is an accomplishment, and Aline Ohanesian’s first novel is such a wonderful accomplishment.” —Susan Straight, author of Highwire Moon “Rich, tragic, compelling, and realized with deep care and insight.” —Elle “A book with a mission, giving a voice to history’s silent victims.” —The New York Times Book Review “Orhan’s Inheritance illuminates human nature while portraying a devastating time in history . . . A remarkable debut novel that exhibits an impressive grasp of history as well as narrative intensity and vivid prose.” —Minneapolis Star Tribune “A remarkable debut from an important new voice. It tells us things we thought we knew and shows us we had no idea. Beautiful and terrible and, finally, indelible.” —Luis Alberto Urrea, author of Queen of America

Rumored for years, Drawn Together finally charts the daily exploits and erotic craziness of this “First Couple” of comics. Who could have imagined that in 1972, when Aline Kominsky, a Long Island escapee and bodaciously talented artist, broke her foot one rainy fall day, it would result in the most unique collaboration in comics history? Laid up in her house, she was persuaded by R. Crumb, her nerdy, neurotic boyfriend, to pass the time drawing together a “two-man” comic. The result is a jaw-dropping yet tender account, not only of the joys and challenges of a legendary marriage but also of the obstacles faced by struggling female artists. In Drawn Together, our foremost male-female cartooning couple recall their success at shocking America with Weirdo Magazine, the life-altering birth of their precocious daughter Sophie, and their astonishing move to the safe haven of France. With an irresistible introduction and a striking four-color section, Drawn Together becomes a graphic cause-célebre and a must-have for any comics devotee.

Meditations on fatherhood from the author of Jerusalem: Chronicles from the Holy City With A User’s Guide to Neglectful Parenting, the trademark dry humor that pervades Guy Delisle’s landmark and praised graphic travelogues takes center stage. Quick, light vignettes play on the worries and cares any young parent might have, and offer wry solutions to the petty frustrations of being a dad who works from home. Readers familiar with Delisle’s stranger-in-a-strange-land technique for storytelling (employed in Jerusalem, Pyongyang, Burma Chronicles, and Shenzhen) will recognize the titular parent in this book; Delisle’s travelogues were simultaneously portraits of complex places and times, and portraits of a stay-at-home dad’s ever-changing relationship with his children while his wife is out working for Doctors Without Borders. The relationship between young child and all-too-irony-aware parent is beautifully done here, and Delisle’s loose flowing style has been set free, creating a wonderful sense of motion throughout. A User’s Guide to Neglectful Parenting is an intimate, offbeat look at the joys of parenting. A User's Guide to Neglectful Parenting has been translated from the French by Helge Dascher. Dascher has been translating graphic novels from French and German to English for over twenty years. A contributor to Drawn & Quarterly since the early days, her translations include acclaimed titles such as the Aya series by Marguerite Abouet and Clément Oubrerie, Hostage by Guy Delisle, and Beautiful Darkness by Fabien Vehlmann and Kerascoët. With a background in art history and history, she also translates books and exhibitions for museums in North America and Europe. She lives in Montreal.