Gilbert & Jaime Hernandez's 'Love & Rockets' virtually defined alternative comics in the 80s. Now, more popular than ever thanks to the re-launch of his seminal comic book series earlier this year, Gilbert releases his first graphic novel since the re-launch, which spotlights the artist's most beloved character in a year when her creator is appearing on the pages of Time, Vibe and the L.A. Times. This collection is an awesome blend of political intrigue, sexuality and Gilbert's characteristically human portrayal of his characters. Illustrated in b/w throughout.

by Gilbert Hernandez The first volume depicting Luba's post-Palomar life and times, this book takes the sometimes confusing strands of Gilbert's stories and weaves them into a satisfying thematic whole, as Luba tries to make sense of her family's lives in America.

Gilbert Hernandez’s sprawling family saga focuses on the United States, where newly immigrated Luba and her sisters, body-builder Petra and therapist/film star Fritz, find their families’ and friends’ lives becoming more and more intertwined. As the three sisters have “memories of sweet youth,” the next generation finds the spotlight: Luba’s adult daughter Doralís emcees the proceedings in her role as mischievous host of a children’s TV show, while Petra’s little girl, Venus, has adventures with her aunt Fritz and her best friend Yoshio. At her mother’s urging, Venus also writes missives to her fierce, one-armed cousin Casimira, who’s back in Palomar. In these stories ― never before collected together ― Venus tells it like it is!

The Love and Rockets Companion: 30 Years (and Counting) contains three incredibly in-depth and candid interviews with creators Gilbert, Jaime and Mario Hernandez: one conducted by writer Neil Gaiman (Coraline); one conducted some six years into the comic’s run by longtime L&R publisher Gary Groth; and one conducted by the book’s author, spanning Gilbert’s, Jaime’s and Mario’s careers, and looking to the future of the ongoing series, with a follow-up conversation with Groth. This book has foldout family trees for both Gilbert’s Palomar and Jaime’s Locas storylines; unpublished art; a character glossary (which is handy, considering that Gilbert alone has created 50+ characters!); highlights from the original series’ anarchic letters columns; timelines; and the most wide-ranging Hernandez Brothers bibliography ever compiled, including album and DVD covers, posters and more.

At the expense of basic human rights, dignity, and decency, Africans were torn from their native countries and first brought to the United State as slaves. Yet even in the face of injustice and hardship they have endured since then, African Americans have been bolstered by the sacrifices, leadership, and determination of courageous individuals. This inspiring volume chronicles the history of African Americans—the triumphs and tragedies—from origins on the African continent to the end of the Harlem Renaissance.

Among the surfeit of narratives about Arabs that have been published in recent years, surprisingly little has been reported on Arabs in America -- an increasingly relevant issue. This book is the most powerful approach imaginable: it is the story of the last forty-plus years of American history, told through the eyes of Arab Americans. It begins in 1963, before major federal legislative changes seismically transformed the course of American immigration forever. Each chapter describes an event in U.S. history -- which may already be familiar to us -- and invites us to live that moment in time in the skin of one Arab American. The chapters follow a timeline from 1963 to the present, and the characters live in every corner of this country. These are dramatic narratives, describing the very human experiences of love, friendship, family, courage, hate, and success. There are the timeless tales of an immigrant community becoming American, the nostalgia for home, the alienation from a society sometimes as intolerant as its laws are generous. A Country Called Amreeka's snapshots allow us the complexity of its characters' lives with an impassioned narrative normally found in fiction. Read separately, the chapters are entertaining and harrowing vignettes; read together, they add a new tile to the mosaic of our history. We meet fellow Americans of all creeds and colors, among them the Alabama football player who navigates the stringent racial mores of segregated Birmingham, where a church bombing wakes a nation to the need to make America a truly more equal place; the young wife from Ramallah -- now living in Baltimore -- who had to abandon her beautiful home and is now asked by a well-meaning American, "How do you like living in an apartment after living in a tent?"; the Detroit toughs and the potsmoking suburban teenagers, who in different decades become politicized and serious about their heritage despite their own wills; the homosexual man afraid to be gay in the Arab world and afraid to be Arab in America; the two formidable women who wind up working for opposing campaigns in the 2000 presidential election; the Marine fighting in Iraq who meets villagers who ask him, "What are you, an Arab, doing here?" We glimpse how America sees Arabs as much as how Arabs see America. We revisit the 1973 oil embargo that initiated the American perception of all Arabs as oil-rich sheikhs; the 1979 Iranian hostage crisis that heralded the arrival of Middle Eastern Islam in the American consciousness; bombings across three decades in Los Angeles, Oklahoma City, and New York City that bring terrorism to American soil; and both wars in Iraq that have posed Arabs as the enemies of America. In a post-9/11 world, Arabic names are everywhere in America, but our eyes glaze over them; we sometimes don't know how to pronounce them or understand whence they come. A Country Called Amreeka gives us the faces behind those names and tells the story of a community it has become essential for us to understand. We can't afford to be oblivious.

Offers information and stories about Gurdjieff, setting him within the cultural and social contexts of America between 1924 and 1935.

In the 1980s, a sea change occurred in comics. Fueled by Art Spiegel- man and Françoise Mouly's avant-garde anthology Raw and the launch of the Love & Rockets series by Gilbert, Jaime, and Mario Hernandez, the decade saw a deluge of comics that were more autobiographical, emotionally realistic, and experimental than anything seen before. These alternative comics were not the scatological satires of the 1960s underground, nor were they brightly colored newspaper strips or superhero comic books. In Alternative Comics: An Emerging Literature, Charles Hatfield establishes the parameters of alternative comics by closely examining long-form comics, in particular the graphic novel. He argues that these are fundamentally a literary form and offers an extensive critical study of them both as a literary genre and as a cultural phenomenon. Combining sharp-eyed readings and illustrations from particular texts with a larger understanding of the comics as an art form, this book discusses the development of specific genres, such as autobiography and history. Alternative Comics analyzes such seminal works as Spiegelman's Maus, Gilbert Hernandez's Palomar: The Heartbreak Soup Stories, and Justin Green's Binky Brown Meets the Holy Virgin Mary. Hatfield explores how issues outside of cartooning-the marketplace, production demands, work schedules-can affect the final work. Using Hernandez's Palomar as an example, he shows how serialization may determine the way a cartoonist structures a narrative. In a close look at Maus, Binky Brown, and Harvey Pekar's American Splendor, Hatfield teases out the complications of creating biography and autobiography in a substantially visual medium, and shows how creators approach these issues in radically different ways.

This study offers a critical examination of the work of Gilbert and Jaime Hernandez, Mexican-American brothers whose graphic novels are highly influential. The Hernandez brothers started in the alt-comics scene, where their 'Love and Rockets' series quickly gained prominence. They have since published in more mainstream venues but have maintained an outsider status based on their own background and the content of their work. Enrique Garcia argues that the Hernandez brothers have worked to create a new American graphic storytelling that, while still in touch with mainstream genres, provides a transgressive alternative from an aesthetic, gender, and ethnic perspective. The brothers were able to experiment with and modify these genres by taking advantage of the editorial freedom of independent publishing. This freedom also allowed them to explore issues of ethnic and gender identity in transgressive ways. Their depictions of latinidad and sexuality push against the edicts of mainstream Anglophone culture, but they also defy many Latino perceptions of life, politics, and self-representation. The book concludes with an in-depth interview with Jaime and Gilbert Hernandez that touches on and goes beyond the themes explored in the book.

English Lit professor Janey Erlicksen wonders if she's coming unravelled, as her daily life progresses through the onslaught from work, friends and family, and her despotic toddler Little Max. Janey knows she should be trying to put her academic career on the map, but how? She'll more readily poke fun at than engage in yet another overly dry and theoretical conference. And her husband and their friends simply encourage her off the serious academic path, providing anarchic ideas from Foucault-in-snowsuits to erotic poetry addressed to the harmonium collecting dust in the music department. A Large Harmonium is a sharply comical year-in-the-gloriously-unruly- life story. We follow Janey as she negotiates motherhood (“Little Max is a Roald Dahl story, I decide”); career (“the whole enterprise starts to resemble a lion-taming act without the lions”); frightful in-laws (“At breakfast, the two of them are serene and fit-looking. I never can see how people look like that in the morning”); and which literary hero her husband Hector most resembles (“Rochester! Why should I be Rochester? He's a bastard. And he has to be blinded and lose an arm or something before he can be tamed.”) Along the way, she relies on Hector, boy-wonder babysitter Rene, and even crazy unreliable friend Jam. And on Jake, the understanding minister who helps her pick her way through it all.