My current obsession with graphic literature continues and I am continually surprised by new works. Kate Evans’ extraordinary book is dark and fascinating and draws you in to the world of The Jungle outside Calais. The Jungle was a sprawling camp full of desperate people escaping their horrors of their home countries. Evans’ visual style and fragmentary storytelling shows the dark and desperation, but more importantly she explores the humanity and even the joy of so many of the people who were not welcomed, had nowhere to go. Their story is here, and it is one of the best antidotes to the xenophobia that drives Brexit and similar forces in France. Read it now.
Ty Burr, The Boston Globe, August 4, 2017
When the term “graphic novel” first came into vogue in the 1980s, it was seen by many as just a fancy-pants name for comic books — a self-conscious way of bootstrapping a lowly medium into social acceptability. If you told someone at a party that you were reading a graphic novel, it betokened not necessarily that you were serious but that you wanted to be perceived as serious. It was a pose, a dodge, a pretention — no matter that works like Art Spiegelman’s Pulitzer Prize-winning “Maus,” Marjane Satrapi’s “Persepolis,” and Alison Bechdel’s “Fun Home” were and are terrifically rich reads that wouldn’t work as well as they do in any other format (and, yes, I’m a fan of “Fun Home” the Broadway smash).
Imagine Wanting Only This by Kristen Radtke
Flammable by Gabrielle Bell
Japanese Notebooks by Igort
Songy in Paradise by Guy Panter
Giant Days by John Allison
Solid State by Jonathan Coulton
Threads From the Refugee Club by Kate Evans
The Unbeatable Squirrel Girl by Ryan North and Erica Henderson
Boundless by Jillian Tamaki