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“I’m Glad to Have the Benefit Now of Existing”: A David Lasky Interview

BY Sean Michael Robinson Nov 15, 2012 3 Comments

The artist and co-creator behind The Carter Family talks about adapting history, experimenting in comics form, his love of James Joyce, and being a late bloomer. Continue reading

 
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In the First Circle of Hell with S. Clay Wilson

BY Patrick Rosenkranz Nov 12, 2012 14 Comments

A visit with S. Clay Wilson and Lorraine Chamberlin and an update on the state of the artist’s health. Continue reading

 
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Harvey Kurtzman Estate and Al Feldstein File to Regain Copyrights to 1950s Comics

BY Michael Dean Nov 8, 2012 47 Comments

The Journal has learned that legendary EC writer/editor Al Feldstein and the estate of Mad editor/cartoonist Harvey Kurtzman have filed notices to reclaim the copyrights on their work. Continue reading

 
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Building Memories: Mine, Hers, and Ours

BY Peter Sattler Nov 2, 2012 3 Comments

Our final installment in the Building Stories essays. Continue reading

 
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The Theo Ellsworth Interview

BY Marc Sobel Nov 1, 2012 4 Comments

An interview with the author of Understanding Monster and Capacity. Continue reading

 
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The Diagram of a Life

BY Isaac Cates Oct 31, 2012 1 Comment

I finished reading Building Stories about an hour ago, and I’m already late on my deadline. Building Stories is big. It takes time to absorb. Even unpacking all the materials from the box requires time and space that I should have been giving to other things. Continue reading

 
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From Comics History to Personal Memory

BY Jacob Brogan Oct 29, 2012 1 Comment

In Building Stories the narrative past, present, and future come unglued from one another, reminding us that reading itself may also be an issue of memory, of what we recall and when we recall it.
Continue reading

 
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Formal Disruption and Narrative Progress in Building Stories

BY Shawn Gilmore Oct 26, 2012 Leave a comment

Ware’s Building Stories, his new graphic-novel-in-a-box, moves away from the narrative and formal coherence of Jimmy Corrigan, eschewing most of that work’s sense of historical context to focus on the process of individual story-making. Continue reading

 
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