Lucy Shelton Caswell

Walt Kelly's newspaper comic strip Pogo was a platform for Kelly to express political satire and commentary via a wildly entertaining, motley group of swamp critters. He tackled many of the sociopolitical issues of his day: the Red Scare, civil rights, the environment, consumerism. But the strip is also a joyous, poignant, beautifully drawn, and occasionally profound work of 20th-century popular culture. It is such an all-time classic it is hard to believe that this series marks the first time that Pogo dailies and Sundays have been published in complete and in chronological order anywhere. Not only does each volume contain two full calendar years of restored black-and-white daily strips: it also includes all 104 Sundays from the same period. For the first time since their original appearance more than 50 years ago, the Sundays are in full, glorious color Edited by comics legend Mark Evanier and Fantagraphics Associate Publisher Eric Reynolds, with supplements and resources by comics historians R. C. Harvey and Maggie Thompson, each volume has a surprise foreword. (Jake Tapper, Sergio Aragon s, and Neil Gaiman have contributed.) Each dust jacket spotlights gorgeous, hand-painted collaborations between Kelly and cartoonist Linda Medley, the acclaimed creator of Castle Waiting.

Walt Kelly's newspaper comic strip Pogo was a platform for Kelly to express political satire and commentary via a wildly entertaining, motley group of swamp critters. He tackled many of the sociopolitical issues of his day: the Red Scare, civil rights, the environment, consumerism. But the strip is also a joyous, poignant, beautifully drawn, and occasionally profound work of 20th-century popular culture. It is such an all-time classic it is hard to believe that this series marks the first time that Pogo dailies and Sundays have been published in complete and in chronological order anywhere. Not only does each volume contain two full calendar years of restored black-and-white daily strips: it also includes all 104 Sundays from the same period. For the first time since their original appearance more than 50 years ago, the Sundays are in full, glorious color Edited by comics legend Mark Evanier and Fantagraphics Associate Publisher Eric Reynolds, with supplements and resources by comics historians R. C. Harvey and Maggie Thompson, each volume has a surprise foreword. (Jake Tapper, Sergio Aragon s, and Neil Gaiman have contributed.) Each dust jacket spotlights gorgeous, hand-painted collaborations between Kelly and cartoonist Linda Medley, the acclaimed creator of Castle Waiting.

Drawing the Line: Comics Studies and INKS, 1994-1997 collects some of the most important essays from INKS: Cartoon and Comic Art Studies, the first peer-reviewed scholarly journal devoted exclusively to comics studies. The volume, edited by Lucy Shelton Caswell, the journal's founding editor, and Jared Gardner, editor of the new Inks: The Journal of the Comics Studies Society, celebrates this foundational moment in the fast-growing field of comics studies and also serves as a call to contemporary scholars to revisit the roads-not-taken mapped out by these scholars and cartoonist critics. Included in the volume are essays by pioneering comics scholars on newspaper comic strips, Japanese manga, Chinese lianhuanhua, comic books, graphic novels, and editorial cartoons, alongside writings and artwork by celebrated cartoonists such as Will Eisner, Oliver Harrington, Charles Schulz, and Frank Stack. This volume serves as an invaluable resource for anyone interested in the history and study of the comics form, visual culture, or the history of journalism.