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by Harvey Pekar,Anne Elizabeth Moore

  • ISBN: 0618718745
  • Category: Comics & Graphic
  • Author: Harvey Pekar,Anne Elizabeth Moore
  • Subcategory: Graphic Novels
  • Other formats: lrf rtf mobi docx
  • Language: English
  • Publisher: Houghton Mifflin Harcourt; 1st edition (October 11, 2006)
  • Pages: 293 pages
  • FB2 size: 1377 kb
  • EPUB size: 1827 kb
  • Rating: 4.5
  • Votes: 499
Download The Best American Comics 2006 (Best American) fb2

Best American Comics of 2006 soars to great heights at times - but much of the time, it never gets off the ground.

Best American Comics of 2006 soars to great heights at times - but much of the time, it never gets off the ground.

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Start by marking The Best American Comics 2006 as Want to Read . Anne Elizabeth Moore's introduction is kind of depressingly inspired.

Start by marking The Best American Comics 2006 as Want to Read: Want to Read savin. ant to Read. Basically, she kinda says cartooning, by virtue of of it's undervalued and underrepresented status can operate as a form of defiance. But like, not really. Not surprisingly Pekar's picks deal predominantly with either the mundane, the ultra-real, or the political.

The Best American Comics is a yearly anthology of comics in the United States by Houghton Mifflin since 2006 as part of The Best American Series

The Best American Comics is a yearly anthology of comics in the United States by Houghton Mifflin since 2006 as part of The Best American Series.

NPR coverage of The Best American Comics 2006 by Harvey Pekar and Anne Elizabeth Moore. Collects original comic strips from American authors and illustrators published in 2006 in graphic novels, newspapers, magazines, and on the Internet. Read an excerpt of this book. News, author interviews, critics' picks and more.

Best American Comics 2006 is sometimes vibrant, but more often it's dragged down by an overbearing earnestness. Many pieces are emotionally stitched to Big Topics, be it the Iraq war in Joe Sacco's Complacency Kills, mental illness in Justin Hall's La Rubia Loca and corporate corruption in Africa in Seth Tobocman, Terisa Turner and Leigh Brownhill's Nakedness and Power. Only the last of those three is a satisfying read. Its bold, dark design complements the subject matter, which while familiar, doesn't feel overplayed.

While The Best American Comics represents the newest addition to a best-selling 'best' series, it's a fine pick for .

Recently Viewed and Featured. The Best American Comics 2006 (Best American (TM)).

The flagship title in the Best American Comics series paired Anne Elizabeth Moore (Punk Planet) with the legendary Harvey Pekar (American Splendor) and set a new standard for comics anthologies. From Houghton Mifflin. 30 of the wittiest, weirdest, and most touching comics. Entertainment Weekly. Improbable and poignant. Leave a Reply Cancel reply.

And Best American Comics 2006 is good, real good, and mighty .

And Best American Comics 2006 is good, real good, and mighty impressive. Whereas the other Best American volumes are soft-cover trade paperbacks, Best American Comics 2006 is hard-back, with a beautiful cover illustration and gold embossing. If Best American Comics 2006 is any indication, this newest addition to the august Best American series has a long, robust future ahead of it. Watching the Best American Comics series grow and blossom will be a treat for (hopefully) years to come.

Yet the 30 examples chosen here by Pekar (of American Splendor fame), following Moore’s initial screening, show few signs of pulling punches or playing it safe.

Celebrating the best in graphic storytelling and literary comics, a diverse collection, guest edited by the award-winning author of The Quitter and American Splendor, features excerpts from graphic novels, pamphlet comics, newspapers, magazines, mini-comics, and the Web, from Robert Crumb, Chris Ware, Kim Deitch, Jaime Hernandez, Alison Bechdel, Joe Sacco, and others.
Reviews about The Best American Comics 2006 (Best American) (7):
I don't know that I'd say I'm a fan of The Best American Comics series, but I like to read them. I am not a die-hard, so for me, being able to get exposure to a bunch of different things in one place is a fine starting point.

I think this book is a good mix. Some selections did not interest me at all, but I didn't find many to be what I would consider outright bad choices. There is a fair amount of retread here if you are reading other sources, but if you are not, there's a good mix of style and content.

The thing that makes this book on of the better in the series for me, was that most of the selections really stood up well on their own. They are often well excerpted, and really convey a lot with the amount of space given to them. Not everything makes that conversion smoothly, and in this edition, I think the editors chose well.

If you are reading lots of comics that mainstream readers may not be, this edition probably won't impress you as much. If you don't really know why someone would make an anthology about comics like this, I think you're more likely going to be persuaded by this book that there is a lot of cool varied stuff out there being published. If you're somewhere in-between like I am, this 2006 edition collects a lot of good stuff to help you discover and enjoy even more.
I have to say, this is an uneven bunch of stories. Pekar's bias toward autobiography and slice-of-life, and against anything mainstream is palpable. Many of the comics are also poorly written non-linear claptrap that use random acts of violence in order to negotiate their "plots." Just about all of the one-two page stories he picked out were boring in the extreme - how Peter Kuper's SPY VS. SPY or Sergio Aragones's work in Mad, didn't make it in against such obviously poor competition is beyond me.

Worst off, Pekar makes a point, in his intro, to disparage superhero comics, then starts the collection off with a poorly drawn satire of superhero comics - the satire being obvious and blunt - making fun of the fact that deadly radiation, which will kill you in the real world, will somehow give you super powers in the comic world - wow! that's an original observation! The artist, in his bio in the back of the book, admits that he used stick figures in his drawing, because he was caught in a deadline crunch, and essentially cheated on the job he was getting peanuts for, to free up time for the job he was getting paid well for. He was embarrassed to admit that he had become the much sought after "stick figure artist," when he was actually a realistic artist who was just phoning one in. You'd think Pekar, and the rest of the alternative comics world, would be embarrassed to think that the cheaply done work of an artist was considered "the best."

Many of the comics suffer from a dearth of camera angles. Comic story after comic story mainly uses the strait on camera angle to the viewer. Alternative comics are far far behind the mainstream artists in their ability to tell a story with their art, using angles, silhouette, perspective, shading, panel and page layout, etc.

To be fair, there are good stories in here as well. This whole series, tho, suffers from a narrow point of view. It is as if, if it's an alternative comic, it is automatically on par with literature. This anthology gives that point of view the lie. Good literature requires literate writing. Good sequential art, requires good story telling technique. Just being non-corporate doesn't make it good.
This collection of comics is uneven: the stories alternate between flashes of brilliance and mediocrity. These may not be the "Best" comics written in 2006, but there are some gems here.

Some of the comics are highly personal masterpieces, such as Jesse Reklaw's "Thirteen Cats of My Childhood" in which he traces the tragicomic situations of his home life with a running narrative of the various cats his family owned.

Robert Crumb's "Walkin' the Streets" is a fascinating account of the "everyman" nerd that feels out of place no matter where his is.

Lynda Barry's "Two Questions" is a simple, yet amazingly deep comic, dealing with the insecurities every comic artist faces. In a subtle, masterful way, she even broaches the subject of censorship of comics and how society as a whole represses those that challenge convention.

"La Rubia Loca," is the story of how a woman deals with a woman going crazy on a bus trip through Mexico. It is compelling and draws the reader into an awkward situation. The artwork is excellent and the drama is palpable.

"Ready to Die" is "Dead Man Walking" meets the comic form, Kim Deitch's musing on the lethal injection of a killer. Deitch humanizes the character even more the film "Dead Man Walking" humanizes its killer. This is an example of the power of the medium - it is impossible to read this strip without some emotions welling up within the reader - anger, confusion, sadness.

Unfortunately, most of the rest of the comics here are not extraordinary. Some of them suffer from poor artwork or uninteresting storylines - or lack of a narrative altogether. Some of them feel self-indulgent and self-pitying. I also hope the editors in the future will enlarge some of the comics - a few of them were too small to read clearly.

The powerful story, "Nakedness and Power" about the injustices of the Nigerian oil industry was a great example of the subtle power of the comic medium to shift opinions.

Politics is fertile ground for comics in the "Best American Comics" series and its readers are well aware of this. I am no Bush apologist - I believe many of his policies were disastrous - but only 3 years later as I write this, most of the anti-Bush messages some of these artists allowed to infect their work now sounds shrill and trite. I saw this same issue in contemporary art in 2006 - I think many great artists will look back at their work and cringe that they gave Bush more importance in their work than he deserved.

Best American Comics of 2006 soars to great heights at times - but much of the time, it never gets off the ground.

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