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The war with the Zombie Priest heats up in the latest new edition of a classic Goon volume. Taking a cue from the great movie posters of the thirties and forties, this collection features a beautiful new cover by Eric Powell! The saga of Lonely Street takes turns both tragic and hilarious, as Goon and friends are forced to confront their tragic pasts, a tentacled creature from space and its mediocre Interdimensional-to-English Dictionary menace the docks, and Goon must withstand the coming of El Hombre del Lagarto! Plus, Mike Mignola cowrites and illustrates an appearance by Hellboy, in one of the strangest crossovers of all time. For those new to The Goon, these editions are a perfect place to start! • This volume collects The Goon #5-#8. • Featuring Mike Mignola and Hellboy! • New cover by Eric Powell!
Details the adventures of the Goon and his sidekick Franky as they battle the undead.
The war with the Zombie Priest heats up in the latest new edition of a classic Goon volume. Taking a cue from the great movie posters of the thirties and forties, this collection features a beautiful new cover by Eric Powell! The saga of Lonely Street takes turns both tragic and hilarious, as Goon and friends are forced to confront their tragic pasts, a tentacled creature from space and its mediocre Interdimensional-to-English Dictionary menace the docks, and Goon must withstand the coming of El Hombre del Lagarto! Plus, Mike Mignola cowrites and illustrates an appearance by Hellboy, in one of the strangest crossovers of all time. For those new to The Goon, these editions are a perfect place to start! • This volume collects The Goon #5-#8. • Featuring Mike Mignola and Hellboy! • New cover by Eric Powell!
The war with the Zombie Priest heats up in the latest new edition of a classic Goon volume. Taking a cue from the great movie posters of the thirties and forties, this collection features a beautiful new cover by Eric Powell! The saga of Lonely Street takes turns both tragic and hilarious, as Goon and friends are forced to confront their tragic pasts, a tentacled creature from space and its mediocre Interdimensional-to-English Dictionary menace the docks, and Goon must withstand the coming of El Hombre del Lagarto! Plus, Mike Mignola cowrites and illustrates an appearance by Hellboy, in one of the strangest crossovers of all time. For those new to The Goon, these editions are a perfect place to start! • This volume collects The Goon #5-#8. • Featuring Mike Mignola and Hellboy! • New cover by Eric Powell!
The Goon and Franky have been best friends ever since they was tykes. Find out how the two little ankle-biters became best pals and how they muscled their way into the rackets of big-time crime-boss, Labrazio - who, incidentally, nobody's seen in a while. This trip down memory lane ain't gonna be no joyride, neither. Franky and the Goon are going to have to take on a horde of zombies, an army of hoboes, a couple of grave robbin' freaks, a guy with a gold head and his killer robot, a pie-crazed skunk ape, one homely, man-crazy sea hag, and a whole lot of other things that smell just as bad, if not worse. Pick up a copy, because those uptown rich people may have the cops and their G-men, but down here all we got is the Goon!
From the author of The Italian Teacher, this acclaimed debut novel set in Rome follows the topsy-turvy lives of the denizens of an English language newspaper. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY Janet Maslin, The New York Times • The Economist • NPR • Slate • The Christian Science Monitor • Financial Times • The Plain Dealer • Minneapolis Star Tribune • St. Louis Post-Dispatch • The Kansas City Star • The Globe and Mail • Publishers Weekly Look in the back of the book for a conversation between Tom Rachman and Malcolm Gladwell Fifty years and many changes have ensued since the paper was founded by an enigmatic millionaire, and now, amid the stained carpeting and dingy office furniture, the staff’s personal dramas seem far more important than the daily headlines. Kathleen, the imperious editor in chief, is smarting from a betrayal in her open marriage; Arthur, the lazy obituary writer, is transformed by a personal tragedy; Abby, the embattled financial officer, discovers that her job cuts and her love life are intertwined in a most unexpected way. Out in the field, a veteran Paris freelancer goes to desperate lengths for his next byline, while the new Cairo stringer is mercilessly manipulated by an outrageous war correspondent with an outsize ego. And in the shadows is the isolated young publisher who pays more attention to his prized basset hound, Schopenhauer, than to the fate of his family’s quirky newspaper. As the era of print news gives way to the Internet age and this imperfect crew stumbles toward an uncertain future, the paper’s rich history is revealed, including the surprising truth about its founder’s intentions. Spirited, moving, and highly original, The Imperfectionists will establish Tom Rachman as one of our most perceptive, assured literary talents.
A Fine Balance, Rohinton Mistry’s stunning internationally acclaimed bestseller, is set in mid-1970s India. It tells the story of four unlikely people whose lives come together during a time of political turmoil soon after the government declares a “State of Internal Emergency.” Through days of bleakness and hope, their circumstances – and their fates – become inextricably linked in ways no one could have foreseen. Mistry’s prose is alive with enduring images and a cast of unforgettable characters. Written with compassion, humour, and insight, A Fine Balance is a vivid, richly textured, and powerful novel written by one of the most gifted writers of our time.
The war with the Zombie Priest heats up in the latest new edition of a classic Goon volume. Taking a cue from the great movie posters of the thirties and forties, this collection features a beautiful new cover by Eric Powell! The saga of Lonely Street takes turns both tragic and hilarious, as Goon and friends are forced to confront their tragic pasts, a tentacled creature from space and its mediocre Interdimensional-to-English Dictionary menace the docks, and Goon must withstand the coming of El Hombre del Lagarto! Plus, Mike Mignola cowrites and illustrates an appearance by Hellboy, in one of the strangest crossovers of all time. For those new to The Goon, these editions are a perfect place to start! • This volume collects The Goon #5-#8. • Featuring Mike Mignola and Hellboy! • New cover by Eric Powell!
Re-presenting the classic Popeye comic book series that debuted in 1948 by Bud Sagendorf, the long-time assistant to creator E.C. Segar! Carefully reproduced from the original comic books and lovingly restored, Volume 1 contains issues #1-4, with stories such as "That's What I Yam," "Ghost Island," and "Dead Valley." Also includes all of Sagendorf's gloriously funny one-pagers.
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.