A thrilling graphic novel reimagining of The Adventures of Huckleberry Finn that follows Jim, an enslaved man on a journey towards freedom, and his sidekick, Huck, in the antebellum South—from the team behind the Eisner Award–winning The Black Panther Party.

Commonly regarded as one of the great American novels, The Adventures of Huckleberry Finn has captured the hearts and imaginations of readers since 1885. But since its publication, critics have rightfully condemned Mark Twain’s troubling portrayal of Black Americans as stereotypes and caricatures, with contemporary fans searching for a modern update to this iconic tale.

Big Jim and the White Boy is a radical retelling of this American classic, centering the experiences of Jim, an enslaved Black man in search of his kidnapped wife and children, along with his cheeky sidekick, Huckleberry Finn. Jim and Huck’s high-stakes adventures take them on an epic voyage across the antebellum South and Midwest, through Confederate war camps and runaway safe houses, into Old West standoffs, and on the road as covert Underground Railroad agents. Intertwined into the story of Jim and Huck are the stories of Jim’s descendants in the 1930s, 1980s, and 2020s, making this a multigenerational family epic as well as an adventure story.

With compelling artwork and riveting storytelling, David F. Walker and Marcus Kwame Anderson push the boundaries of The Adventures of Huckleberry Finn in this incredible graphic novel, exploring the triumphs and tribulations of Jim and his family, and finally giving his due as a hero of American literature.

Internationally acclaimed graphic novelist Olivier Schrauwen returns with a masterfully funny and profound day in the life narrative.

Sunday follows, over the course of one day, the stream of consciousness of a fictionalized version of the author’s cousin, Thibault. On the day of his girlfriend’s return from an extended trip, Thibault wakes up, does nothing, gets James Brown stuck in his head, drinks and smokes, grows paranoid about his relationship, struggles to compose text messages, and watches The Da Vinci Code, all the while avoiding anyone and everyone, descending deeper into his own thoughts and fears. Meanwhile, a former crush and another cousin of Thibault’s plan a surprise birthday for him, sending the external and internal on a collision course.

Schrauwen’s brilliant comic timing and formal mastery transcends the quotidian nature of the plot. Through use of color, flashback and the dissonance between text and image, the ways in which Schrauwen layers a depiction of human consciousness as lines on paper are infused heavily with slapstick and white-knuckle tension and make for an exhilarating read and breathtaking use of the comics medium.

The beloved and award-winning author of BLACK HOLE's haunting and visually arresting story of an artist's obsessions, and the value and cost of pushing the boundaries of creativity

As a child, Brian and his friend Jimmy would make sci-fi films in their yards, convincing their friends to star as victims of grisly murders, smearing lipstick on the "bodies" to simulate blood. Now a talented artist and aspiring filmmaker, Brian, along with Jimmy, Jimmy's friend Tina, and Laurie—his reluctant muse—sets off to a remote cabin in the woods with an old 8 millimeter camera to make a true sci-fi horror movie, an homage to Brian's favorite movie: Invasion of the Body Snatchers. But as Brian's affections for Laurie go seemingly unreciprocated, Brian writes and draws himself into a fantasy where she is the girl of his dreams, his damsel in distress, and his savior wrapped into one. Rife with references to classic sci-fi and horror movies and filled with panels of stunning depictions of nature, film and the surreal, Burns blurs the line between Brian's dreams and reality, imagination and perception. A master of the form at his finest, Final Cut is an astonishing look at what it means to truly express oneself through art.

Meet little Maurice Vellekoop, the youngest of four children raised by Dutch immigrants in the 1970s in a blue-collar suburb of Toronto. Despite their working-class milieu, the Vellekoops are devoted to art, music, and film, and they instill a deep reverence for the arts in young Maurice—except for literature. He’d much rather watch Cher and Carol Burnett on TV than read a book. He also loves playing with his girlfriends’ Barbie dolls and helping his Mum in her hair salon, which she runs out of the basement of their house. In short, he is really, really gay. Which is a huge problem, because the family is part of the Christian Reformed Church, a strict Calvinist sect. They go to church twice on Sunday, and they send their kids to a private Christian school, catechism classes, and the Calvinist Cadet Corps. Needless to say, the church is intolerant of homosexuality. Though she loves her son deeply, Maurice’s mother, Ann, cannot accept him, setting the course for a long estrangement.
Vellekoop struggles through all of this until he graduates from high school and is accepted into the Ontario College of Art in the early 1980s. Here he finds a welcoming community of bohemians, including a brilliant, flamboyantly gay professor who encourages him to come out. But just as he’s dipping his toes into the waters of gay sex and love, a series of romantic disasters, followed by a violent attack, sets him back severely. And then the shadow of the AIDS era descends. Maurice reacts by retreating to the safety of childhood obsessions, and seeks to satisfy his emotional needs with film- and theatre-going, music, boozy self-medication, and prolific art-making. When these tactics inevitably fail, Vellekoop at last embarks on a journey towards his heart’s true desire. In psychotherapy, the spiderweb of family, faith, guilt, sexuality, mental health, the intergenerational fallout of World War II, King Ludwig II of Bavaria, French Formula Hairspray, and much more at last begins to untangle. But it’s going to be a long, messy, and occasionally hilarious process.
I’m So Glad We Had This Time Together is an enthralling portrait of what it means to be true to yourself, to learn to forgive, and to be an artist.

A man can’t decide between two dress shirts for a wedding.
A woman questions the style of her new glasses.
A teacher considers quitting teaching.
A figure-drawing model considers quitting modeling.
A man drives into a fog bank and is unsure how to get home.

In Blurry, Shaw renders doubts around everyday decisions as startling cliffhangers, presenting us with the kinds of choices that can make a life expand or contract in equal measure. Drawn in clear lines and washes, Shaw captures the humor and anxiety of life in a one-of-a-kind structure that bends back to a thrilling, lyrical finish.

The most anticipated graphic novel of 2024, concluding the story of young Karen Reyes, the most inspiring “monster” in contemporary fiction. Set against the tumultuous political backdrop of late ’60s Chicago, My Favorite Thing Is Monsters: Book Two is the eagerly awaited conclusion to one of the most acclaimed graphic novels of the past decade. Presented as the fictional graphic diary of 10-year-old Karen Reyes as she tries to solve the murder of her beloved and enigmatic upstairs neighbor, Anka Silverberg, a holocaust survivor, while the interconnected stories of those around her unfold. In Book Two , dark mysteries past and present continue to abound in the tumultuous and violent Chicago summer of 1968. Young Karen attends the Yippie-organized Festival of Life in Grant Park and finds herself swept up in a police stomping. Privately, she continues to investigate Anka’s recent death and discovers one last cassette tape that sheds light upon Anka's heroic activities in Nazi Germany. She wrestles with her own sexual identity, the death of her mother, and the secrets she suspects her brother Deez of hiding. Ferris’s exhilarating cast of characters experience revelations and epiphanies that both resolve and deepen the mysteries visited upon them earlier. Visually, the story is told in Ferris's inimitable style that breathtakingly and seamlessly combines panel-to-panel storytelling and cartoon montages filled with B-movie horror and pulp monster mag iconography. Full-color illustrations throughout

In this debut, which takes the form of a fictional graphic diary, a 10-year-old girl tries to solve a murder.
Set against the tumultuous political backdrop of late ’60s Chicago, My Favorite Thing Is Monsters is the fictional graphic diary of 10-year-old Karen Reyes, filled with B-movie horror and pulp monster magazines iconography. Karen Reyes tries to solve the murder of her enigmatic upstairs neighbor, Anka Silverberg, a holocaust survivor, while the interconnected stories of those around her unfold. When Karen’s investigation takes us back to Anka’s life in Nazi Germany, the reader discovers how the personal, the political, the past, and the present converge. Full-color illustrations throughout.

AN NPR, WASHINGTON POST, GUARDIAN, AND PW BEST BOOK OF THE YEAR • The author of the Eisner-nominated graphic novel Unterzakhn now gives us a heart-wrenching, phantasmagorical tale of love, loss, and trauma both personal and global, set during World War II in Brooklyn, New York, and in the newly liberated Buchenwald concentration camp.

One of a group of women working as welders in the Brooklyn Navy Yard, Rose Arensberg has fallen in love with a disabled veteran while awaiting the return of her husband, Sam, a soldier in the American army serving in Europe. As we follow the bittersweet, heartbreaking stories of Rose and her fellow Rosie-the-Riveters, we’re immersed in the day-to-day challenges of life on the home front as seen through the eyes of these resilient women, as well as through the eyes of Eleanor, Rose’s impressionable young daughter, and Ruth, the German Jewish refugee Rose has taken into their home.

Ruth’s desperate attempt to exorcise the nightmare of growing up in pre-war Nazi Germany takes her into the world of professional women wrestlers—with devastating consequences. And Sam’s encounters with the horrors of a liberated concentration camp follow him home to Brooklyn in the form of terrifying flashbacks that will leave him scarred forever.

Victory Parade paints a deeply affecting portrait of how individuals and civilizations process mass trauma. Magnificently drawn by Leela Corman, it’s an Expressionist journey through the battlefields of the human heart and the mass graves of genocide.

A brilliant graphic memoir debut, this is a loving son’s exploration of his tumultuous relationship with his father, told through the lens of the Vietnam War and its lasting effects long after returning home.

As a college dropout amidst the tumult of the 1960s and the Vietnam War, David Sciacchitano enlisted in the Air Force and volunteered to be sent overseas. An aircraft mechanic away from the front lines, David nevertheless experienced the chaos of war during the Tet Offensive and the 1975 evacuation. But although David returned home from the war with no physical injuries, it would be as if a part of him was forever left behind.

Set against one of the most tumultuous events of the 20th century, The Heart That Fed is a beautifully illustrated and moving story of trauma and love—told by a son seeking to understand a father forever changed by PTSD and the horrors of war.

An astonishing, deeply moving graphic memoir about three generations of Chinese women, exploring love, grief, exile, and identity.

In her evocative, genre-defying graphic memoir, Tessa Hulls tells the stories of her grandmother, Sun Yi; her mother, Rose; and herself.

Sun Yi was a Shanghai journalist caught in the political crosshairs of the 1949 Communist victory. After eight years of government harassment, she fled to Hong Kong with her daughter. Upon arrival, Sun Yi wrote a bestselling memoir about her persecution and survival, used the proceeds to put Rose in an elite boarding school―and promptly had a breakdown that left her committed to a mental institution. Rose eventually came to the United States on a scholarship and brought Sun Yi to live with her.

Tessa watched her mother care for Sun Yi, both of them struggling under the weight of Sun Yi's unexamined trauma and mental illness. Vowing to escape her mother’s smothering fear, Tessa left home and traveled to the farthest-flung corners of the globe (Antarctica). But at the age of thirty, it starts to feel less like freedom and more like running away, and she returns to face the history that shaped her.

Gorgeously rendered, Feeding Ghosts is Hulls' homecoming, a vivid journey into the beating heart of one family, set against the dark backdrop of Chinese history. By turns fascinating and heartbreaking, inventive and poignant, it exposes the fear and trauma that haunt generations, and the love that holds them together.

A delicate, dreamlike, and lushly detailed comics collection by a contemporary artist whose work explores the enmeshment of the human and non-human worlds.

For years, Aidan Koch’s comics have been pushing the boundaries of the medium, helping reimagine what a comic can look like, and the kinds of stories it can tell.

Koch has been living and working in the desert of California, turning her focus toward the ways humans and the natural world converge. Spiral and Other Stories is a triumph of that continuing process.

Using watercolors, pencils, crayons, charcoals, and collage, Koch builds worlds of dense detail and vast open spaces, urgent scrawled text and long silences, telling a series of stories about people and the places they inhabit.

Characters yearn for each other, even as they’re pulled toward different lives. Rivers dance together and then diverge as they make their way to see the sea.

With an accompanying essay by the author and critic Nicole Rudick, who explores Koch’s craft and her move into environmentally focused comics, Spiral and Other Stories is a showcase of Koch’s mastery of the form of comics, as a medium that can contain astonishing forms and tell new stories for our uncertain times.

Sue Bird was always botanical art, landscapes, still lifes, and especially the sea. She took classes, kept countless sketchbooks, and filled the house with art. From their neighborhood to their family trips, all the moments of her life were memorialized in her artwork. Throughout her life, she never sold a piece—she gave art to family and friends, and shared her work online, but never received wider recognition for her work.

This graphic novel by her son, Tim Bird, explores their family life and her creative explorations through a mix of her paintings and Tim's comics, depicting their relationship and her life from teenagehood to her struggle with cancer at the height of the covid pandemic. After her death, this graphic novel at last showcases her work.

At its heart a book about creativity and family relationships, Adrift on a Painted Sea tells a story about the things we overlook in the people closest to us.