Here are 100 books that Everywhere Disappeared fans have personally recommended if you like
Everywhere Disappeared.
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I’m an artist who likes to write, but I’ve never been interested in classic superhero or pulp graphic novels. Early in my career, the word “comics” felt like an insult—it's not “real art,” right? Too childish! While that instinct was definitely wrong, I found a (small) world of experimental, abstract, genre-breaking graphic novels that combine art and writing in a wholly unique way. This is a list of some of my recent favorites that have inspired my drawing and writing practice, and will hopefully inspire you.
This is an excellent textbook to get readers and comic makers of all experience levels to loosen up, think deeply and personally, and make better, more confident comics. It’s warm but practical, smart but approachable, deep but unpretentious. This is a comics veteran generously sharing both her knowledge of comics and teaching, as well as her own methods for drawing, brainstorming, and writing. It’s an incredible resource and one I often find myself quoting and recommending to my own students.
Hello students, meet Professor Skeletor. Be on time, don t miss class, and turn off your phones. No time for introductions, we start drawing right away. The goal is more rock, less talk, and we communicate only through images. For more than five years the cartoonist Lynda Barry has been an associate professor in the University of Wisconsin Madison art department and at the Wisconsin Institute for Discovery, teaching students from all majors, both graduate and undergraduate, how to make comics, how to be creative, how to not think. There is no academic lecture in this classroom. Doodling is enthusiastically…
Magical realism meets the magic of Christmas in this mix of Jewish, New Testament, and Santa stories–all reenacted in an urban psychiatric hospital!
On locked ward 5C4, Josh, a patient with many similarities to Jesus, is hospitalized concurrently with Nick, a patient with many similarities to Santa. The two argue…
When I was a kid in the 80s the superhero comics I was obsessed with were beginning to deal with the real world in a new way. And their creators were beginning to push and pull at the boundaries of the medium with a new spirit of play and provocation. I still love comics that seriously deal with real life – its complexities and its profound weirdness – and that push the medium in new directions and reckon with its history. I also want to be absorbed and moved and to identify intently with characters. It’s what I try to do in my own work, and what I look for in that of others.
This is the most profoundly absorbing experimental art-comic the world has ever produced.
It’s a fun book to sit with someone else and page through, backward or forward, or just ambling around, discovering things. The very simple conceit is that it’s a book that spans millions of years in time, but all happens in exactly one single space. It grew out of a six-page short story that blew people’s minds in the 80’s comics anthology Raw.
I remember hearing that the author had decided, two decades later, to expand it to book form, and wondered if that was really necessary. The short version had been such a perfect jewel of a piece. Turns out he had very good reason.
From one of the great comic innovators, the long-awaited fulfillment of a pioneering comic vision. Richard McGuire’s Here is the story of a corner of a room and of the events that have occurred in that space over the course of hundreds of thousands of years.
"In Here McGuire has introduced a third dimension to the flat page. He can poke holes in the space-time continuum simply by imposing frames that act as transtemporal windows into the larger frame that stands for the provisional now. Here is the comic-book equivalent of a scientific breakthrough. It is also a lovely evocation…
I’m an artist who likes to write, but I’ve never been interested in classic superhero or pulp graphic novels. Early in my career, the word “comics” felt like an insult—it's not “real art,” right? Too childish! While that instinct was definitely wrong, I found a (small) world of experimental, abstract, genre-breaking graphic novels that combine art and writing in a wholly unique way. This is a list of some of my recent favorites that have inspired my drawing and writing practice, and will hopefully inspire you.
Press Enter to Continue is incredible on every level. The art is beautiful, with a technicolor palette and skillful drawing that belies the corporate horror in the narratives. We see humiliating job interviews, vampiric computer viruses, and cosmic labor camps that feel a little too close for comfort in our online world. It’s a collection of short stories told with a deadpan minimalism that makes the reader think, sweat, and maybe put their phone away for a while.
Spanish cartoonist Ana Galvañ charts an often-psychedelic and existential course for modernity in her English language debut, utilizing swaths of electric and florescent colors to create a series of short stories that intertwine and explore the dehumanizing effects of contemporary society. Like a candycolored collection of Black Mirror episodes, Galvañ’s world, set in the very near-future, is familiar and cautionary at once. Galvañ’s unwitting and addictive characters navigate a world of iridescent pastels and geometric energy like puppets. Departments of inhumane resources dehumanize the people it is purported to protect; information is determinedly mined like the gold of the 21st…
The problem is not with the actions young women take but with the toxic, sexist conditions they are responding to.
Tanenbaum found, based on six years of interviews with young people ages 14-30, that young women are navigating a culture littered with gendered dress codes, revenge porn, and sexually explicit…
I’m an artist who likes to write, but I’ve never been interested in classic superhero or pulp graphic novels. Early in my career, the word “comics” felt like an insult—it's not “real art,” right? Too childish! While that instinct was definitely wrong, I found a (small) world of experimental, abstract, genre-breaking graphic novels that combine art and writing in a wholly unique way. This is a list of some of my recent favorites that have inspired my drawing and writing practice, and will hopefully inspire you.
This is one of the first graphic novels to truly reinvent the medium, and is absolutely required reading for anyone who wants to experiment with visual storytelling. Instead of a traditionally bound book, you get an oversized box filled with pamphlets, booklets, newspapers, and more. The comics themselves read pretty straightforwardly, but it's the act of rifling through this giant box for the first time, not knowing exactly where it'll lead you, that's truly a unique reading experience.
In Chris Ware's own words, 'Building Stories follows the inhabitants of a three-flat Chicago apartment house: a thirty-year-old woman who has yet to find someone with whom to spend the rest of her life; a couple who wonder if they can bear each other's company for another minute; and finally an elderly woman who never married and is the building's landlady...'
The scope, the ambition, the artistry and emotional heft of this project are beyond anything even Chris Ware has achieved before.
As a child of a worker in the boot and shoe industry of the English Midlands, I have written for more than half a century about poverty in its many guises – from the want and misery of early industrialism in Britain to the modernised poverty of a form of affluence which mimics prosperity without providing either satisfaction or sufficiency. Writing about the landscapes of poverty in the 1980s, I went to India and Bangladesh, and saw there in patterns of urbanization familiar echoes of what we in Britain had experienced. It seems to me that poor people are always poor in the same way, although this may be hidden behind differences in culture, tradition, ethnicity, and faith.
This book, part polemic, part reportage, is an account of Arundhati Roy’s journey into the forests of Chattisgarh, where groups of ‘Naxalites’ or Maoists have taken up arms against the Indian state, in defence of Adivasis, the indigenous inhabitants of India, for whom the forests, rivers, and hills are sacred. Unhappily these are cover vast deposits of minerals and precious resources required as ‘raw materials’ by a rapidly industrializing India. As a result, the State, which throughout the colonial period and in the early years of Independence, had, in turn, neglected and cheated the forest-dwellers, has now turned upon them with militaristic intensity to wrest resources from them. I found this narrative so powerful because Arundhati Roy makes us understand the violence of the despairing, without overtly supporting it.
From the award-winning author of The Ministry of Utmost Happiness and The God of Small Things comes a searing frontline exposé of brutal repression in India
In this fiercely reported work of nonfiction, internationally renowned author Arundhati Roy draws on her unprecedented access to a little-known rebel movement in India to pen a work full of earth-shattering revelations. Deep in the forests, under the pretense of battling Maoist guerillas, the Indian government is waging a vicious total war against its own citizens-a war undocumented by a weak domestic press and fostered by corporations eager to exploit the rare minerals buried…
I have always been fascinated by the relationship between the concept of time, history, and politics. My first publications were in the philosophy of history. I started by translating some Left Hegelians. Then I moved toward Kant and Benjamin. My research background was constituted by the attempt to liberate Marxism from any kind of teleological philosophy of history. Recently, I began digging into concrete historical cases to extract political and legal categories. I’m interested in the reactivation of past possibilities to reconfigure the present and open alternative futures. I am now fortunate to teach courses on Temporalities and History in the History of Consciousness Department at UCSC.
This book is one of the texts that gave rise to Italian “operaismo.”
For me, as for many other Marx scholars, it is a fundamental text that teaches how to look at capitalist relations from the perspective of class struggle. This shift in perspective means looking at capital as a response to a conflict that forces it into constant restructuring, innovation, and reconfiguration.
The conflict also innervates workers' institutions, so that sometimes a refusal to participate in a strike can also be read and acted upon as a refusal to participate in the union's reformist and compromising politics. It is a way of reading social relations to free their political potential.
Workers and Capital is universally recognised as the most important work produced by operaismo, a current of political thought emerging in the 1960s that revolutionised the institutional and extra-parliamentary Left in Italy and beyond. In the decade after its first publication in 1966, the debates over Workers and Capital produced new methods of analysis and a new vocabulary for thousands of militants, helping to inform the new forms of workplace, youth and community struggles. Concepts like 'neocapitalism', 'class composition', 'mass-worker', 'the plan of capital', 'workers' inquiry' and 'co-research' became an established part of the Italian Left's political lexicon. Over five…
Crossing is a vividly human re-imagining of the love, sacrifices, and accomplishments that two Chinese brothers - American Immigrants - experience as they travel to California to build the Transcontinental Railroad.
One of the oldest questions is: why are some countries rich and some countries poor? Adam Smith famously answered that it was the division of labor (specialization) and trade in his book The Wealth of Nations. The more you study trade, however, the more complicated the answer becomes. I have been grappling with this question since the 1990s, as a student, and I still do not have a simple answer like Adam Smith. However, I think I have come up with a framework to understand how the economic history of the world developed and I have been teaching that global history in college as a professor since the 2010s.
In ReOrient, A.G. Frank argues that this current situation in which the West is at the center of the world is a mere blip in terms of global history. Historically Asia was always the richer part of the globe and once again, in the near future, Asia will be the richest part of the globe again.
Andre Gunder Frank asks us to re-orient our views away from Eurocentrism - to see the rise of the West as a mere blip in what was, and is again becoming, an Asia-centered world. In a bold challenge to received historiography and social theory he turns on its head the world according to Marx, Weber, and other theorists, including Polanyi, Rostow, Braudel, and Wallerstein. Frank explains the Rise of the West in world economic and demographic terms that relate it in a single historical sweep to the decline of the East around 1800. European states, he says, used the silver…
All of the books I recommend offer both a very deep reading of our socio-economic situation in all its oppressiveness and alienation, and the possibility of an alternative. Only with such philosophical digging and reappropriation of dialectical thinkers of the past, beginning with Hegel and Marx, can we construct a humanist future. These books speak to my own life as a 1960s activist in the USA who has yearned ever since for a real, humanist social transformation in the face of so many setbacks for our cause, some of them self-inflicted.
This is the first study ever of Marx on communism/socialism, a topic that is often considered something he refrained from writing about. Hudis ingeniously marshals a huge body of writings – on Proudhon, Lassalle, and others – where Marx elaborates his own concept of socialism/communism in the course of critiquing what he sees as vastly inadequate concepts. In so doing, Hudis connects these issues to dialectics and to economics, and above all to the critique of both capital and the state, here not even sparing Lenin’s classic work, State and Revolution.
In contrast to the traditional view that Marx's work is restricted to a critique of capitalism - and that he consciously avoided any detailed conception of its alternative - this work shows that Marx was committed to a specific concept of a post-capitalist society which informed the whole of his approach to political economy.
I’m an assistant professor in the School of Information and Communication Studies at University College Dublin. I’m interested in automation because discussions about it often tend towards ridiculous hyperbole or acritical boosterism. Whether it’s killer robots that terminate humanity or “ethical” AI which raises all boats, discussions about the social implications of contemporary machines often neglect to include the critical analysis of the capitalist mode of production. I don’t think the two can be studied in isolation from one another.
This book provides a linkage between Marx’s time and contemporary capitalism through an in-depth study of scientific management or Taylorism. Braverman shows that the essence of Taylorism, the capture, by capital, of the worker’s skills and knowledge, is a necessary precondition for automation. Automation, Braverman reveals, is not simply a technical process, but a deeply social one.
First published in 1974, this text is written in a direct way by Harry Braverman, whose years spent as an industrial worker gave him insight into the labour process and the conviction to reject the reigning wisdoms of academic sociology. Here, he analyzes the division of labour between the design and execution of industrial production, which underlies all our social arrangements. This new edition features a new introduction by John Bellamy Foster, setting the work in historical and theoretical context, as well as two more articles by Harry Braverman.
At five years old, Kasiel was found with the pointed ends of his ears cut off. Despite that brutal start, he’s lived twelve peaceful years with the man who took him in. Keeping his hair long over his mutilated ears helps him hide the fact that he is Vanrian, a…
I write about politics. I grew up in a political household. My mother was a key fundraiser for the Democratic Party and my stepfather served as a White House counsel to President Clinton. Politics and the Washington experience were the air I breathed during my formative years. I followed in their footsteps and co-founded Fight for a Better America, an organization that invests in key battleground districts and states throughout the US, with the goal of either flipping them blue or maintaining a Democratic incumbent. Through my travels with the organization, I have made hundreds of contacts with folks in local civic clubs and organized hundreds of volunteers on the ground.
Hacker explores the connection between America’s present yawning inequality and the deliberate decisions made by key political figures throughout the last 50 years. While off-shoring and technological innovation have contributed to the ever poorer job prospects and conditions for the poor and working-class, he argues that our government is just as much to blame. We could have taken action to protect these constituencies but rather defended the interests of corporate America and the radical rich (his term for wealth conservative donors such as the Koch Brothers). The book is very well-researched and easily digestible.
A groundbreaking work that identifies the real culprit behind one of the great economic crimes of our time- the growing inequality of incomes between the vast majority of Americans and the richest of the rich.
We all know that the very rich have gotten a lot richer these past few decades while most Americans haven't. In fact, the exorbitantly paid have continued to thrive during the current economic crisis, even as the rest of Americans have continued to fall behind. Why do the "haveit- alls" have so much more? And how have they managed to restructure the economy to reap…