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…
A moving story of love, betrayal, and the enduring power of hope in the face of darkness.
German pianist Hedda Schlagel's world collapsed when her fiancé, Fritz, vanished after being sent to an enemy alien camp in the United States during the Great War. Fifteen years later, in 1932, Hedda…
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…
In 1913, a 15-year-old pregnant girl was found dead of apparent suicide. Dr. James Wilson, a new graduate and the first doctor ever to start a practice in this rural town, feels guilty over her death because of his delayed intervention.
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.
I’ve studied Smith and his Scottish contemporaries, off and on, for over fifty years. My whole professional career has been spent at Glasgow University where Smith was both a student and later professor. I thus have a personal affinity to him and his work, all the more so because his published writings were all trailed in his professorial classroom. While I have published extensively on Smith, the particular book of mine that I’ve selected was chosen because I wanted to distill all my scholarship into a volume that would be accessible to non-academics.
This is a defence of Smith's continuing relevance. It combines an overview of Smith's life and writings together with an assessment of his long-term and enduring contribution.
What is distinctive is that second-half of the book takes up Smith's ideas thematically and analyses them in the light of contemporary issues. Norman's judgment is that mainstream academic discussion of 'economics' is too self-absorbed and would be improved by heeding Smith's inclusive insights. Impressively what could have been a heavy read is conveyed in a readable, accessible style.
'A superb book' Financial Times, Books of the Year
Adam Smith is now widely regarded as 'the father of modern economics' and the most influential economist who ever lived. But what he really thought, and what the implications of his ideas are, remain fiercely contested. Was he an eloquent advocate of capitalism and the freedom of the individual? Or a prime mover of 'market fundamentalism' and an apologist for inequality and human selfishness? Or something else entirely? Jesse Norman's brilliantly conceived \book gives us not just Smith's economics, but his vastly wider intellectual project. Against the turbulent backdrop of Enlightenment…
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…
Voyager 1 was launched on September 5, 1977, and Voyager 2 was launched on August 20, 1977. Both began a historic journey with unique 'time capsules' on board intended to communicate a story of our world to extraterrestrials. The Voyager message is carried by a phonograph record 12-inch gold-plated disk…
'Human development' indicates an advancement that I would like to find in any kind of progress. Different disciplines define 'human development' in different ways, but my research is to identify the common core in order to link both the individual- with the social dimension, and natural evolution with changes due to personal choices and policies. Through such research, I have been able to take a new perspective on my academic subjects: economic growth and happiness. My belief is that it is possible to make human development, economic growth, and happiness go together. But unfortunately, this is not what is occurring, and understanding why is key.
This book is one of the most effective attacks against the market tendency to commercialize any good, ending up corroding what is most intrinsically human in social relationships and in people's intimate lives.
The effectiveness of the book lies in the examples, ranging from the sale of kidneys to paying someone to be substituted in the queue.
The most important lesson of the book is that market-driven economic growth has not only transformed the environment to make our lives more comfortable, thus hitting the limit in environmental degradation, but it has also transformed ourselves, because it has made us more consumers and less human.
This silent transformation - the philosopher Sandel teaches us - must be limited.
In What Money Can't Buy, renowned political philosopher Michael J. Sandel rethinks the role that markets and money should play in our society.
Should we pay children to read books or to get good grades? Should we put a price on human life to decide how much pollution to allow? Is it ethical to pay people to test risky new drugs or to donate their organs? What about hiring mercenaries to fight our wars, outsourcing inmates to for-profit prisons, auctioning admission to elite universities, or selling citizenship to immigrants willing to pay?
How did I – as a scholar of German literature – turn to economic topics? That had a certain inevitability. When I left for Paris in the early nineties, reading traces of anthropological knowledge in literature and aesthetics of the 18th century, I came across economic ideas on almost every page, in natural history, in medicine, in philosophy, in encyclopedias, in the theories of signs and in the teachings of beauty. There was circulation, communication, flows of exchange all over the place, and the Robinsons were the model. This reinforced the impression that the human being was engaged in aligning himself with homo oeconomicus. The question of modern economics has therefore become unavoidable for me.
This book is one of the most comprehensive presentations concerning the history of capitalism from early modern times up to the present.
It deals with the mutual reinforcement between capital accumulation and state apparatuses and shows how precisely the dominance of finance and accumulation crises caused the decline of powerful capitalist states.
The Long Twentieth Century traces the relationship between capital accumulation and state formation over a 700-year period. Arrighi argues that capitalism has unfolded as a succession of "long centuries," each of which produced a new world power that secured control over an expanding world-economic space. Examining the changing fortunes of Florentine, Venetian, Genoese, Dutch, English and finally American capitalism, Arrighi concludes with an examination of the forces that have shaped and are now poised to undermine America's world dominance. A masterpiece of historical sociology, The Long Twentieth Century rivals in scope and ambition contemporary classics by Perry Anderson, Charles Tilly…
I began my career as a business journalist writing about Arab finance and oil at a time when few women were in that industry. Rather improbably, perhaps, I became well-known for correctly predicting trends – geopolitical and geo-economical. In my thirties, I shifted to the academy, becoming a director of energy research at Rice University in Houston and subsequently a sought-after advisor to government, corporations, and financial institutions. I wrote my first paper on oil crises while in high school (winning third prize in a state term paper contest) and have never left the subject. Now more than ever, the public needs to understand the real facts behind oil and financial crises.
One of the disadvantages to writing a book with any economics in it is just that, readers need to know a little economics to get the most out of your book.
But to grasp how oil and the dollar interact and why we wind up in repeating financial crises, you don’t have to go back and reread Keynes and Irving Fischer (on interest rates). In 2009, Nobel Prize-winning economists George Akerlof and Robert Shiller wrote this easy-to-read and easy-to-understand book that critiques traditional economics (e.g. it’s dependence on “rational” actors) and dissects the building blocks one needs to know to grasp the ins and outs of economic cycles.
Importantly, they explain why people continue to believe they can make a fortune by investing at the top of the market (the confidence multiplier and contagion). Their book leads the reader through the basics on how bubbles (irrational exuberance) and panics ensue…
The global financial crisis has made it painfully clear that powerful psychological forces are imperiling the wealth of nations today. From blind faith in ever-rising housing prices to plummeting confidence in capital markets, "animal spirits" are driving financial events worldwide. In this book, acclaimed economists George Akerlof and Robert Shiller challenge the economic wisdom that got us into this mess, and put forward a bold new vision that will transform economics and restore prosperity. Akerlof and Shiller reassert the necessity of an active government role in economic policymaking by recovering the idea of animal spirits, a term John Maynard Keynes…
Deputy Jenna Hart has only been working in her sleepy hometown of Pearl Springs for seven months when city officials begin to be targeted by a killer. Twenty years ago, the construction of a dam caused people to lose their land to eminent domain. That wound has not healed with…
I've been fascinated by city life since I studied Geography at high school. After twenty five years of teaching and researching urban geography, I am Professor of Urban Futures at a UK university. I now have a better sense of the challenges we face and what we can do about them. I spend my time supporting activists, campaigners, students, policymakers, and politicians about the urgency for change and what kind of ideas and examples they can use to tackle what I call the triple emergencies of climate breakdown, social inequality, and nature loss.
I read this book after I spent a year living and volunteering with the Zapatista revolutionary movement in Chiapas Mexico.
John based a lot of the ideas in this book on the Zapatistas mainly because they help us rethink what the revolution means – as an open, joyful, and everyday process. What I learned from this book is that If we really want to change society, or indeed crack capitalism, we have to build examples in the here and now that show a different world is possible.
It is a reminder that the state cannot and will not use on its own so we have to build self-managing autonomous structures in our communities that can create hope, dignity, resilience, and joy.
How can we rebel against the capitalist system? John Holloway argues that by creating, cracks, fractures and fissures that forge spaces of rebellion and disrupt the current economic order.
John Holloway, author of the groundbreaking Change the World Without Taking Power, sparked a world-wide debate among activists and scholars about the most effective methods of fighting capitalism from within. From campaigns against water privatisation, to simply not going to work and reading a book instead, Holloway demands we must resist the logic of capitalism in our everyday lives. Drawing on Marx's idea of 'abstract labour', Holloway develops 33 theses…
