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- ISBN13: 9780375714726
- Condition: New
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1998 Ignatz Award Winner, Outstanding Graphic Novel: The inspiration for the feature film and one of the most acclaimed graphic novels ever.
Ghost World has become a cultural and generational touchstone, and continues to enthrall and inspire readers over a decade after its original release as a graphic novel. Originally serialized in the pages of the seminal comic book Eightball throughout the mid-1990s, this quasi-autobiographical story (the name of one of the protagonists is famously an anagram of the author's name) follows the adventures of two teenage girls, Enid and Becky, two best friends facing the prospect of growing up, and more importantly, apa! rt. Daniel Clowes is one of the most respected cartoonists of his generation, and Ghost World is his magnum opus. Adapted into a major motion picture directed by Terry Zwigoff (director of the acclaimed documentary Crumb), which was nominated for an Academy Award for Best Adapted Screenplay. This graphic novel is a must for any self-respecting comics fan's library. Two-color comics throughoutDan Clowes described the story in Ghost World as the examination of "the lives of two recent high school graduates from the advantaged perch of a constant and (mostly) undetectable eavesdropper, with the shaky detachment of a scientist who has grown fond of the prize microbes in his petri dish." From this perch comes a revelation about adolescence that is both subtle and coolly beautiful. Critics have pointed out Clowes's cynicism and vicious social commentary, but if you concentrate on those aspects, you'll miss the exquisite whole that Clowes has ! captured. Each chapter ends with melancholia that builds towa! rds the amazing, detached, ghostlike ending. Thora Birch (American Beauty) and Scarlett Johansson (Lost in Translation) "sneak into your heart and stay there" (Rolling Stone) in this "eerie, masterful movie" (Movieline) from the acclaimed director of Crumb. Co-starring Brad Renfro (Deuces Wild), Illeana Douglas (Stir of Echos) and Steve Buscemi (Fargo) in "the best role of his career" (Movieline), Ghost World is a "smartly strange comedy [that] stands out like the Taj Mahal" (Time)! While their classmates head for college, Enid (Birch) and Rebecca (Johansson) focus their energies on tormenting those around them - from a goofy convenience store clerk (Renfro) to an eccentric art teacher (Douglas). But when they zero in on an oddball loner (Buscemi) looking for Miss Right, their seemingly innocent meddling threatens to shatter one of their hearts not to mention their lifelong friendship.If you've ever felt alienated by the world around you, Ghost World will offer laughter, t! ears, and reassurance that you are definitely not alone. Adapted by Daniel Clowes and Crumb director Terry Zwigoff from Clowes's acclaimed graphic novel, the movie spends summer vacation with high school graduates Enid (Thora Birch) and Rebecca (Scarlet Johansson). They inflict little tortures on the denizens of urban sprawl, wielding scathing irony as a defense against a "ghost world" full of pop-cultural lemmings and uncertain futures. But when Enid picks a 40-ish vintage-record collector (Steve Buscemi) as the target of her latest cruel prank, she finds herself unexpectedly attracted to him ("he's the opposite of everything I completely hate") and is forced to confront her own crushing loneliness. This combination of deadpan sarcasm and deeply compassionate humanity makes Ghost World a rare and delicate comedy, with an ambiguous ending that suggests tragedy or hope, depending on your own point of view. --Jeff Shannon Dan Clowes described the story in! Ghost World as the examination of "the lives of two recent hi! gh schoo l graduates from the advantaged perch of a constant and (mostly) undetectable eavesdropper, with the shaky detachment of a scientist who has grown fond of the prize microbes in his petri dish." From this perch comes a revelation about adolescence that is both subtle and coolly beautiful. Critics have pointed out Clowes's cynicism and vicious social commentary, but if you concentrate on those aspects, you'll miss the exquisite whole that Clowes has captured. Each chapter ends with melancholia that builds towards the amazing, detached, ghostlike ending. --This text refers to an out of print or unavailable edition of this title.As he did with Crumb, director Terry Zwigoff has created a soundtrack as eclectic and riveting as his movie subjects. The sounds of early jazz and blues play a crucial role in the events of Ghost World, and the music heard here is some of the best ever recorded. Skip James's classic "Devil Got My Woman" from 1931 may be the best-known work ! on this soundtrack, but it hardly steals the show. Three tracks from weird but riveting jazz-meets-calypso bandleader Lionel Belasco are included; the 70-year-old recordings are so original, they sound timeless. The same praise can be stated of film opener "Jaan Pehechaan Ho," a Bollywood rarity that has elements of surf music, funk, and garage rock. Of course, we also have to hear "Graduation Rap" and Blueshammer's "Pickin' Cotton Blues," two intentionally bad contemporary tracks that make the characters in the movie (and anyone listening to this soundtrack) feel out of place in today's pop culture. Zwigoff wisely fills out the disc with tracks from his personal 78 record collection, a mix of '20s and '30s string band and blues tunes that are seldom found in compilations (including great cuts by the Dallas String Band, Joe Calicott, and McGee Bros). The haunting "Theme from Ghost World," composed by David Kitay, finishes off this disc, perfectly capturing all the bi! ttersweet moods found in the film. Recommended. --Jason Ver! lindeIn Ghost Soldiers Hampton Sides vividly re-creates this daring raid, offering a minute-by-minute narration that unfolds alongside intimate portraits of the prisoners and their lives in the camp. Sides shows how the POWs banded together to survive, defying the Japanese authorities even as they endured starvation, tropical diseases, and torture. Harrowing, poignant, and inspiring, Ghost Soldiers is the mesmerizing story of a remarkable mission. It is also a testament to the human spirit, an account of enormous bravery and self-sacrifice amid the most! trying conditions.The Bataan Death March was just the beginni! ng of th e woes American soldiers captured by the Japanese army in the Philippines had to endure. The survivors of the march faced not only their captors' regular brutality (having surrendered, they were considered to be less than honorable foes), but also a host of illnesses such as dysentery and malaria. For three years these "ghost soldiers" lived in misery, suffering terrible losses.
When Army Rangers among Douglas MacArthur's forces arrived in the Philippines, they hatched a daring plan to liberate their captured comrades, a mission that, if successful, would prove to be a tremendous morale booster at the front and at home. Led by a young officer named Henry Mucci (called "Little MacArthur" for his constant pipe as well as his brilliance as a strategist), a combined Ranger and Filipino guerrilla force penetrated far behind enemy lines, attacked Japanese forces guarding Allied prisoners at a jungle outpost called Cabanatuan, and shepherded hundreds of prisoner! s to safety, with an angry Japanese army in hot pursuit. Amazingly, they suffered only light casualties.
In Ghost Soldiers, journalist Hampton Sides recounts that daring rescue, once known to every American schoolchild but now long forgotten. A gifted storyteller, Sides packs his narrative with detailed descriptions of the principal actors on both sides of the struggle and with moments of danger and exhilaration. Thrilling from start to finish, his book celebrates the heroism of hundreds of warriors and brings renewed attention to one of the Rangers' finest hours. --Gregory McNameeWinner of the Eisner, Harvey, and Ignatz Awards
The setting: suburban Seattle, the mid-1970s. We learn from the outset that a strange plague has descended upon the area’s teenagers, transmitted by sexual contact. The disease is manifested in any number of ways â€" from the hideously grotesque to the subtle (and concealable) â€" but once you’ve got it! , that’s it. There’s no turning back.
As we inhabi! t the he ads of several key characters â€" some kids who have it, some who don’t, some who are about to get it â€" what unfolds isn’t the expected battle to fight the plague, or bring heightened awareness to it , or even to treat it. What we become witness to instead is a fascinating and eerie portrait of the nature of high school alienation itself â€" the savagery, the cruelty, the relentless anxiety and ennui, the longing for escape.
And then the murders start.
As hypnotically beautiful as it is horrifying, Black Hole transcends its genre by deftly exploring a specific American cultural moment in flux and the kids who are caught in it- back when it wasn̢۪t exactly cool to be a hippie anymore, but Bowie was still just a little too weird.
To say nothing of sprouting horns and molting your skin…The first issues of Charles Burns's comics series Black Hole began appearing in 1995, and long before it was completed a decade later, readers and fe! llow artists were speaking of it in tones of awe and comparing it to recent classics of the form like Chris Ware's Jimmy Corrigan and Daniel Clowes's Ghost World. Burns is the sort of meticulous, uncompromising artist whom other artists speak of with envy and reverence, and we asked Ware and Clowes to comment on their admiration for Black Hole:
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| "I think I probably learned the most about clarity, composition, and efficiency from looking at Charles's pages spread out on my drawing table than from anyone's; his was always at the level of lucidity of Nancy, but with this odd, metallic tinge to it that left you feeling very unsettled, especially if you were an aspiring cartoonist, because it was clear you'd never be half as good as he was.! There's an almost metaphysical intensity to his pinprick-like! inkline that catches you somewhere in the back of the throat, a paper-thin blade of a fine jeweler's saw tracing the outline of these thick, clay-like human figures that somehow seem to "move," but are also inevitably oddly frozen in eternal, awkward poses ... it's an unlikely combination of feelings, and it all adds up to something unmistakably his own. "I must have been one of the first customers to arrive at the comic shop when I heard the first issue of Black Hole was out 10 years ago, and my excitement didn't change over the years as he completed it. I don't think I've ever read anything that better captures the details, feelings, anxieties, smells, and cringing horror of my own teenage years better than Black Hole, and I'm 15 years younger than Charles is. Black Hole is so redolently affecting one almost has to put the book down for air every once in a while. By the book's end, one ends up feeling so deeply for the main character it's all one can do n! ot to turn the book over and start reading again." --Chris Ware |
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| "Charles Burns is one of the greats of modern comics. His comics are beautiful on so many levels. Somehow he has managed to capture the essential electricity of comic-book pop-art iconography, dragging it from the clutches of Fine Art back to the service of his perfect, precise-but-elusive narratives in a way that is both universal in its instant appeal and deeply personal." --Dan Clowes |
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Questions for Charles Burns
Charles Burns: There were a number of reasons for serializing Black Hole. First of all, I wanted to put out a traditional comic book-- I'd never really worked in that comic pamphlet format before and liked the idea of developing a long story in installments. There's something very satisfying to me about a comic book as an object and I enjoyed using that format to slowly build my story. Serializing the story also allowed me to focus on shorter, more manageable portions; if I had to face creating a 368-page book all in one big lump, I don't know if I̢۪d have the perseverance and energy to pull it off.
Amazon.com: One thing that stuns me about this book is how consistent it is from start to finish. From the first frames to the l! ast ones that you drew 10 years later, you held the same tone and style. It feels as though you had a complete vision for the book from the very beginning. Is that so? Or did things develop unexpectedly as you worked on it?
Burns: I guess there's a consistency in Black Hole because of the way I work. I write and draw very slowly, always carefully examining every little detail to make sure it all fits together the way I want it to. When I started the story, I had it all charted out as far as the basic structure goes, but what made working on it interesting was finding new ways of telling the story that hadn't occurred to me.
Amazon.com: Some of the very best of the recent graphic novels (I'm thinking of Ghost World and Blankets, along with Black Hole) have been about the lives of teenagers. Do you think there's something about the form that helps to tell those stories so well?
Burns: That's an interesting question, but I don't know the answer.! Perhaps it has more to do with the authors--the kind of people who stay indoors for hours on end in total solitude working away on their heartfelt stories... maybe that kind of reflection lends itself to being able to capture the intensity of adolescence.
Amazon.com: In the time you've been working on Black Hole, graphic novels have leapt into the mainstream. (I think--I hope--we're finally seeing the last of those "They're not just for kids anymore!" reviews.) What did you imagine for this project when you started it? What's it been like to see your corner of the world enter the glare of the spotlight?
Burns: When I started Black Hole I really just wanted to tell a long, well-written story. The themes and ideas that run throughout the book had been turning around in my head for years and I wanted to finally get them all out--put them down on paper once and for all. I've published a few other books and while they sold reason! ably well, they didn't set the publishing world on fire. I was pretty sure I'd have some kind of an audience for Black Hole, but that was never a motivating factor in writing the book. And my corner of the world is still pretty dark. I guess I'll be stepping into the spotlight for a little while when the book comes out, but I imagine I'll slip back into my dark little studio when it all settles down again so I can settle back into work. 
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