Jillian Tamaki, co-author ofThis One Summer, picks the best graphic pieces of the year.
“The pieces I chose were those that stuck with me, represented something important about comics in this moment, and exemplified excellence of the craft. Surveying the final collection, I’m moved by the variety of individual approaches. There are so many ways to make us care about little marks on a page.”—Jillian Tamaki, from the introduction
The Best American Comics 2019showcases the work of established and up-and-coming artists, collecting work found in the pages of graphic novels, comic books, periodicals, zines, online, in galleries, and more, highlighting the kaleidoscopic diversity of the comics form today.
Featuring Vera Brosgol, Eleanor Davis, Nick Drnaso, Margot Ferrick, Ben Passmore, John Porcellino, Joe Sacco, Lauren Weinstein, Lale Westvind, and others.
About the authors
Jillian Tamaki est l'illustratrice et la caricaturiste de plusieurs livres, dont Cet été- là, un roman illustré pour ados qu'elle a créé avec sa cousine Mariko Tamaki. Ce roman lui a valu le Prix littéraire du Gouverneur général, catégorie littérature jeunesse – livres illustrés et le prix Eisner dans la catégorie « meilleur album graphique ». Les illustrations de Jillian se retrouvent dans les publications les plus prestigieuses comme le New York Times, le New Yorker et le Guardian. Originaire de Calgary, en Alberta, elle habite maintenant à Toronto.
Jillian Tamaki is a cartoonist and illustrator living in Toronto, Ontario. Her books include Skim and This One Summer, both co-created with her cousin Mariko Tamaki; and Super Mutant Magic Academy and Boundless. She has contributed illustrations to some of the world's top publications, including the New York Times, the New Yorker and the Guardian, and has taught at Parsons and the School of Visual Arts in New York City.
"Series editor Kartalopoulos taps Tamaki (They Say Blue, 2018, etc.) to help curate the 2019 edition of this annual collection of exceptional graphic storytelling...Eleanor Davis' incisive 'Hurt or Fuck' contemplates art and human need on an allegorical, visceral level in what could almost be a two-actor stage play. Erik Nebel's 'Why Don't We Come Together' ingeniously explores the possibilities of a rigid format—repeating but shifting shapes and colors, figures and patterns play across a set of equal-sized panels stacked into a grid, clicking through simple, whimsical stories like a filmstrip of thesis, antithesis, and synthesis...It's called 'best' for a reason."--Kirkus