The latest Now is here and it looks like another winner!  120 pages of great comics from North America and Europe  – and perhaps elsewhere, as well (not sure) – all making their North American debuts, regardless.  Arguably the greatest value in comics going.  The fact that both of the first two issues have sold out is certainly a strong point in favor of this argument. Don't miss out on this one!

A portrait of the artist as a young woman.

Breakdown sez: "Haifisch’s idiosyncratic, episodic comic chronicles the experiences of a young artist in his formative years, satirising the exclusive, ephemeral and frequently absurd world of  fine art. Plagued by doubts and anxiety, the artist is confronted with constant setbacks punctuated by occasional, surprising glimpses of recognition."

165 x 220mm -- 64 pages -- offset printed -- hardcover

Anna Haifisch's portrait of the young artist in situ – in "the art world" – returns in this 104 page full color hardcover.  Wacky Hi-Jinx ensue – along with despair, ennui, angst, irony and a healthy dose of the absurd, all rendered in Haifisch's inimitable style.

ONE new copy available...

Schappi!  Anna Haifisch's latest work collects five short pieces, three of which had previously appeared in English ("A Proud Race" in Now #3, "The Hall of Bright Carvings" Kramers Ergot #10 and "Mouseglass" as a standalone risograph from Perfectly Acceptable Press.   "Fuji-San" and "Letter to Weasel" appear here in English for the first time.  Her trademark style is in full effect here.  Minimal outline drawings, bold swathes of solid color and limited palette define each of the five stories: red & yellow; red, yellow & green; red & purple; purple; red, yellow & purple.  The humorous undertone of The Artist books has attenuated here, morphing more into melancholy, as humans are largely displaced by anthropomorphic animals.  That said, the work collected here is Haifisch's strongest to date and clearly demonstrates her ongoing maturation as an artist, with the standout being "Mouseglass", which provides an intriguing look at post-colonialism through the lens provided by Babar the Elephant; at least for those readers old enough to have been exposed to the Jean de Brunhoff series (continued for years by his son, Laurent).