It's a family affair as dad (Gene) and his three sons jam to their obsessions in this all-new 240 page book that mixes comics and illustrated fiction and that is a truly unique concoction of story, art and imagination.
Fanta sez:
Kim Deitch, creator of the acclaimed Fantagraphics collection Shadowland and the Pantheon graphic novels Alias the Cat and Boulevard of Broken Dreams, has recruited his siblings to produce a unique, all-new "picto-fiction" pocket book. Alternating between heavily illustrated near-comics stories and outright prose pieces, Deitch's Pictorama is a testament to the Deitch family's amazing yarn-spinning abilities!
The book leads off with Kim's lengthy picto-story "The Sunshine Girl," a typically Deitchean tall tale involving bottle cap collectors, drug dealers, family secrets, and the innocents who wind up in the middle of the hullaballoo. Then it's time for Seth's prose short story "Children of Aruf," about a man and his very unusual dog; "Unlikely Hours," a paranoid picto-story about a conspiracy of sentient rats written by Seth and illustrated by Kim; the prose novella "The Golem," once again written by Seth and decorated with a series of superb pencil illustrations by Simon; and finally Kim's autobiographical "The Cop on the Beat, the Man in the Moon and Me." This entire "Deitch treat" is wrapped up with an introduction by legendary Academy Award-winning animator, cartoonist and illustrator and proud papa Gene (Tom Terrific, Terr'ble Thompson, Tom and Jerry) Deitch.
SUPER SPECIAL SALE PRICE!
The complete collection of 78rpm artwork from the old Record Changer magazine
Fantagraphics' first successful (at least in our opinion) coffee-table book. This one finally gets it right with this super-duper oversize (14 x 11”) hardcover that binds together 160 ultra-heavy stock pages featuring comics-legend, Kim Deitch’s dad letting it all hang out. These illustrations range from spare Virgil Partch-esque single-panel cartoons that turn the spotlight on the frantic mindset of the compulsive record collector to the elegant and truly marvelous artworks that graced the covers of Record Changer magazine. The pieces collected in this book provide the reader with, among other things, a visual charting of the rise of the bebop jazz sensibility in the late 1940s. This book will propell you back to the days when the visual side of our popular music culture was often most successfully realized in the print medium (hard to believe, I know) and have you pulling out your old Bird & Diz platters before you can say klactoveesedsteen.
