Graphic novels continue to break new ground, with recent works that run the gamut in both style and content. Here we take a look at four of the best new releases, ranging from a colorful tale of pirates and sea monsters to a close examination of democracy in America.

A CLASSIC TALE
It took Joann Sfar’s touch to make me finally fall in love with the story of The Little Prince. Sfar’s illustrated version of the classic by Antoine de Saint-Exupéry is more playful than precious; the combination of his captivating artwork and the pared-down prose allows the story to sneak up on you rather than blatantly yanking your heartstrings. As drawn by Sfar, the mysterious prince from a tiny, faraway planet is adorable, wise and funny, rather than simply tragic. Sfar gives him depth and attitude, with tired shadows around his big blue eyes and subtle facial changes that express feelings it would be clunky to describe in writing. Sfar tells as much of the story as he can visually, employing words only when necessary, which gives the whole thing a feeling of restraint that the original lacks. In my favorite scene, the little prince meets a wild fox who begs to be tamed (“It means creating a bond,” the fox explains). So the prince tames him, but when it’s time to leave, the fox starts to cry. “So it hasn’t been worth it,” says the prince. “Oh yes it has,” the fox replies, and suddenly whole swaths of adult life make sense. (Sfar’s fox looks a lot like the namesake of his best-known book, The Rabbi’s Cat—angular, sly and prone to curling up expressively.)

ON THE HIGH SEAS
Similar in tone and in its rich color palette, The Unsinkable Walker Bean by Aaron Renier is, on the surface, a rollicking tale of pirates’ adventures on the open sea. But in fact it’s a story about loyalty, honor and keeping your promises. Walker Bean’s beloved grandfather has fallen ill after being cursed by a stolen skull; it’s up to Walker to return the skull to where it belongs and end the curse. But to do that, he has to keep the skull out of the hands of a creepy octopus man, a feisty pirate girl and his own father, among others. There are also huge, menacing lobster women and a ship that turns into a planetarium. Like all young boys trying to solve grown-up problems, Walker makes mistakes, but he also makes some very helpful friends, including a pirate boy named Shiv and, eventually, tentatively, that feisty pirate girl, Gen. Renier’s drawings are vivid and expressive, full of movement and sound, and the twist at the end of the story adds an unexpectedly heartwarming touch. Walker’s adventures will continue in Volume 2 of the series.

TRY, TRY AGAIN
At the other end of the graphic-novel spectrum is Good Eggs, Phoebe Potts’ memoir of her and her husband’s struggle to get pregnant. Her spare and simple line drawings invite you into the story; it’s mostly realistic, but with occasional flights of fancy that spring from Potts’ imagination. A discussion of a soul-sucking job, for instance, includes one panel showing a row of new college graduates on an assembly line, a “PhD factory,” as she puts it. And when she meets her future husband, something he says makes her draw herself being held aloft by little doves (who then drop her to the floor when he mentions having a girlfriend). It’s sweet, and effective. The writing is also excellent: sharp, clever, realistic dialogue with no wasted words. Potts grew up in Brooklyn, and her characters talk the way people talk in Brooklyn—always entertaining, and usually hilarious, even when the subject matter is serious. The story centers on her desire for a child, but it’s all the other things she discovers—about her own life, her priorities and values—while pursuing this desire that make the book so rewarding.

AN AMERICAN JOURNEY
Taking the search for fulfillment from the personal to the political is Maira Kalman’s And the Pursuit of Happiness, an investigation into the roots of democracy in America and how it has changed throughout our history. Kalman was inspired by the 2008 elections, and on inauguration day she went to Washington, D.C., to begin a sort of political-science travelogue. She gets a crush on Abe Lincoln, discovers you can patent a peach, chats with farmers and meets diplomats. The sketches and collages she uses to illustrate what she learns are placed opposite pages of her hand-written observations, which are spirited and funny, keeping the material from ever seeming dull. On the very early origins of America, for instance, she says, “Growing tired of the ocean, creatures migrated onto the land. Then came dinosaurs and motorcycles.” Which sounds about right. A few pages later, we learn, “Then came Commerce and Greed.” It’s a fast-paced tour, hitting all the highlights and the lowlights, and enhanced with Kalman’s sketches and paintings as well as archival photos, postcards, pages from old books and diaries, etc. There’s a lot to learn from this book, but reading it never feels like hard work.

The world of comics and graphic novels may hold stigma as a male-centric genre, but these four new books explore the pains of growing up, moving on and embracing the messy parts of life—all from the female point of view.

Cartoonist and writer Mimi Pond is best known for writing the very first episode of “The Simpsons,” but her foray into the world of graphic novels may quickly overshadow her career’s early years—perhaps deservedly so. In her fictionalized memoir, Over Easy, Pond reflects on the oft-misunderstood 1970s and her waitressing years at Mama’s Royal Café (referred to here as the Imperial Café), which served as a beacon for burgeoning punks and the last wave of bohemians in Oakland, California. Pond’s alter ego is Margaret, an art school dropout itching to supplement her education with some honest, blue-collar life experience. Cue -Lazlo, the messianic manager of the café, who offers her a spot among his mouthy, ragtag staff. The job is grueling, but she toughs it out and taps into a well of self-reliance, eventually making waitress and earning the nickname “Madge.” With casual prose and dreamy aqua watercolor, Pond gets to the heart of the restaurant’s curious allure: hilarious banter between staff and customers, cheap and hearty food, recreational drug use in the back office, the steady stream of staff hookups and hastily organized poetry nights. If the ’70s usually conjures up thoughts of disco, gold chains and general excess, then Pond offers a refreshingly different side of the story.

Illustration from Over Easy, © 2014 by Mimi Pond

LATE BLOOMER
From a different perspective on the coming-of-age tale, we move to the story of a 30-something’s struggle for identity. Anya Ulinich follows up her debut novel, Petropolis, with a text-heavy graphic work, Lena Finkle’s Magic Barrel. After her marriage, “a 15-year-long war,” finally reaches its end, Lena Finkle finds herself attempting to make sense of sex and dating as a 37-year-old single mom in New York. What constitutes a flirty text message? Is it wrong to wear the same dress on every date? Can she have a one-night stand? These and other questions swirl in her head as she struggles to stay afloat in the world of online dating. Her trial by fire comes in her relationship with “the Orphan”—a seemingly modest craftsman with a secret inheritance he is loath to rely on. His easy detachment soon clashes with Lena’s desire for dependability and love. She finds herself nursing a year-long heartbreak, during which Ulinich, with equal parts poignant and comic effect, portrays Lena as a tiny, helpless duckling. With a Shteyngart-esque eye for humorously conveying the Russian immigrant experience, especially in her interspersed snapshot comics—“The Glorious People’s Sex Education” and “The USSR ’80s”—Ulinich captures a woman’s earnest search for self between two cultures.

MILLENNIAL ANGST
Similarly understated and a bit bleak is Michael Cho’s debut, Shoplifter (Pantheon, $19.95, 96 pages, ISBN 9780307911735). After getting a degree in English, Corrina Park moves to the big city with stars in her eyes, convinced she’s on track to chase her dream of writing highbrow literature. Instead, she lands a job at a soul-sucking ad agency where she’s been grinding out copy for the past five years. She still doesn’t have any friends outside of work, and it’s all fumbles on her nights out, so she mainly keeps company with her grumpy rescue cat. Her main thrill comes from the occasional bout of shoplifting at her nearest corner store—which is increasingly depressing in the context of Corrina’s self-conscious, kind-hearted demeanor. She’s toeing the line of resigning to this life, until she snaps. During a brainstorming meeting for a perfume aimed at preteens, she realizes the reliable paycheck isn’t worth it anymore, and this whole treading water routine—waiting for her big moment to wander by—isn’t going to work. With lovely two-tone illustrations throughout, this debut nails the feeling of millennial uncertainly and the quest for answers to those questions that arise on sleepless nights.

Illustration from Seconds, © 2014 by Bryan Lee O'Malley

A ROCK STAR’S RETURN
Bryan Lee O’Malley has been an absolute rock star in the comic world since his Scott Pilgrim graphic novels, stuffed to the gills with wit, whimsy and pop culture references, garnered cultish reverence after they debuted in 2004. Now, five years after the series conclusion and a big-budget film adaptation, O’Malley treads similar, yet more grounded territory with Seconds (Ballantine, $25, ISBN 9780345529374). Weighing in at 300-plus pages and with some of the most gorgeous color work in recent memory, Seconds is a titan standalone in the graphic world. Katie, a 29-year-old, scrappy, self-made chef and restaurateur, is preparing to open her very own restaurant. Her talent and charisma have earned her top marks in the city’s dining scene, and she’s the envy of her younger protégé, but her drive often serves as a distraction from her regrets and lost love. When exactly, did she take these wrong turns, and how did she end up having to face this version of reality? After a particularly terrible day unfolds, Katie discovers a single red mushroom that can alter the course of time, and, of course, all hell breaks loose. Katie’s type-A personality can’t handle the power, and she begins an obsessive pursuit of perfection. But the consequences start to creep in, and the restaurant soon becomes the home of a dark and threatening spirit. O’Malley fans won’t be disappointed with this existential fable; he successfully tackles the quarter-life crisis with just enough blunt honesty and self-deprecating wit, and there’s even a “Buffy” reference or two to keep things from getting too heavy.

This article was originally published in the September 2014 issue of BookPage. Download the entire issue for the Kindle or Nook.

Fall is a busy season in the publishing world, which means plenty of new arrivals are hitting the shelves! For readers looking for a little change of pace—and a more visual reading experience—we've rounded up our favorite graphic novels and memoirs that will bring a little color into these increasingly gray days. 

ADVICE FROM YOUR BETTER SELF
From The New Yorker cartoonist and author of the graphic memoir Cancer Vixen comes this satirical send-up of the New York media world. Self-serving Ann Tenna runs a celebrity gossip site that would make writers at TMZ blush, but a fateful car crash on her birthday leaves her unconscious and clinging to life. In a Christmas Carol-style chain of events, Ann leaves her body and comes face-to-face with her higher self, who takes her on a reflective journey through her most cringe-worthy life choices. Marchetto's laugh-out-loud and out-there tale is filled to the brim with pop culture references and lush artwork, making this one cosmic trip worth taking.

THROUGH THE LENS OF CHILDHOOD 
French author Riad Sattouf chronicles his childhood as the son of a French mother and Syrian father in his playful yet brutally honest graphic memoir. Sattouf was adored and doted on by his father, an academic and firm believer in pan-Arabism and the importance of education for the Arab people. Years living in Gaddafi's Libya—where each citizen was guaranteed housing, but squatters frequently took claim of the Sattouf's various residences and a later stint in Assad's Syria—take a toll on the family's bright-eyed idealism. At first called a little angel for his flowing gold locks, Sattouf is later insulted for his "ugly yellow Jewish hair," and he must come to terms with his feelings of being an outsider in a part of the world his father so badly wants to make theirs.

SUPER STAN
It's almost impossible to have a conversation about the evolution of graphic storytelling without dropping Stan Lee's name at least a few times. One of the most influential creators in the comic world (Spider-Man, Iron Man and the X-Men, to name a few) tells his own story in the unmistakably zippy style he's known for in his new autobiography. Starting from his childhood in a Depression-hit Manhattan, Lee chronicles his first meetings with collaborators Jack Kirby and Steve Ditko, but his moments of pride are balanced by shocking, painful recollections of his personal losses and family struggles. For fans of the Marvel brand and the wide world of superheroes, this is a well-executed autobiography that should not be missed.

RACING TOWARD SHAMBALA
This innovative hybrid is a captivating tale that weaves sections of prose alongside pages of comic panels for an action-packed story. Set during World War I, this immersive read will satisfy fans of classic good vs. evil adventure stories. The globe-trotting action follows an underground group of explorers sworn to seek out and solve the world's greatest mysteries, and in this volume, the Guild must travel to the golden city of Shambala from Buddhist mythology. If you're a fan of Indiana Jones, then this book will satisfy your desire for a little nostalgic fun. 

CLOWNING AROUND
Peruvian-born and acclaimed author Daniel Alarcón is known for his gorgeously rendered prose that draws frequent comparisons to Steinbeck, Nabokov and Roberto Bolaño. In his first graphic novel, he expands upon his short story, first published in The New Yorker in 2003, which follows a young Peruvian journalist in the wake of his father's death. After discovering his father's secret second family at his funeral, Chino is sent on a strange, almost absurd reporting assignment: write a feature on Lima's street clowns. What follows is Chino's tender recollections of his early childhood, interspersed alongside his increasingly sad observations of the poor working clowns. Stark visuals from Sheila Alvarado make this forelorn, moving work of literary fiction come to vivid life. 

We reach for graphic novels and memoirs because we treasure the experience of art plus story, of exploring a world of finely crafted illustrations that convey multitudes. Each of these four new comic books is a treat for the eye and balm for the brain, thanks to a heady mix of perspectives and representations of life in all its scary, funny, illuminating, weird, joyful glory.

Fans of Nicole J. Georges’ Lambda Award-winning graphic memoir, Calling Dr. Laura, will be thrilled she’s returned to form with Fetch: How a Bad Dog Brought Me Home. The book opens with a pooch’s 15th birthday party, where the dog lunges at two children. Initially, it seems “bad dog” is an accurate moniker, but as Georges winds back through time, it’s clear there’s more to the story.

Teenage Georges adopted Beija as a gift for her then-boyfriend. When he left, the dog stayed, and Beija remains the author’s companion into adulthood. Their relationship is not without its (many) challenges: Beija is fearful and reactionary, and she gets in fights at the dog park. But then again, Georges chooses homes filled with noisy strangers and lets Beija off-leash at said park. Via flashbacks, Georges introduces her loving but neglectful mother and macho stepfather, and as loneliness and anger become the author’s constant cohorts, the impetus for dubious choices becomes clearer. Happily, as a young adult, Georges finds her queer feminist vegan identity, learns to practice self-expression through art and thus becomes a better pack leader for Beija.

Fetch does have the occasional crowded page and inelegant transition, which can make for a bumpy read. But overall, the art is wonderful, and the story is engaging and heartwarming. It’s a moving chronicle of triumph over difficult beginnings and the struggle to find people, a place and pets that feel like home.

From Fetch. © Nicole J. Georges. Reproduced by permission of HMH.

SURREALISM IN THE SKY
Julian Hanshaw’s Cloud Hotel is a beautifully rendered and engrossingly weird work of autobiographical fiction inspired by the UFO that Hanshaw and his family encountered when he was a boy in Hertfordshire, England. Hanshaw’s titular hotel, a colossal, light-beaming rectangle with lots of rooms inside, is a place for kids who have gone missing in the woods.

Remco is one of the lucky ones: Upon his return from his first journey to the sky, his beloved grandfather finds him in the woods. As pages turn and the hotel shifts and changes, Remco discovers he’s the only child who can move between the hotel and his regular life. Readers will wonder whether that’s a good thing as Hanshaw masterfully builds suspense and foreboding, prompting questions like: Where and when is the hotel? Who are the children? Is any of this real?

Curious readers who like a trippy, absorbing story with touching family moments and a wondrous depiction of another reality will enjoy Cloud Hotel. And fans of Hanshaw’s previous work—like Tim Ginger, which was short-listed for the British Comics Award and the Los Angeles Times Book Prize—will be ready to check right in.

DARK OBSESSION
History and mystery, horror and grief, ghosts and memories all collide in Idle Days, a darkly dramatic, occasionally explosive tale written by Thomas Desaulniers-Brousseau and illustrated by Simon Leclerc.

In Canada during World War II, Jerome is a military deserter hiding at his grandfather Maurice’s remote forest cabin. Jerome is angry about the war, restless in his isolation—and soon he becomes obsessed with finding out what happened to the people who lived in the cabin before his grandfather. Rumors of murder and suicide capture his attention as battlefield bloodshed haunts his dreams. He’s also mourning the recent death of his father and striving to elude capture, but “Wanted” posters and radio broadcasts ensure the war cannot be ignored.

Leclerc’s liberal use of black, red and orange evokes fiery warmth, while his skillfully drawn, violent tableaux convey the horror and fear in Jerome’s memory and imagination. Idle Days’ title plays on the aphorism, “Idle hands are the devil’s playthings,” and to be sure, such days build to Jerome’s reckoning with the past, acceptance of the present and a hint of what might lie in the future. It’s an absorbing amalgam of imagery and story that’s far from wordy, as illustration-only pages leave many aspects of the story open to readers’ imaginations. It’s scary stuff.

MOVING MADCAPPERY
About Betty’s Boob by Vero Cazot and Julie Rocheleau is a nearly wordless sequential narrative, but Betty’s voice surges off the page. When we first meet Betty, she howls with post-op fear and rage as she demands to be given back her just-removed left breast. She attempts to return to life as usual, gift-boxed synthetic breast in hand, but is frustrated at every turn—by a boss who insists all employees have two breasts (it’s in the contract!), a boyfriend who rejects her and a woman who tries to bite the apple that serves as a poignant yet functional prosthetic. This surreal story has cleverness and wit sprinkled throughout, like the store that sells “luxury breasts since 1973,” some of which cost “8008” euros. Ultimately, Betty strikes out on her own, and through a sequence of delightfully wild events featuring dancing, costumes, wigs and a dazzling array of pasties, she finds acceptance and a new identity within a boisterous burlesque troupe.

The artwork is vibrant and kinetic, and its depiction of goings-on both fantastical and reality-bound is detailed and eminently appealing. About Betty’s Boob is an inspiring, entertaining story of pain and grief transformed into joyful self-acceptance—societal expectations be damned.

This article was originally published in the August 2018 issue of BookPage. Download the entire issue for the Kindle or Nook.