Reportages: Palestine, Irak, Kushinagar, femmes tchétchènes, crimes de guerre, immigrants africains

A landmark of graphic journalism, capturing the heart of day-to-day life in occupied Palestine.<BR><BR>Palestine remains one of the most influential works of visual reportage ever created - a ground-breaking fusion of comic art and investigative journalism.<BR><BR>Based on months of on-the-ground reporting in the early 1990s, Joe Sacco powerfully documents his own experiences and the daily lives of Palestinians during the First Intifada in the West Bank and Gaza Strip with remarkable insight and clarity.<BR><BR>Through drawings, reportage and storytelling, Sacco captures the moments of grief, resilience and absurdity that conventional journalism can miss. Palestine is a modern classic that continues to inspire artists, journalists and readers who seek an unflinching and nuanced account of the conflict.<BR><BR>'The bar is set extremely high when it comes to graphic books and the Middle East: one thinks of Joe Sacco's Palestine' Guy Delisle<BR><BR>'Palestine is utterly compelling, and as affecting as the work of any war photographer or poet' Varsity<BR><BR>For readers interested in Middle Eastern history, human rights and documentary storytelling.

Auf einer Reise in den hohen Norden Kanadas trifft Joe Sacco die einheimischen Dene. Heute droht das Volk zwischen dem Zwang zu wirtschaftlichem Fortschritt und dem Wunsch, zu einem traditionellen, naturnahen Leben zurückzukehren, aufgerieben zu werden. Joe Sacco berichtet über die Ausbeutung der Bodenschätze, die Träume der jüngeren Generation und ein Schulsystem, das den Kindern erst ihre Eltern und dann ihre Jugend geraubt hat, um sie sesshaftzu machen und zur Integration in die Kultur der Weissen zu zwingen.

Eine eindrucksvolle Comic-Reportage, die das alltägliche Leben im besetzten Palästina einfängt. Ende 1991 und Anfang 1992, zur Zeit der ersten Intifada, verbrachte Joe Sacco zwei Monate mit Palästinenser*innen im Westjordanland und im Gazastreifen. «Palästina» wurde 1996 mit dem American Book Award ausgezeichnet und gilt als einer der grossen Klassiker der grafischen Sachliteratur.

In his first full-length work of journalism in a decade, the 'heir to R. Crumb and Art Spiegelman' (Economist) brings his comics mastery to a story of indigenous North America, resource extraction, and our debt to the natural world<BR><BR>*A GUARDIAN BOOK OF THE YEAR*<BR> <BR>The Dene have lived in the vast Mackenzie River Valley since time immemorial, by their account. To the Dene, the land owns them, not the other way around-it is central to their livelihood and their very way of being. But the subarctic Canadian Northwest Territories are also home to valuable natural resources, including oil, gas and diamonds. With mining came jobs and investment-but also road-building, pipelines and toxic waste, which scarred the landscape; and alcohol, drugs, and debt, which deformed a way of life.<BR><BR>In Paying the Land, Joe Sacco travels the frozen North to reveal a people in conflict over the costs and benefits of development. Resource extraction is only part of Canada's colonial legacy: Sacco recounts the shattering impact of a residential school system that aimed to remove the Indian from the child; the destructive process that drove the Dene from the bush into settlements and turned them into wage labourers; the government land claims stacked against the Dene Nation; and their uphill efforts to revive a wounded culture.<BR><BR>Against a vast and gorgeous landscape that dwarfs all human scale, Paying the Land lends an ear to trappers and chiefs, activists and priests, telling a sweeping story about money and dependency, loss and culture, with stunning visual detail by one of the greatest comics reporters alive.

August 2013, Uttar Pradesh, Nordindien. Im mehrheitlich muslimischen Kawal erstechen zwei junge Hindus einen gleichaltrigen Muslim auf offener Straße. Die Täter werden daraufhin von einer aufgebrachten Menge ermordet. Nach Massenprotesten eskalieren die Ereignisse und es kommt zu wiederholten Überfällen der Angehörigen beider Religionsgemeinschaften aufeinander, die mehrere Dutzend Tote fordern und die Flucht Zehntausender Muslime zur Folge haben.Für Joe Sacco, den berühmtesten aller Comicreporter, ist dieser Vorfall ein Archetyp dessen, was in Indien bereits zuvor geschehen ist und wieder geschehen wird. In INDIEN: ÖL INS FEUER geht er den Fragen nach, welche Narrative Täter konstruieren, um ihre Beteiligung an der Gewalt zu erklären und welche Rolle Gewalt in einer Demokratie spielt.Das bevölkerungsreichste Land der Welt ist unter Premierminister Modi seit nunmehr elf Jahren auf dem Weg in eine Hindu-Autokratie. Mit pointierter Schärfe nimmt Joe Sacco sich dieser bedenklichen Entwicklung an.

From the ground-breaking graphics journalist and author of Palestine, a revelatory investigation of the deadly sectarian riots in 2013 Uttar Pradesh, India, and their urgent global significance today<BR><BR>Compared to other episodes of lethal Indian communal violence, the clashes in Uttar Pradesh in 2013, the Muzaffarnagar Riot, were a relatively small-scale affair. It had happened before and will probably happen again: Hindus and Muslims, armed with guns and swords, riled up by vitriolic rhetoric and a tangle of accusations, turn on one another. The truth fragments along religious lines, both in the lead-up to the rampage and in its bloody aftermath.<BR><BR>Joe Sacco immerses himself in Uttar Pradesh, speaking to government officials, political leaders, village chiefs, and especially the victims, who were mostly landless peasants, in a quest to understand this riot as an archetype of political violence. In the process, he probes the role of savagery in a democracy; the power of crowds, rather than leaders, to influence the course of events; the collision of competing narratives; and the accounts that perpetrators construct to explain away their participation in bloodshed.<BR><BR>Sacco has chronicled the urgent histories that define the world around us, from the Great War to Gaza. Here, the award winning cartoonist turns his masterful visual reportage to a story that is specific to India but with implications and resonance for us all.<BR><BR>*<BR><BR>PRAISE FOR JOE SACCO: <BR><BR>'One of the masters of his craft' New Statesman<BR><BR>'A pioneer of the genre' TLS<BR><BR>'Formidably talented.' Independent <BR><BR>'The hands-down boss of his particular corner of contemporary literature' Dazed & Confused<BR><BR>'Sacco's brilliant, excruciating books of war reportage are potent territory... He shows how much that is crucial to our lives a book can hold' New York Times Book Review

A brilliantly illustrated survey of the international comic book landscape over the past sixty years. Published to accompany a major exhibition at Centre Pompidou, Paris in May 2024, this is a timely reframing of the international comics landscape over the past six decades. From the mid-1960s, the world of comics rapidly evolved into a highly creative art form for a sophisticated readership: in France, the magazine Hara-Kiri provided new terrains for graphical humour, while the adventures of Jean-Claude Forest's Barbarella were published in albums by Éric Losfeld; the launch in Japan of Garo in 1964, an avant-garde monthly, presented the concept of auteur comics; and the release of Robert Crumb's Zap Comix in 1968 established his reputation as the leader of the underground comics movement in the United States. For the first time, this major historical survey of the ninth art establishes a dialogue between the three leading regions of comic book culture - Europe, Asia and America - and offers an immersive odyssey of the medium through its development over six decades ranging from the explosion of the twentieth-century counterculture scene to the most abstract contemporary styles. Built around twelve themes encompassing the many worlds of the comics imagination, Comics: 1964-2024 features artists including André Franquin, Gotlib, Claire Bretécher, Osamu Tezuka, Moebius, Edmond Baudoin, Alison Bechdel, Ulli Lust, Art Spiegelman, Marjane Satrapi and Chris Ware, as well as introductions on each theme by leading authorities of the form, a brand new interview with renowned cartoonist and journalist Joe Sacco, and a foreword by Paul Gravett.