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No Fretful Sleeper
There is no place in normal New Zealand society for the man who is different', wrote William Harrison (Bill) Pearson. One of New Zealand's most distinguished fiction writers and sharpest critics, Pearson's life was also fraught with contradiction and secrecy, largely because of his homosexuality. Born in Greymouth in 1922, he grew up in a society dominated by a rugged ideal of New Zealand manhood; not an easy childhood or adolescence for an unusually sensitive boy who preferred intellectual pursuits to sports. He went to university and Dunedin Training College, then taught at Blackball School - a period from which he drew the material for his celebrated novel, Coal Flat. After serving in the...
witzend
When the formulaic constraints, censorious nature, and onerous lack of creator’s rights in mainstream comics got to be too much for the brilliant cartoonist Wallace Wood, he struck out on his own with the self-published witzend. It became a haven for Wood and his fellow professional cartoonist friends where they could produce the kind of personal work that they wanted to do, without regard to commercial demands ― and with friends like Frank Frazetta, Al Williamson, Reed Crandall, Ralph Reese, Archie Goodwin, Angelo Torres, Steve Ditko, Harvey Kurtzman, Bill Elder, Art Spiegelman, Don Martin, Vaughn Bodé, Jim Steranko, Jeff Jones, Howard Chaykin, Trina Robbins, Bernie Wrightson, and literally dozens more, it was bound to be a great ride! Now, Fantagraphics presents the complete run of witzend!
Six Stories
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People and Place
This book traces the enduring relationship between history, people and place that has shaped the character of a single region in a manner perhaps unique within the New Zealand experience. It explores the evolution of a distinctive regional literature that both shaped and was shaped by the physical and historical environment that inspired it. Looking westwards towards Australia and long shut off within New Zealand by the South Island’s rugged Southern Alps, the West Coast was a land of gold, coal and timber. In the 1950s and 1960s, it nurtured a literature that embodied a sense of belonging to an Australasian world and captured the aspirations of New Zealand’s emergent radical nationalism. More recent West Coast writers, observing the hollowing out of their communities, saw in miniature and in advance the growing gulf between city and regional economies aligned to an older economic order losing its relevance. Were they chronicling the last hurrah of a retreating age or crafting a literature of regional resistance?
Age of Inquiry
This is a must read for history buffs, conspiracy theorists and all who wish to know the truth about the Kennedy assassination and its aftermath from the one man who was involved with the assassination prior to that unforgettable day in Dallas when they shot and killed the 35th President of the United States
Fretful Sleepers and Other Essays
Seventeen essays on New Zealand society and literature, originally published from 1952-1973.
Nature's Ghosts
The rapid growth of the American environmental movement in recent decades obscures the fact that long before the first Earth Day and the passage of the Endangered Species Act, naturalists and concerned citizens recognized—and worried about—the problem of human-caused extinction. As Mark V. Barrow reveals in Nature’s Ghosts, the threat of species loss has haunted Americans since the early days of the republic. From Thomas Jefferson’s day—when the fossil remains of such fantastic lost animals as the mastodon and the woolly mammoth were first reconstructed—through the pioneering conservation efforts of early naturalists like John James Audubon and John Muir, Barrow shows how America...
Horror Comics in Black and White
In 1954, the comic book industry instituted the Comics Code, a set of self-regulatory guidelines imposed to placate public concern over gory and horrific comic book content, effectively banning genuine horror comics. Because the Code applied only to color comics, many artists and writers turned to black and white to circumvent the Code's narrow confines. With the 1964 Creepy #1 from Warren Publishing, black-and-white horror comics experienced a revival continuing into the early 21st century, an important step in the maturation of the horror genre within the comics field as a whole. This generously illustrated work offers a comprehensive history and retrospective of the black-and-white horror comics that flourished on the newsstands from 1964 to 2004. With a catalog of original magazines, complete credits and insightful analysis, it highlights an important but overlooked period in the history of comics.
