Spiegelman, Art, “Comix: An Idiosyncratic Historical and Aesthetic Overview,” Print (November/December 1988)Google Scholar

Spiegelman, Art, Comix, Essays, Graphics and Scraps (Palermo: Grafiche Renna/A RAW Book, 1998), 81

Lethem, Jonathan with Rusnak, Karl and Dalrymple, Farel, Omega the Unknown (New York: Marvel, 2008)

Kidd, Chip and Taylor, Dave, Batman: Death by Design (New York: DC Comics, 2012)

Tabachnick, Stephen E., ed., Teaching the Graphic Novel (New York: Modern Language Association of America, 2009)

Sabin, Roger’s Adult Comics (London: Routledge, 1993)

Hatfield, Charles’s Alternative Comics (Jackson: University Press of Mississippi, 2005)

Beaty, Bart, Comics versus Art (Toronto: University of Toronto Press, 2012)

Baetens, Jan, ed., The Graphic Novel (Leuven: Leuven University Press, 2001)

Frey, Hugo and Noys, Benjamin, eds., “History in the Graphic Novel,” special themed issue, Rethinking History, 6.3 (2002)Google Scholar

Witek, Joseph, ed., Art Spiegelman: Conversations (Jackson: University Press of Mississippi, 2007), 289

Kurtzman, Harvey, Jungle Book (New York: Ballantine Books, 1959)

Miller, Frank, The Complete Sin City (Milwaukie, OR: Dark Horse, 2005)

Miller, , Holy Terror (Burbank, CA: Legendary Comics, 2011).

Raeburn, Daniel, Chris Ware (New Haven: Yale University Press, 2004), 14–16

Clowes, Daniel, introduction to Ghost World: Special Edition (Seattle: Fantagraphics Books, 2008)

Groth, Gary and Fiore, Robert, eds., The New Comics (New York: Berkley Books, 1988), 63

Peterson, R. A., “Five Constraints on the Production of Culture: Law, Technology, Market, Organizational Structure and Occupational Careers,” Journal of Popular Culture 16:2 (1982): 143–153Google Scholar

Hesmondalgh, David, The Cultural Industries, 3rd ed. (London: Sage, 2012)

Menger, Pierre-Michel, Le travail créateur (Paris: Gallimard, Seuil and éditions de l’EHESS, 2009)

Witek, Joseph’s still very readable Comic Books as History (Jackson: University Press of Mississippi, 1989)

Moore, Alan and O’Neill, Kevin’s The League of Extraordinary Gentlemen. In book form, this serialized work actually comprises Volume 1 (La Jolla, CA: America’s Best Comics, 2003)

Volume 2 (London: Titan Books, 2003)

The League of Extraordinary Gentlemen: The Black Dossier (La Jolla, CA: Wildstorm Productions, an imprint of DC Comics, 2007)

Sabin, Roger and Triggs, Teal, eds., Below Critical Radar: Fanzines and Alternative Comics from 1976 to Now (Mesquite, TX: Codex Books, 2002)

Smolderen, Thierry, The Origins of Comics (Jackson: University Press of Mississippi, forthcoming)

McCloud, Scott’s Reinventing Comics: How Imagination and Technology Are Revolutionizing an Art Form (New York: Perennial, 2000)

Harvey, R. C.’s “The Graphic Novel, Will Eisner and Other Pioneers,” Comics Journal 234 (June 2001): 92–97Google Scholar

Schwartz, Ben’s Introduction to The Best American Comics Criticism (Seattle: Fantagraphics, 2010), 10–21

Wordless Books: The Original Graphic Novels (New York: Abrams, 2008)

Lethem, , The Disappointment Artist (London: Faber, 2005), 146

Hajdu, David, The Ten-Cent Plague: The Great Comic Book Scare and How It Changed America (New York: Farrar, Strauss and Giroux, 2008), 112

Beaty, Bart, Fredric Wertham and the Critique of Mass Culture (Jackson: University Press of Mississippi, 2005), 82–86

Spiegelman, Art and Kidd, Chip, Jack Cole and Plastic Man: Forms Stretched to Their Limits (San Francisco: Chronicle Books, 2001)

Hatfield, Charles, Hand of Fire: The Comics Art of Jack Kirby (Jackson: University Press of Mississippi, 2012)

Queenan, Joe, “Drawing on the Dark Side,” New York Times (April 30, 1997)Google Scholar

Itzkoff, Dave, “Behind the Mask,” New York Times (Nov. 20, 2005)Google Scholar

Witek, Joseph, Comic Books as History: The Narrative Art of Jack Jackson, Art Spiegelman and Harvey Pekar (Jackson: University Press of Mississippi, 1989), 37

Daniels, Les, Comix: A History of Comic Books in America (London: Fusion-Wildwood House, 1973), 75–78

Sacco, Joe, Safe Area Gorazde (Seattle: Fantagraphics, 2000)

Krigstein, Bernie, “Master Race,” Tales Designed to Carry an Impact, no. 1 (April 1955)Google Scholar

Hiss, Tony and Lewis, Jeff, “The ‘Mad’ Generation,” New York Times Magazine (June 31, 1997)Google Scholar

Kurtzman, Harvey, Harvey Kurtzman’s Jungle Book (New York: Ballantine, 1959)

Kurtzman, Harvey, The Jungle Book (Princeton, WI: Kitchen Sink Press, 1986)

Ungerer, Tomi, The Underground Sketchbook of Tomi Ungerer (New York: Viking Books, 1964), 3

Graham, Richard L., Government Issue: Comics for the People, 1940s–2000s (New York: Harry N. Abrams, 2011), 54–58, which reproduces Neal Adams’s “I am the Guard” (Johnstone and Cushing for the U.S. National Guard, 1960)

Jones, William B. Jr., Classics Illustrated: A Cultural History (Jefferson: MacFarland and Co., 2011), 111

Jones, , Classics Illustrated: A Cultural History, 137

Jones, , Classics Illustrated: A Cultural History, 111; “Shakespeare Bows to ‘Comics’ Public: Play Texts Will Be Produced in Picture Form to Interest World’s Popular Audience,”New York Times (March 9, 1950), 24Google Scholar

Gabilliet, Jean-Paul, Of Comics and Men: A Cultural History of American Comic Books (Jackson: University Press of Mississippi, 2010), 58

Crow, Thomas, “For and Against the Funnies: Roy Lichtenstein’s Drawings in the Inception of Pop Art, 1961–1962,” in, Roy Lichtenstein: The Black-and-White Drawings 1961–1968, ed. Dervaux, Isabelle (New York: The Morgan Library and Museum, 2010), 31

Gopnik, Adam, “Comics,” in High and Low: Modern Art and Popular Culture eds. Varnedoe, Kirk and Gopnik, Adam (New York: Museum of Modern Art, 1990), 208

Sabin, Roger, Comics, Comix and Graphic Novels: A History of Comic Art (London: Phaidon, 1996), 74

Warhol, Andy and Hackett, Pat, Popism: The Warhol Sixties (San Diego: Harcourt Brace Jovanovich, 1980), 39–40 (italics added)

Jenkins, Henry and Spigel, Lynn, “Same Bat Channel, Different Bat Times,” in The Many Lives of Batman, eds. Pearson, Roberta and Uricchio, William (London: Routledge, 1991), 123

Spigel, Lynn, TV by Design (Chicago: Chicago University Press, 2008), 259–260

Torres, Sasha, “The Caped Crusader of Camp: Pop, Camp, and the Batman Television Series,” in Pop Out: Queer Warhol, eds. Doyle, Jennifer et al. (Raleigh: Durham University Press, 1996), 238–255

Brooker, Will, Batman Unmasked (New York: Continuum, 2000), 193

Kackman, Michael, Television, Espionage, and Cold War Culture (London: University of Minnesota Press, 2005), 89

Forest, Jean-Claude, Barbarella, trans. Seaver, Richard (New York: Grove Press, 1966)

Perrin, Dennis, Mr Mike: The Life and Work of Michael O’Donoghue (New York: Avon Books, 1998)

Hatfield, Charles, Hand of Fire: The Comics Art of Jack Kirby (Jackson: University Press of Mississippi, 2012), 122

Juno, Andrea, Dangerous Drawings (New York: Juno Books, 1997), 42

Beaty, Bart, Comics Versus Art (Toronto: Toronto University Press, 2012)

Alloway, Lawrence, American Pop Art (New York: Whitney Museum of American Art, 1974), 16

Showcase Presents Batman. Vol. 2 (New York: DC Comics, 2007), 86–109

Gaiman, Neil and Kubert, Andy, Marvel 1602 (New York: Marvel, 2006)

Green, Justin, Binky Brown Meets the Holy Virgin (San Francisco: Last Gasp, 1972)

Jaxon, , Comanche Moon (San Francisco: Rip Off Press/Last Gasp, 1979)

Gabilliet, Jean-Paul, Of Comics and Men: A Cultural History of American Comic Books (Jackson: University Press of Mississippi, 2009)

Lopes, Paul, Demanding Respect: The Evolution of the American Comic Book (Philadelphia: Temple University Press, 2009)

Hatfield, Charles, Alternative Comics: An Emerging Literature (Jackson: University Press of Mississippi, 2006)

Estren, Mark James, A History of Underground Comics (Berkeley: Ronin Publishing, 1993)

Rosenkranz, Patrick, Rebel Visions: The Underground Comix Revolution, 1963–75 (Seattle: Fantagraphics, 2008)

Doty, Robert, Human Concern/Personal Torment: The Grotesque in American Art (New York: Whitney Museum of American Art/Praeger, 1969)

Pekar, Harvey, “Rapping about Cartoonists – Robert Crumb,” Journal of Popular Culture 3:4 (1970): 683Google Scholar

Gabilliet, Jean-Paul, R. Crumb (Bordeaux: Presses Universitaires de Bordeaux, 2012)

Witek, Joseph, ed., Art Spiegelman: Conversations (Jackson, University Press of Mississippi, 2007), 4

Crumb, Robert, The Book of Genesis (London: Jonathan Cape, 2009)

Deitch, Kim, Alias the Cat (London: Jonathan Cape, 2007)

Schumacher, Michael, Will Eisner: A Dreamer’s Life in Comics (New York: Bloomsbury, 2010), 167

Eisner, Will, A Contract with God (New York: Norton, 2004), xii

Soper, Kerry, Garry Trudeau: Doonesbury and the Aesthetics of Satire (Jackson: University Press of Mississippi, 2008)

Harvey, R. C., “The Graphic Novel, Will Eisner and Other Pioneers,” The Comics Journal 234 (June 2001): 92–97Google Scholar

Corben, Richard, Bloodstar (New York: The Morning Star Press, 1976), 5

Goodwin, Archie and Simonson, Walter, Alien: The Illustrated Story (New York: Heavy Metal, 1979)

Spiegelman, , Introduction to Garbage Pail Kids, The Topps Company, Inc. (New York: Abrams, 2012), 5–10

Witek, Joseph, Art Spiegelman: Conversations (Jackson: University Press of Mississippi, 2007), 165

Sabin, Roger, Comics, Comix, and Graphic Novels: A History of Comic Art (London: Phaidon, 1996), 165

Novick, Peter, The Holocaust and Collective Memory: The American Experience (London: Bloomsbury, 2001)

LaCapra, Dominick, History and Memory after Auschwitz (Ithaca: Cornell University Press, 1998)

Young, James, At Memory’s Edge (New Haven: Yale University Press, 2000)

Carlin, John and Wagstaff, Sheena, “Beyond the Pleasure Principle: Comic Quotation in Contemporary American Painting,” The Comic Art Show: Cartoons in Painting and Popular Culture (New York: Whitney Museum of American Art/Fantagraphics, 1983), 62

Beaty, Bart, Comics versus Art: Comics in the Artworld (Jackson: University Press of Mississippi, 2012)

Weiner, Stephen, which are all very useful snapshots of a period of publishing, including Graphic Novels for Public Libraries (Northampton Mass: Kitchen Sink Press, 1996)

The 101 Best Graphic Novels (New York: NBM, 2001)

The Rise of the Graphic Novel (New York: NBM, 2003)

Gravett, Paul, Graphic Novels: Stories to Change Your Life (London: Aurum, 2005)

The Rise of the American Comics Artist, eds. Williams, Paul and Lyons, James (Jackson: University Press of Mississippi, 2010), 14

Millidge, Gary Spencer, Alan Moore: Storyteller (Lewis: Ilex, 2011), 108

Whitted, Qiana J., “Of Slaves and Other Swamp Things: Black Southern History as Comic Book Horror,” in Comics and the US South, eds. Costello, Brannon and Whitted, Qiana J. (Jackson: University Press of Mississippi, 2012), 202

Newsinger, John, The Dredd Phenomenon: Comics and Contemporary Society (Bristol: Libertarian Education, 1999)

Wiater, Stanley and Bissette, Stephen R., Comic Book Rebels: Conversations with the Creators of the New Comics (New York: Donald I. Fine Inc, 1993), 145–188

Sabin, Roger, Adult Comics (London: Routledge, 1993), 71

Groth, Gary and Fiore, Robert, eds., The New Comics: Interviews from the Pages of The Comics Journal (New York: Berkley, 1988), 288

Aldama, Frederick Luis, Your Brain on Latino Comics (Austin: University of Texas Press, 2009), 4–5

Juno, Andrea, Dangerous Drawings: Interviews with Comix and Graphix Artists (New York: Juno Books, 1993), 50

Spiegelman, Art, In the Shadow of No Towers (New York: Pantheon, 2004), 1

Chute, Hillary, “Comics as Literature? Reading Graphic Literature,” PMLA 123:2 (2008): 453–465Google Scholar

Felman, Shoshana and Laub, Dori, foreword to Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History (New York: Routledge, 1992), xiii–xx

Lefèvre, Pascal in “Mise en scène and Framing. Visual Storytelling in Lone Wolf and Cub,” in Critical Approaches to Comics: Theories and Methods, eds. Duncan, Randy and Smith, Matthew J. (London: Routledge, 2011), 71–83, and “The Conquest of Space: Evolution of Panel Arrangements and Page Lay Outs in Early Comics,” European Comic Art 2:2 (2009): 227–252Google Scholar

Andrews, Lew, Story and Space in Renaissance Art: The Rebirth of Continuous Narrative (New York: Cambridge University Press, 1995)

Baetens, Jan and Bleyen, Mieke, “Photo Narrative, Sequential Photography, Photonovels,” in Intermediality and Storytelling, eds. Grishakova, Marina and Ryan, Marie-Louise (Berlin: De Gruyter, 2010), 165–182

Menu, Jean-Christophe in La Bande dessinée et son double (Paris: L’Association, 2011)

Fresnault-Deruelle, Pierre, “Du linéaire au tabulaire,” Communications 24 (1976): 7–23Google Scholar

Morgan, Harry in his book Principes des littératures dessinées (Angoulême: Editions de l’An 2, 2003)

Porter Abbott, H., Cambridge Introduction to Narrative. 2nd ed. (New York: Cambridge University Press, 2008), 56

Perloff, Marjorie, “Screening the Page/Paging the Screen: Digital Poetics and the Digital Text,” in New Media Poetics: Contexts, Technotexts, and Theories, eds. Morris, Adelaide and Swiss, Thomas (Cambridge, Mass.: MIT Press, 2006), 143–165

Frey, Hugo, “For All to See: Yvan Alagbé’s Nègres jaunes and the Contemporary French Social Crisis,” Yale French Studies 114 (2008): 116–129Google Scholar

Chute, Hillary, “Temporality and Seriality in Spiegelman’s In the Shadow of No Towers,” American Periodicals 17:2 (2007): 228–244Google Scholar

Nadel, Dan, Art Out of Time: Unknown Comics Visionaries 1900–1969 (New York: Abrams, 2006)

Groensteen, Thierry, The System of Comics (Jackson: University Press of Mississippi, 2007), 97–102

Thompson, Craig’s Blankets (Marietta, GA: Top Shelf, 2003)

Genette, Gérard, Paratexts. Thresholds of Interpretation (New York: Cambridge University Press, 1997)

Peeters, Benoît and Samson, Jacques, Chris Ware: L’invention de la bande dessinée (Brussels: Les Impressions Nouvelles, 2009)

Hatfield, Charles, Alternative Comics: An Emerging Literature (Jackson: University Press of Mississippi, 2006), 48

Hague, Ian, Comics and the Senses: A Multi-sensory Approach to Comics and Graphic Novels (London: Routledge, 2014)

Sternberg, Meir, “Reconceptualizing Narratology,” Enthymema IV (2011): 40Google Scholar

Ware, Chris, “Introduction” McSweeney’s, 13 (2004): 11–12Google Scholar

Groensteen, Thierry, Bande dessinée et narration (Paris: PUF, 2011; an English translation is forthcoming from University Press of Mississippi), 124–129

Meesters, Gert, “Les significations du style graphique: Mon fiston d’Olivier Schrauwen et Faire semblant, c’est mentir de Dominique Goblet,” Textyles. Revue des lettres belges de langue française 36–37 (2010): 215–233Google Scholar

Writing Degree Zero, transl. Lavers, Annette (New York: Hill and Wang, 1968)

Doucet, Julie, My New York Diary (Montreal: Drawn and Quarterly, 1999)

Twentieth Century Eightball (Seattle: Fantagraphics, 2002), 8

Marion, Philippe in Traces en cases (Louvain-la-Neuve: Académia, 1993)

Baetens, Jan, “Revealing Traces: A New Theory of Graphic Enunciation,” in The Language of Comics: Word & Image in the Comics, eds. Varnum, Robin and Robbins, Christina (Jackson: University Press of Mississippi, 2001), 145–155

Trondheim, Lewis, Désoeuvré (Paris: L’Association, 2005)

Queneau, Raymond, Exercises in Style, transl. Wright, Barbara (New York: New Directions, 1981)

Mathews, Harry and Brotchie, Alistair, The Oulipo Compendium, rev. edition (Los Angeles and London: Make Now Press and Atlas, 2005)

Baetens, Jan, “Not Telling, but Retelling: From Raymond Queneau’s Exercises in Style to Matt Madden’s 99 Ways to Tell a Story, and Back,” in Graphic Novel Adaptations, ed. Tabachnick, Stephen E. (Jefferson, NC: MacFarland, forthcoming)

Mignola, Mike’s The Chained Coffin and Others (Milwaukie, OR: Dark Horse Comics, 1998)

Baetens, Jan, “Words and Images in the American Graphic Novel,” in Travels in Intermedial(ity) – ReBlurring the Boundaries, ed. Herzogenrath, Bernd (Hanover, NH: University Press of New England, 2012), 92–110

Music Image Text, transl. Heath, Stephen (London: Fontana, 1974), 32–51

Sleepwalk and Other Stories (Montreal: Drawn and Quarterly, 2002)

“Le Coeur révélateur” et autres histoires extraordinaires (Genève: Les Humanoïdes associés, 1995)

Jenkins, Henry, Convergence Culture: Where Old and New Media Collide (New York: New York University Press, 2006)

Simmonds, Posy, Gemma Bovery (London: Jonathan Cape, 2000)

Groensteen, Thierry, “Histoire de la bande dessinée muette,” 9e Art 2 (1997): 60–75,Google Scholar

“Histoire de la bande dessinée muette,” 9e Art 3 (1998): 92–105

Ex-Foliations: Reading Machines and the Upgrade Path (Minneapolis: Minnesota University Press, 2008), 88–89

Oever, Annie van den, Ostrannenie (yes, with double “n”) (Amsterdam University Press, 2011)

Living to Tell About It: A Rhetoric and Ethics of Character Narration (Ithaca: Cornell University Press, 2004), 18

Barthes, Roland, “An Introduction to the Structural Analysis of Narrative,” transl. Duisit, Lionel, New Literary History 6:2 (1975): 237–272Google Scholar

Gordon, Ian et al., eds., Film and Comic Books (Jackson:University Press of Mississippi, 2007)

Herman, David, “Narrative Worldmaking in Graphic Life Writing,” in Graphic Subjects, ed. Chaney, Michael A. (Madison: Wisconsin University Press, 2011), 231–243

Benjamin, Walter, “The Storyteller,” transl. Zohn, Harry, Illuminations (New York: Schocken, 1969), 83–109

Gardner, Jared, “Storylines,” Substance 40:1 (2011): 56–57Google Scholar

Hatfield, Charles, Hand of Fire: The Comics Art of Jack Kirby (Jackson: University Press of Mississippi, 2012), 59

Crumb, Robert, Robert Crumb’s America (San Francisco, Last Gasp, 1995)

Ware, Chris’s Building Stories (New York: Pantheon, 2012)

Deitch, Kim, A Shroud for Waldo (Seattle: Fantagraphics, 2002), 50

La Cage, transl. Avelot, Marc (Paris: Les Impressions Nouvelles, 1985)

Baetens, Jan, “Uncaging and Reframing The Cage,” in Drawing from Life: Memory and Subjectivity in Comic Art, ed. Tolmie, Jane Marianna (forthcoming with University Press of Mississippi, 2013)

How We Became Posthuman (Chicago: Chicago University Press, 1999)

Baetens, Jan, “Dominique Goblet: The Meaning of Form,” in Graphic Subjects, ed. Chaney, Michael (Madison: University of Wisconsin Press, 2011), 76–92

Rancière, Jacques, The Politics of Aesthetics: The Distribution of the Sensible, transl. Rockhill, Gabriel (New York: Continuum, 2004)

McGrath, Charles, “Not Funnies,” New York Times, July 2004

Leith, Sam, “Hope in the Final Panel,” The Telegraph, Aug. 2, 2007

Wolk, Douglas, Reading Comics: How Graphic Novels Work and What They Mean (New York: Da Capo Press, 2007), 203

Sleepwalk and Other Stories (Montreal, Drawn & Quarterly: 2002), 65–75

Baetens, Jan, “Abstraction in Comics,” SubStance 40:1 (2011): 94–113Google Scholar

Abstract Comics, ed. Molotiu, Andrei (Seattle: Fantagraphics, 2009)

Groensteen, Thierry, Bande dessinée et narration (Paris: PUF, 2011), 195–198

Manovich, Lev, The Language of New Media (Cambridge, Mass.: MIT Press, 2001), 218

Sinclair, Iain, Edge of Orison (London: Hamish Hamilton, 2005), 217

McKean, Dave as illustrator on Slow Chocolate Autopsy (London: Phoenix House, 1997)

Collins, Jim, Bring on the Books for Everybody (Durham, NC: Duke University Press, 2010)

Thompson, John B., Merchants of Culture (Cambridge: Polity, 2012)

Chabon, Michael, The Amazing Adventures of Kavalier and Clay (New York: Picador, 2000)

Lethem, Jonathan, The Disappointment Artist (London: Faber, 2005)

Mayer, Robert, Superfolks (New York: St Martin’s Press, 2005 [1977])

Tuten, Frederic, “Tintin on Love,” Fiction 3.2/3.3 (1975)Google Scholar

Cantor, Jay, Krazy Kat: A Novel in Five Panels (New York: Knopf, 1987)

Moody, Rick, The Ice Storm (New York: Little Brown, 1994)

Eco, Umberto, The Mysterious Flame Queen of Loana: An Illustrated Novel (Orlando: Harcourt, 2005)

Grossman, Lev, “Who’s the Voice of This Generation” Time International (10/7/2006): 44–47Google Scholar

Grossman, , “Pop Goes the Literature,” Time (12/13/2004): 71–72Google Scholar

Chabon, Michael, Reading and Writing Along the Borderlines (London: Fourth Estate, 2008)

Lethem, Jonathan, The Ecstasy of Influence (New York: Doubleday, 2011), 135

Hornby, Nick, Fever Pitch (London: Gollancz, 1992)

Hornby, Nick, High Fidelity (London: Gollancz, 1995)

Kidd, Chip, Book One: Work 1986–2006 (New York: Rizzoli, 2006), 388

Kidd, Chip, The Cheese Monkeys (New York: Scribner, 2003)

Kidd, Chip, The Learners (New York: Scribner, 2008)

Hamilton, Caroline D., One Man Zeitgeist: Dave Eggers, Publishing and Publicity (New York: Continuum, 2012)

Barker, Martin and Sabin, Roger, The Lasting of the Mohicans: History of an American Myth (Jackson: University Press of Mississippi, 1995), 146

Heuet, Stéphane, Remembrance of Things Past (three volumes translated with Nantier Beall Minoustchine Publishing since 2003)

Queneau, Raymond, Zazie in the Metro, transl. Wright, Barabara (London: Penguin, 2011; French original: 1959)

Oubrerie, Clément, Zazie dans le métro (Paris: Gallimard, 2008)

March, Joseph Moncure and Spiegelman, Art, The Wild Party (New York: Pantheon, 1994)

Spiegelman, Art and Sikoryak, R., eds., The Narrative Corpse: A Chain-Story by 69 Artists (New York: RAW Books, 1995)

Smith, Zadie, “Introduction,” Smith, , ed., The Book of Other People (London: Penguin, 2008 [2007]), vii

Reynolds, Simon, Retromania: Pop Culture’s Addiction to Its Own Past (London: Faber and Faber, 2011)

Gardner, Jared, Projections: Comics and the History of Twenty-First-Century Storytelling (Stanford: Stanford University Press, 2012), 149–179

Gardner, , “Archives, Collectors, and the New Media Work of Comics,” Modern Fiction Studies 52:4 (2006): 787–806Google Scholar

McGurl, Mark in The Program Era (Cambridge Mass: Harvard University Press, 2009)

Spiegelman, Art, Meta-Maus (New York: Pantheon, 2011)

Ware, Chris, Building Stories (New York: Pantheon, 2012)

Graphic Women: Life Narrative and Contemporary Comics (New York: Columbia University Press, 2010), 7–8

McCloud, Scott, Understanding Comics (New York: Harper Collins, 1994)

Moriarty, Jerry, The Complete Jack Survives (Oakland: Beneventura Press, 2009)

Wetering, Janwillem van de and Kirchner, Paul, Murder by Remote Control (New York: Ballantine, 1986)

Wilson, Gahan, “Paperbacks: Little Nemo Meets Dick Tracy,” New York Times (May 4, 1986)Google Scholar

Ishinomori, Shotaro, Japan Inc. (Berkeley: California University Press, 1992)

McDowell, Edwin, “The Region: America Is Taking Comic Books Seriously,” New York Times (July 31, 1988)Google Scholar

Bissette, Stephen and Veitch, Rick, 1941: The Illustrated Story (New York: Heavy Metal, 1979)

McKinney, Mark in his book on colonial heritage in French language comics and graphic novels, The Colonial Heritage of French Comics (Liverpool: Liverpool University Press, 2011)

Spiegelman, Art in “Art Spiegelman Interview: Part II,” The Comics Journal, 181 (October 1995): 106Google Scholar

Moore, Alan and Campbell, Eddie, A Disease of Language (London: Knockabout Books, 2010)

Kidd, and Taylor, Dave, Batman: Death by Design (New York: DC Comics, 2012), 7

Greiff, Constance M., Lost America: From the Atlantic to the Mississippi (Princeton: The Pyne Press, 1974)

Wheeler, Thomas C., ed., A Vanishing America: The Life and Times of the Small Town (New York: Holt, Rinehart and Winston, 1964)

Groot, Jerome de, Consuming the Past (London: Routledge, 2008), 217

Kantor, Jay, Krazy Kat (New York: Knopf, 1987)

Feiffer, Jules, The Great Comic Book Heroes (Seattle: Fantagraphics, 2003 [1965]), 78

Collins, Jim, Bring on the Books for Everybody (Durham, NC: Duke University Press, 2010)

Backderf, Derf, My Friend Dahmer (New York: Abrams, 2012), 84–85

Kunka, Andrew J., “Intertextuality and the Historical Graphic Narrative: Kyle Baker’s Nat Turner and the Styron Controversy,” College Literature 38:3 (2011): 168–93Google Scholar

Spiegelman, Art, In the Shadow of No Towers (New York: Pantheon, 2004), 11

Pareille, Ken and Cates, Isaac, eds., Daniel Clowes: Conversations (Jackson: University Press of Mississippi, 2010), 139