Los Angeles Review of Books

“Any overview of comics will miss something, of course, because that is what overviews do. But the fact is that they all tend to leave out the same things: examples of work from the global South, work by women and people of color, work created primarily for communication purposes (which is usually created by folks in poverty), or work published in non-Western languages. This results in a very selective field indeed, like deciding to recount the history of music without familiarity with any instruments other than the flute, or deciding to teach the history of architecture entirely based on buildings in Manhattan.”—The Entire History of Comics Art (August 2014)

“What there is of the story is intriguing, although stretched thin at times. But one must not read Julio’s Day for the events that unfold throughout Julio’s life. Those—even the brightest moments—have nothing on the moments between planned excursions and occurrences, family dramas. Giant, full-page landscapes of trees and hills in shadow, a rising or setting sun. Clouds rolling in to ink over a day, a month, or a year. The impression of snow. A plowed field. The beautiful terrain of a terrible mudslide. In real life, when you see these things, you say to yourself: Ah! This is what life is about! When Beto draws them, you will say it to yourself again. It is a form of magical realism, but it goes beyond the literary.”—How About Love: Gilbert Hernandez’s Julio’s Day (February, 2014)

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