Take these seeds And thrust them deep inside your pockets So that when you die and your body becomes the earth Sunflowers will grow once again from the land you killed to claim.
Ballerinas and camouflaged beauty queens will greet you in the streets With pirouettes of spinning bullets behind barricades of sheets. My grandmother will serve you up Molotov’s cocktails. The orphans you murdered will dance around you sleepless until dawn So that sunflowers will grow once again from the land you killed to claim.
Do you fear for war? Ask of the stillness evermore, Ask of the field, or ask the breeze, and ask the birch and poplar trees. Ask of the children who now lie beneath the birch trees and the sky, and let their mothers tell you once more Whether or not you should fear for war.
They died so that the children from ev’ry shore might live without your fear of war. Ask those who fought, and those erased, ask those planted in the rubble of Mariupol and Donetsk Oblast Ask the women you embrace. ask your mother –ask my wife–, So that you will wonder never more Whether you have cause to fear for war.
Who longs for war? Who longs for war? No one but those who are no more. No one living longs for war But war cares not for your longing or yearning for living. Or your fears for war War will always arrive uninvited to your door.
When war comes calling to your front door. You cannot lock the war outdoors. You cannot run and hide behind your chair Or bury your head under the covers of your bed.
When war comes to your front door There is nowhere to run, nowhere to go The corpses of your neighbors will hinder your flight You cannot let fear become your general To give up the fight To surrender to might.
Instead, you must stand with the sunflowers in the golden fields Stand with our heads facing the sun. Pour your bravery into an empty coke bottle And pick up a gun. Stand for freedom, for the children we have lost Stand up for liberty, against the tide of tyranny. Stand up for yourself as much as any other.
Summon your courage to stand like man, Like a like a clown, like a woman, like a child. The cries of their answer rises loud and clear for all people, ev’rywhere, to hear. The message now is as before: Do not fear, Do not fear, Do not fear for war,
A book of poetry and art, fables and philosophies aimed at the pandemic of crisis anxiety so many are facing.
In uncertain times people turn to uncertain means. This is a book of poetry and art, of fables and philosophies aimed at the pandemic of crisis anxiety so many of us are going through right now in our daily lives and in our inner spaces. We are all of us and each us in this together.
The sciences but also the arts do provide remedies. The ancient Egyptians wrote curative words on fragments of papyrus to feed their burnt ashes to the afflicted. Lacking morphine, Walt Whitman read verses to fallen soldiers on the battlefields of the first Civil War.
At their best, the right words are more than therapeutic, they can be curative. Take a Deep Breath emulates this ritual here in administering remedies for living in these times of crisis, in living with uncertainty.
I never really knew Hannah Northedge apart from our Facebook exchanges. I think it was she that first started commenting on my postings. I read her comments with bemusement and replied. Earnest, sincere, a bit young girlish but always quintessentially English. That refined contrivance that is both over-mannered and elegant at the same time. And yet we shared a sense of humour, which is an astonishment between an Englishwoman and an American.
The real English, the softcenter at the core of the cracked, hard surface, English remind me no one more so than of the Japanese. Both island peoples deeply suspicious of foreign invaders and both sewn tightly within an intricately embroidered fabric of ritual, custom and politesse. Both peoples’ have a tea ceremony; one with boiled spring water and green leaf powder, the other with scones, clotted cream and jams.
I did not really know Hannah Northedge but I knew what she was like. A middle-class Midlands girl from Leicester with financially nurturing parents and an early gift, really, a passion for music. She must have dreamed as a young studious girl coming to the Big Smoke, to London to make it big as a chanteuse, as a professional jazz singer. Hannah’s own cover version of Dick Whittington sans cat. This would have been for her a dream logically constructed from sturdy childhood building blocks. Each carefully poised upon the other, pushing gradually upwards into a stern, determined tower of accomplishments.
Hannah would teach music on the side, to students both male and female to make ends meet in a rapidly escalating London that had long driven me from its financial borders. Living in London is not an easy thing. Not for any young man or woman and certainly not for a high strung, talented musician intent on being the best at what she could already do quite well.
The dedication of an artist is blind. Blind to all things that do not further the acts of creation. There is no greater earthly power than to suddenly plug one’s hours, days, years of practice into an unearthly circuit that seems connected to the very essence of one’s living. That sudden bursting propulsion ever further, and ever greater into what you had always wanted to attain and seemed now to be as effortless as a second nature. Suddenly you are living your higher nature!
Any artist, any writer, any dancer and any musician will tell you that this moment of being ‘experienced’ of being played upon what feels like the very aesthetic strings of life is at best indescribable. This is much more than being “in the zone” as an athlete or card player might venture. This is about the zone being in you and all around you; in every pore and molecule of your being until it would take more effort to stop the momentum than to just let yourself keep falling forwards. Pulled into the very gravity of creation.
The Red Shoes is a 1948 British drama film written, directed and produced by the team of Michael Powell and Emeric Pressburger and based on the story by Hans Christian Anderson about a pair of red shoes that are enchanted and when worn enchant the ballerina dancer into dancing more powerfully, more perfectly than she has ever danced before. Until tragically in the end, the dancer cannot stop the shoes from dancing her to her death. A glorious death brought to life by a magical realism. One that many would gloriously surrender to just to be swept up in that dance unto death.
Hannah had no red shoes to speak of, but her throat, her lungs, her diaphragm and her instinct for music were as enchanted as they were enchanting. They were her soul and at very least they enchanted me. I never really liked what she sang. Of course I never told her that; (why would I?) To me, perhaps unfairly, it reeked of nostalgia and a wonting for a long disappeared time. Her numbers were swing, pre-integrated jazz; the time of Louis Armstrong and grinning happy black men.
This music came to England via the American GIs that were stationed there, much to the resentment of the male British population and much to the erotic delight of the female one. Courting and bedding an English girl was the kind of overseas exotica an American GI could handle, easily overlooking the cultural gap by virtue of a common language; in fact magnetically attracted by that difference of language and nuance. We said elevator, they said lift; we asked how many blocks; they answered how many streets; what could be more enchanting? All to the sound of swinging jazz.
Hannah in many ways embodied that stalwart and determined optimism of the English. Being bombed by a vastly superior air force, on the very brink of invasion and yet somehow, against every indication to the contrary, still anticipating a break in the weather. Raining bombs on old London town. By the time American GIs were deployed to England the response of the British and I can hear Hannah saying exactly this, was “About bloody time! How nice of you to finally show up for the party!” “Better late than never, I suppose!”
This was the playful sarcasm of the English by which they kept themselves and each other bemused whilst coping with the obstacles at hand This has always been lost on my American comrades. We think it’s rather mocking, which of course it is; it’s merely a democratic mockery, a Monty Python hysteria at the awesome absurdity of Life and it all. When it comes to jokes and putdowns and the English, no one ever gets out alive, no less so than the English themselves. Self-effacement and self-mockery are not part of the American skill set and we would be fortunate in having few English Life Coach instructors to teach us a thing or two about the proper positioning and placement of the ego.
But I digress from my digression. Hannah was quintessentially English, youthfully so. Although merely some ten years younger than me, she somehow always made me feel that she was much younger than that. A child’s wide-eyed openness beaming from a woman’s face I believe that that child-like disposition, as well as her nervousness and constant stress, were hand in glove with her talent. She desperately needed to keep performing, to keep belting out those numbers because her life really did depend on it.
I was supposed to take Hannah out on a date this Spring in London. Not really a date, more like a shared joke. Both of us had frequently traded our frustrations with the opposite sex and one night I asked Hannah to describe her perfect London date to me. It involved dinner and dancing and her description was so lighthearted and life-affirming fun that I immediately promised her that as soon as I got to London I would take her out on that exact same date. I made that promise not to impress Hannah or woo her but because what she described sounded like such god damn fun that I wanted in on it! Hannah’s lust for life was infectious. Most important of all, Hannah laughed at all of my jokes, even the ones that didn’t merit laughter.
Alas, our date to laugh is not to be. The one woman in 3 years who had finally agreed to go out with me, drowned herself instead at the very prospect. Now that’s a good joke. One that Hannah would have heartily laughed at.
What can I say about suicide? And I understand as of late through a mutual friend that that is exactly what Hannah Northedge had planned in advance and self-executed (so to speak). Albert Camus said that the only question worth asking in life is whether or not to commit suicide; each and every morning when we awake we should ask ourselves that very same question. Because in all honesty, in asking ourselves that question we are never freer. Simply because if we do not choose to end it all; (and I assume that anyone reading this has chosen other than that), then what we have chosen is everything else instead. Because we could have chosen the only alternative to living there is, but we did not to.
I don’t know if Hannah asked herself that very question waking in her luxurious hotel room in Eastbourne, near Beach Head, Britain’s top suicide spot. She certainly had chosen a fine hotel in which to waylay her return to London. Perhaps I will pay that hotel a visit just to catch that final view of the sea we might have shared and toasted. I do not know what state of mind she was in when her parents sent her back home to London from her childhood home in Leicester. English parenting can be harshly stoic at times.
All I do really know for sure about suicide, and in fact, that is what Hannah committed herself to, is that it is an act of self-agency. You may not want to hear this, but please listen because it’s true. Take this bitter pill from one who knows: Suicide is a determined act to strike out against a world of pain and futile injustice. It is not weakness nor surrender that causes one to take one’s own life. It is instead the ultimate act of defiance, an act of unnatural courage and entails a great act of will against all instinct; against the very will to survive.
To look at the universe that gave birth to one’s own conscious mind and in full consciousness scream “No!” “No, this life was not worth the pain, the agony, the empty suffering of my existence!” “You can just take it, just have it all back”. “This was never going to be good enough and I’m putting an end to it here and now because it is my choice my freedom, my volition to do so!”
I do not know of Hannah’s pain apart from what she told me of it. I do know that her despair at romance and at its betrayal weighed heavy on her. If there is any lesson to be garnered from her passing, be it what I tell my own daughter time and time again: never ever believe that you will ever need a man to be happy as a woman.
It’s possible to have both, but by no means mandatory; nor is a man ever the sole path to happiness. We are at best unreliable and at worst, much worse than that.
Hannah did seem determinedly desperate in her remaining months; determined to be believed and desperate not to be dismissed as a hypochondriac lunatic. Which from my own experience with medical authorities. their tendency to treat the symptoms more urgently than the patient surely is lacking some benefit.
I know that there are those of us who in trying to find some salve for our confusion and our anger will demand answers from doctors, from landlords and mould experts; from Hannah Northedge’s own family, even. I know that righteous confusion first hand. To you, I say what my baby sister’s widow said to me at the time of her untimely passing: “nothing that we do, nothing that we try, no matter how hard is ever going to bring her back”.
Last night was kind of my XXXmas eve, being a Saturday night, with no ghosts to placate until Monday morning. So I took my Victory out for a long ride, 46 miles down to Chula Vista to drop in on my drunken-angel-poet-brothers Alex Bosworth and Chris Vannoy. As I told them, I’ve never stopped in Chula Vista before, only passed through it; well on my way to crossing the border between Mexico and Madness.
Back in the Beatnik Days, when America was still a Great Shining Beacon of Golden Intentions and jail-breaking freedoms, going south of the border was a euphemism for leaving the straight rational world and exploring the psychedelic corridors and hallways of the unconscious mind, where the muses played poker to the sound of Gabriel’s saxophone under a streetlamp, playing for spare change, playing for the end of time. Kesey, Cassidy, Timothy Leary had all spent time south of the border, hiding from the authority.
But I wasn’t going all the way south or crossing any borders. Instead, like a Boddhisatva practising the discipline of worldly compassion, I was riding south on the great American highway stopping just short of going over the edge. Stopping long enough for the rest of my sentient species to hop on board and cross over with me. How long I gotta wait? The blur of the wind in my eyes transforms Inter-state 5 into a two-lane river of white headlight diamonds on one end heading towards but past me and on the other end, a torrent of glistening rubies speeding with me, flowing around me, carrying me forwards in one high speed direction.
I was carried on a slipstream of glistening rubies last night. Chilled legs wrapped around my angel in flight, carrying me aloft above all thought, beyond all hesitation, in that dangerous living moment when every half second of thought is solid and real with consequence; and any distraction is a trap door thumping open under the hangman’s rope.
That is the fury of mediation. That is my arrival in this moment that we all share. The calm at the center of chaos. Join me, dear reader, at the centre of chaos.
So I’m heading south armed with an unopened bottle of rye, the spirit of the season travels with me. Good whisky is about as spiritual as I get these days. It is my usual Xmas tradition to grab a bottle of good booze and head down to the Greyhound station, or the street corner, outside a homeless shelter or an alleyway or anywhere I can find and join a cluster of the disaffected, the homeless, the pointless, the ones left out of family portraits. Just to share a drink, a joke and the dregs of our mutual humanity.
But this year, not particularly in contrast, I’ve chosen the company of Deadbeat poets, failed self-construction workers, mental hospital misfits, suicide skippers and gravel-voiced prophets capable of predicting the present with uncanny accuracy. Cassandra’s children muttering under their condensed breaths, scratching their prophecies from the oracle down for the benefit of anyone who still remembers how to read; or how to listen. Tonight these are my brothers (and sisters), in arms. Raging against a sea of struggles, believing that by opposing them, we will end them and wrap our soiled blankets of peace around this cold, shivering world’s shoulders.
Dead Beat Poets
I make it to Main Street much too early and agree to meet my comrades in a bar called Sanctum. I have no currency apart from my still untried bottle of rye so I stand outside on the pavement near but not too near two young women smoking butts and laughing. ‘Merry Xmas’, I venture.
‘Merry fucking Xmas to you too’, is their reply. So I listen. A skill I am still mastering. The raven-haired beauty of the pair is recounting her love life to her friend. Telling her how she had met her intended’s eyes at work, a burning penetration in time and how happy she was that at least she knew, that she knew that she knew that there was an unstated passion, thrilling at the unstated, as yet unenacted attraction between them.
The bittersweet anticipation of passions yearned for but still yet to come.
I wanted to tell the dark-haired young woman how lucky she was to be free to express such yearning to another woman. Jealously, I wanted her to pity my poor lame masculinity and the political mindfield I had to traverse to even come close to sharing such a pure moment of true emotion and affection. But I didn’t. Who wants to hear another pitiful man’s story anyways? This was the year of raised female voices. Voices raised in anger, in righteous retribution for all the wrongs accrued., in demand of recognition. Voices of freedom insisting on justice, insisting on equal treatment without unwanted trespass.
Poor me, poor me, pour me another drink. . . .
So instead I pulled out my weapon of virtue, my great equalizer of man and woman, my bottle of rye from my bag and asked if ‘You ladies would like a drink”. “Hell yes”. And for a brief instant, I felt just like St. Peter patrolling the earth and giving comfort to lost souls.
This murdered the time until my wordly brothers finally arrived. We poured from the bottle into bright red dixie cups, swigging them down in the parking lot before entering the warmth of Sanctum Ale House to talk poetry, performance, and what we were going to do with the rest of our lives. This was beginning to feel a lot like a rendezvous of fallen angels pausing for a drink and brief reflection before hitting Hell.
There was no reason to take a picture or a selfie or even take note of the time. We drank, we talked, we tried to make each other laugh and we indulged in our common humanity; a focus on what we shared more than what we didn’t.
My mind spun back in time to the many drinking conversations I had with my late great friend, the writer David Halliwell. The only man I had ever met who had got drunk with Sam Beckett. So David told this story of buying a bottle of good Irish whisky and taking the train to London, from Yorkshire. Easily a 4-hour journey. On the trip, David got nervous opened the bottle and drank half the contents on the way down arriving completely cut up the King’s Road party where San Beckett would be. He did find Beckett apparently and immediately sat down to finish the rest of the bottle he’d brought. David got so drunk he couldn’t remember a word that Sam Beckett had said to him.
Last night, I told Chris and Alex about the year that David called me up to join him for a Xmas drink and The Bull Tavern in the little North East Oxfordshire village of Charlbury, whose village council insisted on calling it a town because it had 4 pubs, a pharmacy and a post office.
I walked down the unpaved bumpy road to the tavern, past the Egyptian cottage with the papyrus reeds of Isis, the Goddess, not the terrorists. I reached The Bull pub and Inn, Opened the heavy oak door and walked into a movie. The pub was nearly empty save for the bar that featured David on his bar stool holding court with his mates. Only his mates were images burnt on my retinas since childhood: John Hurt, Ben Kingsley, David Warner, Freddie Jones and his son, then unknown now better known than him, Toby Jones. I remember blinking in disbelief. I might as well have walked in on Lewis Carrol, Tolkien and CS Lewis downing pints all who had also frequented this pub some hundred years previously.
I remember David smiling, laughing his phlegmatic cough and motioning me over to introduce me to these faces from the screen. “This is Igor, he’s another writer; he’s a Yank but he’s alright”. I was just another writer in the company of actors, everyday workers taking a break from toiling in the star-maker factories behind the popular film. I was handed a bulbous goblet of glowing ruby wine and the rest is hard to remember. But I do recall making them laugh and David Warner towering over me and reminiscing about his one appearance in a two-part Star Trek opposite Patrick Stewart that had earned him enough to comfortably return to the stage for 7 continuous years. Apart from young Toby, these were board strutting actors; indifferent and virtually contemptuous of their movie work save for the vast sums Hollywood paid them for peddling their trade of packaged emotions.
The next year most of them would be dead, David Halliwell included. I would empty his cottage with a Scottish actor of his while his Yorkshire sister wept inconsolably on his stairwell. In England, people let you weep and leave you to the dignity of your grief out of respect for the exceptional display of emotion. If you openly weep in England its because the pain is so hard that you really can’t hold it in.
Back in the Sanctuum, I explained to my companions how David had taught me the true meaning and value of the literary arts, which for David included actors who tell stories with their faces. Storytelling’s place in the human universe, keeping the stars locked in their firmament and the cosmic spheres in perfectly balanced and meaningful rotation. David Halliwell wasn’t famous. He died a virtual pauper, alone, estranged from his sister, a Yorkshire man with an RSC accent from wanting to be an actor, who wrote every day of his life before heading down to the pub to argue with me.
But he was a great success, albeit not by any kind of American Calvinist standard. Rather he succeeded in staying true to his art. He never sold out to better-paid mediocrity. He stayed true to his art, to himself and he survived with the respect and admiration of his fellow artists. When he died, I wrote and read this eulogy at his memorial, after Harold Pinter came up from Hampstead to say a few words about his departed friend. As did Stephen Frears and Scott Hampton (author of Les Liaisons Dangereuses).
I read this poem to David to my friends Alex Bosworth and Chris Vannoylast night. And in my mind, I went hunting and visiting my own xmas ghosts to remind me of the true joys of this season.
Daedalus Afraid to Fly
David, you bastard, you’ve left me
Understanding here alone,
With only these words falling out of my hands
When it is yours I want to hear again.
Words of your mastery, not mine.
So what was all the swearing about then, David?
What were all those Northern fumes really burning from?
I told you the songs of Yorkshire would never play in LA
Or London for that matter):
Two cities equidistant from your Yorkshire mother.
Tell me, David, why didn’t you just sell out?
You could have bought yourself a much better pint of beer
With all that money for old knotted ropes and
Still, have coughed up the phlegm to laugh at us all.
Is death your idea of some kind of joke?
Did you finally track down the film rights to Malcolm, David
And cash them in?
Are you really, secretly living in Barbados,
Making beautiful women miserable?
To think of all this wasted sorrow and
Empty glasses of beer.
You did say that you always wanted to visit other places.
But Daedalus, you were afraid to fly.
If you had been born upside down in America
You would have been a southern writer living in some Northern town.
Spilling your southern drawl over a rum and coke in a New York City bar.
Sitting elbow to arm with Williams, O’Neill, Baldwin and them all.
Your America was always an America of the mind.
So why fear the flight?
Your America David was where Charlie Parker
was forever sharp shooting pool with Humphrey Bogart
in some room behind a neon-splattered bar
Where Chet Baker never jumped or fell but flew, man!
He just flew away.
Just like you.
So you’re off then, David?
Back up the bumpy road,
Turning the corner around the Little Egyptian cottage
Navigating the reeds of Isis, Long past the close of time.
A brown duffle coat ship, bobbing on an unpaved surface,
Weaving a few well-spoken thoughts into your
Can you tell me, David:
Were you X-Centric, or
Merely Eggs Essential?
How about this time I tell you, David:
The spark was always there.
But not like Daedalus, like Prometheus.
The living punishment of Truth,
Chained to your bar stool,
That eternal pint of Carlsberg lager gnawing at your liver.
Like Prometheus David,
The spark is always here.
For the late, great David Halliwell; poet, playwright,
NOTHING has prepared you for This. Nothing ever will.
Because whatever is happening Now has never happened before.
This is a web-nurtured collaboration with 27 artists, sculptors and musicians from the world of Comics, Fantasy, Fine Art and Jazz, including Bill Sienkiewicz, David Lloyd, Liam Sharp, Glenn Fabry, Shaky Kane, Lars Henkel and the cutting edge sculptural typography of the highly acclaimed book designer Rian Hughes.
This illuminated book is a contemporary Dante’s Divine Comedy; a journey through the confessional landscape of a masculine identity. It uses poetry to construct a narrative that explores themes of death and loss, sex and love, and the modern American and Jewish identity design: by the UK’s eminent graphic designer, typographer, illustrator Rian Hughes.
The music is composed and produced by iconoclast, ex-Israeli, Middle-Eastern jazz virtuoso Gilad Atzmon, along with five other jazz artists.
Written by San Diego native Igor Goldkind, this illuminated book will revolutionize the way you view poetry by meshing comics, art, music and animation in a truly unique way. It uses poetry to construct a narrative that explores themes of death and loss, sex and love, and the modern American and Jewish identity. The book is available for download on the iTunes Store andGoogle Play, as well as in a 166 page, fully illustrated in colour hardbound edition available ORDER HERE.
The eBook edition pushes the edge of what is possible with present EPUB3 technology. It is not an App, it is a true book that marries pop art, comics, avant-garde, jazz, spoken word poetry, video and animations, and type design in a manner that we have not seen before IS SHE AVAILABLE? has the feel of an artefact from the near future – a seminal work of a new genre-fusing poetry, graphic art, music, and animation.
Sample interior pages:
IS SHE AVAILABLE? RRP is $34.95, SHIPPING INCLUDED Educational Discount for Students and Teachers:$29.95
Both deluxe hardcover edition PLUS animated and musically scored eBook App edition of Is She Available? bundle: $39.95
Shipping included in orders within the US and its territories.
If you are in Britain and/or Europe, please contact my European wholesaler Fanfare Productions who will take your order and dispatch to your address the same day: firstname.lastname@example.org
Reviews ? Sure We Got Reviews. Why You Wanna See Them? Be my guest.
“Igor’s “Illuminated Book” is like a new genre.It is a wonderful ekphrastic expression; a fusion of the arts.” — Poet Mel Takahara
“His collection Is She Available? has the feel of an artefact from the near future – a seminal work of a new genre-fusing poetry, graphic art, music, and animation.” —(San Diego’s) City Beat
“Is SHE Available?” is an experiment, and reading it feels more like an act of discovery… nonetheless there’s a thrill to scrolling through its pages. It’s an ambitious step toward what digital media can (and will) be.”—The Chicago Tribune
The166 full colour, fully illustrated hard cover deluxeedition is available in discerning and eclectic independent bookstores everywhere.Including Fahrenheit 451 in Carlsbad, Soulscape Bookstore in Encinitas, the Upstart Crow in San Diego, Verbatim Booksand Mysterious Galaxy also in San Diego, City Lights and the Cooperfields chain in Marin County and Sonoma County, amongst a growing number of independent book stores.
Order direct from PayPal and shipping is included!
You don’t need Seymour Chwast, Chip Kidd and other designers to tell you that cartoons and comics are vital sources of creative inspiration (although they do that here). So maybe you’re thinking about exploring the graphic novel realm, but you’d like something more exceptional than usual, more out of the ordinary. Well, here’s the first of a series of suggestions that either defy or disregard categorization as comics. And the first, Is She Available?, is an eBook that also challenges conventional book classification in the process.
As you scroll through, you hear 1950s cool jazz in the background. Then gunfire blasts out of nowhere. A choir sings. Dogs bark. Bombs drop from the sky. And all the while, letterforms unexpectedly appear, tilt, transform, and vanish while spoken words interweave with the music and sound effects. Is She Available? is a trans-media poetry collection, one that pushes at the limits of eBook technology. It’s also comics, kind of.
Its author, Igor Goldkind, is a 2000AD comics sci-fi writer. He describes his 50 or so poems as “a contemporary Dante’s Inferno… that explores themes of death and loss, sex and love.” He’s included a couple of standard, panel-sequenced comic book narratives, including one rendered by V for Vendetta’s David Lloyd. But the bulk of the book is enlivened with music and other effects that enhance the moody illustrations and minimalist animations from a diversity of other skilled artists. The lineup notably includes Judge Dredd’s Liam Sharp and Shaky Kane as well as Bill Sienkiewicz of Daredevil/Elektra fame. Most impressive is the overall design, by accomplished comics illustrator and self-described “commercial artist” Rian Hughes. With graphic flair and acuity, Hughes proves himself to be a worthy digital age successor to Stéphane Mallarmé and Robert Massin.
If you’re interested in comic books, chances are you’ve heard the names Joe Simon and Jack Kirby. After all, their partnership paved the way for the Golden Age of comics beginning in the 1940s. With The Art of the Simon and Kirby Studio by Mark Evanier, learn more about the duo who invented noteworthy characters like Captain America and Sandman, conceived the idea of romance comics, and created a new standard for the genres of crime, western, and horror comic books. Take a look inside the various aspects of their career, and see some of the works that defined them.