Accidental Ambassador Gordo

A collection of comic strips by Robert Harvey that feature Gordo.

A collection of comic strips by Robert Harvey that feature Gordo.

A history of the comic book, in which a noted cartoonist demonstrates the aesthetics and power of the medium

This title takes a calendrical approach to illuminating the history of Latinos and life in the United States and adds more value than a simple "this day in history" through primary source excerpts and resources for further research. Latino/a history has been relatively slow in gaining recognition despite the population's rich and varied history. Engaging and informative, Latino History Day by Day: A Reference Guide to Events will help address that oversight. Much more than just a "this-day-in-history" list, the guide describes important events in Latino/a history, augmenting many entries with a brief excerpt from a primary document. All entries include two annotated books and websites as key resources for follow up. The day-to-day reference is organized by the 365 days of the year with each day drawing from events that span several hundred years of Latino/a history, from Mexican Americans to Puerto Ricans to Cuban Americans. With this guide in hand, teachers will be able to more easily incorporate Latino/a history into their classes. Students will find the book an easy-to-use guide to the Latino/a past and an ideal starting place for research.

The comic strip was created by rival newspapers of the Hearst and the Pulitzer organizations as a device for increasing circulation. In the United States it quickly became an institution that soon spread worldwide as a favorite form of popular culture. What made the comic strip so enduring? This fascinating study by one of the few comics critics to develop sound critical principles by which to evaluate the comics as works of art and literature unfolds the history of the funnies and reveals the subtle art of how the comic strip blends words and pictures to make its impact. Together, these create meaning that neither conveys by itself. The Art of The Funnies offers a critical vocabulary for the appreciation of the newspaper comic strip as an art form and shows that full awareness of the artistry comes from considering both the verbal and the visual elements of the medium. The techniques of creating a comic strip - breaking down the narrative, composition of the panel, planning the layout - have remained constant since comic strips were originated. Since 1900 with Winsor McCay's Little Nemo in Slumberland key cartoonists have relied on the union of words and pictures to give the funnies their continuing appeal. This art has persisted in such milestone achievements as Bud Fisher's Mutt and Jeff, George McManus's Bringing Up Father, Sidney Smith's The Gumps, Roy Crane's Wash Tubbs and Captain Easy, Harold Gray's Little Orphan Annie, Chester Gould's Dick Tracy, Zack Mosley's Smilin' Jack, Harold Foster's Tarzan, Alex Raymond's Secret Agent X-9, Jungle Jim, and Flash Gordon, Milton Caniff's Terry and the Pirates, E. C. Segar's Popeye, George Herriman's Krazy Kat, and Walt Kelly's Pogo. In morerecent times with Mort Walker's Beetle Bailey, Charles Schulz's Peanuts. Johnny Hart's B.C., T.K. Ryan's Tumbleweeds, Garry Trudeau's Doonesbury, and Bill Watterson's Calvin and Hobbes, the artform has evolved with new developments, yet the aesthetics of the funnies remain basic. The Art of The Funnies unearths new information and weighs the influence of syndication upon the medium. Though the funnies go in ever new directions, perceiving the interdependency of words and pictures, as this book shows, remains the key to understanding the art.