Ben Katchor

Ben Katchor (“The creator of the last great American comic strip.”—Michael Chabon) gives us his first book in more than ten years: the story of the fantastical nation of Outer Canthus and the three people who, in some way or another, in­habit its shores. Emile Delilah is a young xenophile (lover of foreign nations) so addicted to traveling to the exotic regions of Outer Canthus that the government pays him a monthly stipend just so he can continue his visits. Liv­ing in the same tenement as Emile are Boreal Rince, the exiled king of Outer Canthus, and Elijah Salamis, a supranationalist determined to erase the cultural and geographic boundaries that separate the citizens of the Earth. Although they rarely meet, their lives in­tertwine through the elaborate fictions they construct and inhabit: a vast panorama of humane hamburger stands, exquisitely ethereal ethnic restaurants, ancient restroom ruins, and wild tracts of land that fit neatly next to high-rise hotels. The Cardboard Valise is a graphic novel as travelogue; a canvas of semi-surrealism; and a poetic, whimsical, beguiling work of Ben Katchor’s dazzling imagination.

From one of the most poetic and gifted comic-strip artists working today--and author of "The Jew of New York"--Comes the first collection about his beloved protagonist, Julius Knipl, Real Estate Photographer.

**Time Magazine's Best Books of the Year 2013** **NPR's Best Books of the Year 2013** WITH BEAUTIFUL FULL-COLOR ILLUSTRATIONS THROUGHOUT From one of the most original and imaginative American cartoonists at work today comes a collection of graphic narratives on the subjects of urban planning, product design, and architecture—a surrealist handbook for the rebuilding of society in the twenty-first century. Ben Katchor, a master at twisting mundane commodities into surreal objects of social significance, now takes on the many ways our property influences and reflects cultural values. Here are window-ledge pillows designed expressly for people-watching and a forest of artificial trees for sufferers of hay fever. The Brotherhood of Immaculate Consumption deals with the matter of products that outlive their owners; a school of dance is based upon the choreographic motion of paying with cash; high-visibility construction vests are marketed to lonely people as a method of getting noticed. With cutting wit Katchor reveals a world similar to our own—lives are defined by possessions, consumerism is a kind of spirituality—but also slightly, fabulously askew. Frequently and brilliantly bizarre, and always mesmerizing, Hand-Drying in America ensures that you will never look at a building, a bar of soap, or an ATM the same way.

In 1825, Mordecai Noah, a New York politician and amateur playwright possessed of a utopian vision, summoned all the lost tribes of Israel to an island near Buffalo in the hope of establishing a Jewish state. His failed plan, a mere footnote in Jewish-American history, is the starting point for Ben Katchor's brilliantly imagined epic that unfolds on the streets of New York a few years later. A disgraced kosher slaughterer, an importer of religious articles and women's hosiery, a pilgrim peddling soil from the Holy Land, a latter-day Kabbalist, a man with plans to carbonate Lake Erie--these are just some of the characters who move through Katchor's universe, their lives interwoven in a common struggle to settle into the New World even as it erupts into a financial frenzy that could as easily leave them bankrupt as carry them into the future.

The recipient of a 2000 MacArthur fellowship, Ben Katchor (b. 1951) is a beloved comics artist with a career spanning four decades. Published in indie weeklies across the United States, his comics are known for evoking the sensorium of the modern metropolis. As part of the Biographix series edited by Frederick Luis Aldama, Ben Katchor offers scholars and fans a thorough overview of the artist’s career from 1988 to 2020. In some of his early strips published in the 1980s in the New York Press and Forward, Katchor introduced one of his quintessential characters, Julius Knipl, a real estate photographer. By crafting Knipl as an urban flâneur prone to wandering, Katchor was able to variously demonstrate his absurd humor and linguistic whimsy alongside narratives packed with social critique. Three volumes collecting the Julius Knipl strips, Julius Knipl, Real Estate Photographer; Cheap Novelties: The Pleasures of Urban Decay; and The Beauty Supply District, helped cement Katchor as a distinguished comics artist and social commentator. Later works, such as The Cardboard Valise, Hand-Drying in America, and The Dairy Restaurant, have diversified his comics legacy. Rooted in close analyses of the artist’s numerous series and collections, each chapter in Ben Katchor is dedicated to a distinct aspect of the urban experience. Individual pages from Katchor’s work depict not only the visual, but also the auditory, tactile, and olfactory dimensions of life in the city.

Author Michael Chabon described Ben Katchor (b. 1951) as "the creator of the last great American comic strip." Katchor's comic strip Julius Knipl, Real Estate Photographer: Stories, which began in 1988, brought him to the attention of the readers of alternative weekly newspapers along with a coterie of artists who have gone on to public acclaim. In the mid-1990s, NPR ran audio versions of several Julius Knipl stories, narrated by Katchor and starring Jerry Stiller in the title role. An early contributor to RAW, Katchor has contributed to Forward, New Yorker, Slate, and weekly newspapers. He edited and published two issues of Picture Story, which featured his own work, with articles and stories by Peter Blegvad, Jerry Moriarty, and Mark Beyer. In addition to being a dramatist, Katchor has been the subject of profiles in the New Yorker, a recipient of a MacArthur "Genius Grant" and a Guggenheim Fellowship, and a fellow at both the American Academy in Berlin and the New York Public Library. Katchor's work is often described as zany or bizarre, and author Douglas Wolk has characterized his work as "one or two notches too far" beyond an absurdist reality. And yet the work resonates with its audience because, as was the case with Knipl's journey through the wilderness of a decaying city, absurdity was only what was usefully available; absurdity was the reality. Julius Knipl, Real Estate Photographer: Stories presaged the themes of Katchor's work: a concern with the past, an interest in the intersection of Jewish identity and a secular commercial culture, and the limits and possibilities of urban life.

As modern urban development encroaches, Julius Knipl is hired to take photographs of old buildings and sights -- before the inevitable takes them.

For their 51st edition, World War 3 Illustrated asked their artists and writers to bring heart and vision to two questions: What do we really care about? and What are we fighting for? Their comic strips and panels are cheerful or angry, prescriptive, or absurd. There is both humor and strong imagery. Some artists bring a roadmap for change. Others simply tell us what their values are, who their loved ones are, what they are clinging to and holding on to in the struggle to exist. Some lean into the mysterious, the poetic, the unfinished, or the unknowable. This book is really all about the "how" and the "why." Artists tell us about their personal experience of activism, whether it’s direct action, voting, or just talking with people.