Dominic Umile writes about comics and other books. He formerly covered new music for REMIX, THE BROOKLYN RAIL, ORLANDO WEEKLY, MIAMI NEW TIMES, and more. email@example.com
Ellice Weaver's collection of interconnected comics has everything to do with the concept of place.
An experiment at The New York Times Magazine brings comics back to the Sunday paper.
'Winnebago Graveyard' takes readers from a carnival freak show to a hallucinatory black mass.
On Thi Bui's comics debut -- an effort to understand the refugee experience and her place in her family's history.
Creatures invade 1960s Chicago in 'My Favorite Thing Is Monsters.'
Finding my way through the work of Raymond Pettibon at the New Museum.
A close look at American horror comics of the 1950s and the censorship campaign that killed them off.
On the photographic sensibility of Ben Katchor's comics.
On the hallucinatory drawings and comics in Sean Karemaker's 'The Ghosts We Know.'
University of Chicago professor and comics scholar Hillary Chute argues for recognizing comics as a documentary form.
Threadbare’s comics and essays demonstrate how the apparel industry is “keeping women in poverty around the world.”
In The Caped Crusade: Batman and the Rise of Nerd Culture, NPR critic Glen Weldon examines DC Comics’ most relatable property.
On 'The Eternaut' and Argentinian comics pioneer Héctor Germán Oesterheld, who was kidnapped by his own government in 1977.
Comics creator Sylvie-Anne “Zviane” Ménard follows two lovers around an austere but enviably spacious mid-century modern cabin in For As Long As It Rains.
In a confrontational collection of new comics, Chester Brown challenges widely held ideas about sex workers in the Bible.