The first volume.
The sequel!
The Ultimate Comics Anthology: A Deep Dive into Ivan Brunetti’s Graphic Fiction
Guest Blog by Jonathan Sandler, Editor of graphicmemoir.co.uk and Author of The English GI: WWII Graphic Memoir
A few weeks ago, I was speaking with Comics Grinder’s Henry Chamberlain about comic anthologies. I told him about Ivan Brunetti’s An Anthology of Graphic Fiction, Cartoons, and True Stories (Volumes 1 & 2), published in 2006 and 2008 by Yale University Press. When I described the books to him, he remarked that they sounded like an encyclopedia—an apt description, though they are perhaps a hybrid of anthology and reference guide. Given the intrigue, he asked me to write a review piece for his blog.
Over the weekend, I picked up both volumes and began rereading them. These books now have a permanent place in my lounge, perfect for dipping in and out whenever time allows, especially between other books. I’m grateful to Chamberlain for prompting me to revisit them.
One of the highlights of both volumes is the collection of essays. Volume 1 includes a written reflection by Charles Schulz on the art of the comic strip, along with graphic essays and tributes scattered throughout. Volume 2 features an essay on Harvey Kurtzman by Adam Gopnik, as well as tribute comic essays by Robert Crumb and Art Spiegelman. My only criticism is that I would have loved more essays—Daniel Raeburn’s piece on Daniel Clowes’s short story Gynecology is another standout, but more analytical content would have been welcome.
Prior to the first volume, Brunetti curated The Cartoonist’s Eye, an exhibit of 75 artists’ work, for the A+D Gallery of Columbia College Chicago. Given his expertise in comics, the task must have been immense. His prologue, though brief, offers valuable insights. He describes comics as a “peculiar art form” and cites Chris Ware’s description of cartooning as “the convergence of seeing and reading” and Spiegelman’s characterization of comics as “writing with pictures.” Brunetti firmly believes that doodling is the fundamental essence of cartooning.
Notably, the anthology is deliberately unstructured—Brunetti eschewed chronology and explanations, preferring the cartoons to speak for themselves. He even apologizes for the title Graphic Fiction, acknowledging that it serves as an umbrella term for memoir, essay, fiction, nonfiction, autobiography, and journalism.
The selections span a wide range, from excerpts of 10–12 pages to single-page works. Many are drawn from serialized pieces, and I realized I already owned several of the featured classics: Maus, Black Hole, Clyde Fans, Berlin, and Building Stories. Seeing Richard McGuire’s Here in its original form was particularly exciting.
Some notable works include:
- Riot of the Insane by George Grosz (1915)
- Nancy by Ernie Bushmiller
Personal favorites from the collection:
- Jack London by Jessica Abel
- An untitled work by Ivan Brunetti (page 87 of Volume 1)
- Cheap Novelties by Ben Katchor
- Griffith’s Observatory by Bill Griffith
- Hawaiian Getaway by Adrian Tomine
- Patton and A History of America by Crumb
- How I Quit Collecting Records by Robert Crumb & Harvey Pekar
- Is There Life After Levittown? (from Lemme Outta Here!, 1978)
- The Ethel Catherwood Story by David Collier
While writing this article, I watched Married to Comics, the documentary about Justin Green and Carol Tyler. It featured Green’s groundbreaking work Binky Brown Meets the Holy Virgin Mary—a piece I had never read but immediately wanted to. I thought to myself, I’m sure this is in Brunetti’s anthology—and of course, it was, which only underscores the lasting value of these volumes. Phoebe Gloeckner was also interviewed in the documentary, which piqued my interest in her work. I was then able to dip into an excerpt from Diary of a Teenage Girl included in the anthology. There’s always something more to discover, even years later. That’s the magic of a truly great collection.
Other contributors include David Mazzucchelli, Lynda Barry, Gary Panter, Gilbert & Jaime Hernandez, and more. In fact, there are too many to mention. Of course, not every piece resonated with me, but that’s the point. Some styles didn’t connect, and certain artworks—like King-Cat by John Porcellino and Joe Matt’s work—can be challenging to read due to how much they try to fit onto each page. This reminded me of something Scott McCloud once said: how comics were once constrained by limited space—artists would cram as much as possible onto a page—but now, they have the freedom to stretch out. The key takeaway is that there are so many different ways to draw comics, and this anthology showcases the eclecticism and variety of this wonderful art form.
It’s also worth noting that these volumes are nearly 20 years old. In a 2013 interview with Gil Roth, Brunetti mentioned the proliferation of graphic novelists, noting that he couldn’t keep up. Now 20 years on—as readers, we are spoiled for choice. That said, the works and the artists in these two volumes still stand the test of time.
Other details worth noting: The books were co-edited by Chris Ware and Laura Mizicko. Volume 1’s dust jacket was designed by Seth, while Daniel Clowes provided the cover for Volume 2. The anthologies draw from essential art-house comics publishers, including Fantagraphics, Drawn & Quarterly, Pantheon, Top Shelf, and Smithsonian Collections. Both volumes also feature illustrations by Saul Steinberg.
A few years ago, if someone had asked me about comics, I might have (ignorantly) thought only of superheroes, horror comics, or children’s books. But over time, I’ve immersed myself in the world of art-house comics, particularly those by North American cartoonists. Brunetti’s two volumes of Graphic Fiction are magisterial. Every art-house comics fan should have them on their bookshelf. These aren’t books you read from start to finish—they are books to explore, revisit, and savor over time.
About Ivan Brunetti:
Ivan Brunetti was born in Italy and moved to the South Side of Chicago when he was eight. He is an Associate Professor of Illustration in the Design Department at Columbia College Chicago, where he teaches courses on illustration, cartooning, graphic novels, and visual narrative. He has also taught at the University of Chicago. He is the author of Cartooning: Philosophy and Practice and Aesthetics: A Memoir, as well as the editor of both volumes of An Anthology of Graphic Fiction, Cartoons, and True Stories.
