December 21st, 2010 / 5:09 pm

Fantagraphics to the Rescue

Stephen Dixon, in a new interview with Sean P. Carroll at Bookslut, says:

Fantagraphics became involved because Melville House, the publisher of three of my novels, didn’t want to bring out the three collections in one book. They thought it would be too expensive and a losing proposition. I thought the collections would generate no interest if published one at a time. That publishing 62 stories, never in book form and all rewritten, except for the unfinished ones still in manuscript form, which I finished for the collection, would be interesting and unusual if not unique as a body of work.

This is not the first time the people at Fantagraphics have proved themselves to be heroes of literature. Their catalog includes Joe Sacco’s Palestine, the Hernandez Brothers’ Complete Love and Rockets Library, Daniel Clowes’s Ghost World, R. Crumb’s The Book of Mr. Natural, and Chris Ware’s ACME Novelty Library. New releases in 2011 include Usagi Yojimbo: The Special Edition, Dave Cooper’s Bent (with an introduction by Guillermo del Toro), and David B.’s The Littlest Pirate King. You can find out more about all this goodness at

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  1. paulb

      amazing collection. discovered my local library had it while browsing the other day. really pretty book.

  2. Dreeezer

      Fantagraphics also published that huge Alexander Theroux novel, Laura Warholic, a few years ago.



  4. Marcos

      I don’t mean to piss on your cake, people, but the Dixon quote highlighted in this post sure doesn’t make me interested in the book. He took three books that wouldn’t generate interest by themselves (in his opinion), and stuck them all together as one book, and that’s supposed to make it interesting? Isn’t that like multiplying zero by three, i.e. still a zero? I mean, the stories in this tome might be the best shit to ever hit the page, but stating in a publicity interview that you’re relying on a gimmick to generate interest seems like a self-sabotaging strategy to me.