front cover of Naturalist
Naturalist
A Graphic Adaptation
Edward O. Wilson, Adapted by Jim Ottaviani, Illustrated by C.M. Butzer
Island Press, 2020

"Poised to inspire a new generation of naturalists." - Publishers Weekly

A vibrant graphic adaptation of the classic science memoir

Regarded as one of the world’s preeminent biologists, Edward O. Wilson spent his boyhood exploring the forests and swamps of south Alabama and the Florida panhandle, collecting snakes, butterflies, and ants—the latter to become his lifelong specialty. His memoir Naturalist, called “one of the finest scientific memoirs ever written” by the Los Angeles Times, is an inspiring account of Wilson’s growth as a scientist and the evolution of the fields he helped define. This graphic edition, adapted by New York Times bestselling comics writer Jim Ottaviani and illustrated by C.M.Butzer, brings Wilson’s childhood and celebrated career to life through dynamic full-color illustrations and Wilson’s own lyric writing.

In this adaptation of Naturalist, vivid illustrations draw readers in to Wilson’s lifelong quest to explore and protect the natural world. His success began not with an elite education but an insatiable curiosity about Earth’s wild creatures, and this new edition of Naturalist makes Wilson’s work accessible for anyone who shares his passion. On every page, striking art adds immediacy and highlights the warmth and sense of humor that sets Wilson’s writing apart. 

Naturalist was written as an invitation—a reminder that curiosity is vital and scientific exploration is open to all of us. Each dynamic frame of this graphic adaptation deepens Wilson’s message, renewing his call to discover and celebrate the little things of the world.
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front cover of No Laughing Matter
No Laughing Matter
Visual Humor in Ideas of Race, Nationality, and Ethnicity
Edited by Angela Rosenthal, David Bindman, and Adrian W. B. Randolph
Dartmouth College Press, 2015
In the wake of the Charlie Hebdo attacks, this collection—which gathers scholars in the fields of race, ethnicity, and humor—seems especially urgent. Inspired by Denmark’s Muhammad cartoons controversy, the contributors inquire into the role that racial and ethnic stereotypes play in visual humor and the thin line that separates broad characterization as a source of humor from its power to shock or exploit. The authors investigate the ways in which humor is used to demean or give identity to racial, national, or ethnic groups and explore how humor works differently in different media, such as cartoons, photographs, film, video, television, and physical performance. This is a timely and necessary study that will appeal to scholars across disciplines.
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