Rafah, a town at the southernmost tip of the Gaza Strip, is a squalid place. Raw concrete buildings front rubbish-strewn alleys. The narrow streets are crowded with young children and unemployed men. Situated on the border with Egypt, swaths of Rafah have been reduced to rubble. Rafah is today and has always been a notorious flashpoint in this most bitter of conflicts.

Buried deep in the archives is one bloody incident, in 1956, that left 111 Palestinian refugees dead, shot by Israeli soldiers. Seemingly a footnote to a long history of killing, that day in Rafah - coldblooded massacre or dreadful mistake - reveals the competing truths that have come to define an intractable war. In a quest to get to the heart of what happened, Joe Sacco arrives in Gaza and, immersing himself in daily life, uncovers Rafah, past and present. Spanning fifty years, moving fluidly between one war and the next, alive with the voices of fugitives and schoolchildren, widows and sheikhs, Footnotes in Gaza captures the essence of a tragedy.

As in Palestine and Safe Area Goražde, Joe Sacco's unique visual journalism has rendered a contested landscape in brilliant, meticulous detail. Footnotes in Gaza, his most ambitious work to date, transforms a critical conflict of our age into intimate and immediate experience.

In late l991 and early 1992, at the time of the first Intifada, Joe Sacco spent two months with the Palestinians in the West Bank and Gaza Strip, travelling and taking notes. Upon returning to the United States he started writing and drawing Palestine, which combines the techniques of eyewitness reportage with the medium of comic-book storytelling to explore this complex, emotionally weighty situation. He captures the heart of the Palestinian experience in image after unforgettable image, with great insight and remarkable humour.

The nine-issue comics series won a l996 American Book Award. It is now published for the first time in one volume, befitting its status as one of the great classics of graphic non-fiction.

'A political and aesthetic work of extraordinary originality, quite unlike any other in the long, often turgid and hopelessly twisted debates that have occupied Palestinians, Israelis, and their respective supporters... With the exception of one or two novelists and poets, no one has ever rendered this terrible state of affairs better than Joe Sacco.' Edward Said

In late 1995 and early 1996, cartoonist/reporter Joe Sacco travelled four times to Gorazde, a UN-designated safe area during the Bosnian War, which had teetered on the brink of obliteration for three and a half years. Still surrounded by Bosnian Serb forces, the mainly Muslim people of Gorazde had endured heavy attacks and severe privation to hang on to their town while the rest of Eastern Bosnia was brutally 'cleansed' of its non-Serb population. But as much as Safe Area Gorazde is an account of a terrible siege, it presents a snapshot of people who were slowly letting themselves believe that a war was ending and that they had survived. Since it was first published in 2000, Safe Area Gorazde has been recognized as one of the absolute classics of graphic non-fiction. We are delighted to publish it in the UK for the first time, to stand beside Joe Sacco's other books on the Cape list - Palestine, The Fixer and Notes from a Defeatist.

Naji al-Ali grew up in the Palestinian refugee camp of Ain al-Hilweh in the south Lebanese city of Sidon, where his gift for drawing was discovered by the Palestinian poet Ghassan Kanafani in the late 1950s. Early the following decade he left for Kuwait, embarking on a thirty-year career that would see his cartoons published daily in newspapers from Cairo to Beirut, London to Paris.
Resolutely independent and unaligned to any political party, Naji al-Ali strove to speak to and for the ordinary Arab people; the pointed satire of his stark, symbolic cartoons brought him widespread renown. Through his most celebrated creation, the witness-child Handala, al-Ali criticized the brutality of Israeli occupation, the venality and corruption of the regimes in the region, and the suffering of the Palestinian people, earning him many powerful enemies and the soubriquet "the Palestinian Malcolm X."
For the first time in book form, "A Child in Palestine" presents the work of one of the Arab world's greatest cartoonists, revered throughout the region for his outspokenness, honesty and humanity.
""That was when the character Handala was born. The young, barefoot Handala was a symbol of my childhood. He was the age I was when I had left Palestine and, in a sense, I am still that age today and I feel that I can recall and sense every bush, every stone, every house and every tree I passed when I was a child in Palestine. The character of Handala was a sort of icon that protected my soul from falling whenever I felt sluggish or I was ignoring my duty. That child was like a splash of fresh water on my forehead, bringing me to attention and keeping me from error and loss. He was the arrow of the compass, pointing steadily towards Palestine. Not just Palestine in geographical terms, but Palestine in its humanitarian sense--the symbol of a just cause, whether it is located in Egypt, Vietnam or South Africa.""--Naji al-Ali, in conversation with Radwa Ashour

Named a Best Book of the Year by Amazon.com and the Washington Post Three years ago, Pulitzer Prize-winner Chris Hedges and award-winning cartoonist and journalist Joe Sacco set out to take a look at the sacrifice zones, those areas in America that have been offered up for exploitation in the name of profit, progress, and technological advancement. They wanted to show in words and drawings what life looks like in places where the marketplace rules without constraints, where human beings and the natural world are used and then discarded to maximize profit. Days of Destruction, Days of Revolt is the searing account of their travels.

Newly updated: “An enjoyable introduction to American working-class history.� —The American Prospect   Praised for its “impressive even-handedness�, From the Folks Who Brought You the Weekend has set the standard for viewing American history through the prism of working people (Publishers Weekly, starred review). From indentured servants and slaves in seventeenth-century Chesapeake to high-tech workers in contemporary Silicon Valley, the book “[puts] a human face on the people, places, events, and social conditions that have shaped the evolution of organized labor�, enlivened by illustrations from the celebrated comics journalist Joe Sacco (Library Journal).   Now, the authors have added a wealth of fresh analysis of labor’s role in American life, with new material on sex workers, disability issues, labor’s relation to the global justice movement and the immigrants’ rights movement, the 2005 split in the AFL-CIO and the movement civil wars that followed, and the crucial emergence of worker centers and their relationships to unions. With two entirely new chapters—one on global developments such as offshoring and a second on the 2016 election and unions’ relationships to Trump—this is an “extraordinarily fine addition to U.S. history [that] could become an evergreen . . . comparable to Howard Zinn’s award-winning A People’s History of the United States� (Publishers Weekly).   “A marvelously informed, carefully crafted, far-ranging history of working people.� —Noam Chomsky

'The blessing of an inherently interpretive medium like comics is that it hasn't allowed me to . . . make a virtue of dispassion. For good or for ill, the comics medium is adamant, and it has forced me to make choices. In my view, that is part of its message' - from the preface by Joe Sacco Over the past decade, Joe Sacco has increasingly turned to short-form com ics journalism to report from conflict zones around the world. Collected here for the first time, Sacco's darkly funny, revealing reportage confirms his standing as one of the foremost international correspondents working today. Journalism takes readers from the smuggling tunnels of Gaza to war crimes trials in The Hague, from the lives of India's 'untouchables' to the ordeal of sub-Saharan refugees washed up on the shores of Malta. Sacco also confronts the misery and absurdity of the war in Iraq, including the darkest chapter in recent American history - the torture of detainees. Vividly depicting Sacco's own interactions with the people he meets, the stories in this remarkable collection argue for the essential truth in comics reportage, an inevitably subjective journalistic endeavour. Among Sacco's most mature and accomplished work, Journalism demonstrates the power of a great comics artist to chronicle lived experience with a force that often eludes other media.

Boisterous, ribald, and ultimately shattering, Ken Kesey's 1962 novel has left an indelible mark on the literature of our time. Now in a new deluxe edition with a foreword by Chuck Palahniuk and cover by Joe Sacco, here is the unforgettable story of a mental ward and its inhabitants, especially the tyrannical Big Nurse Ratched and Randle Patrick McMurphy, the brawling, fun-loving new inmate who resolves to oppose her. We see the struggle through the eyes of Chief Bromden, the seemingly mute half-Indian patient who witnesses and understands McMurphy's heroic attempt to do battle with the powers that keep them all imprisoned.

In his first full-length work of journalism in a decade, the 'heir to R. Crumb and Art Spiegelman' (Economist) brings his comics mastery to a story of indigenous North America, resource extraction, and our debt to the natural world *A GUARDIAN BOOK OF THE YEAR* The Dene have lived in the vast Mackenzie River Valley since time immemorial, by their account. To the Dene, the land owns them, not the other way around-it is central to their livelihood and their very way of being. But the subarctic Canadian Northwest Territories are also home to valuable natural resources, including oil, gas and diamonds. With mining came jobs and investment-but also road-building, pipelines and toxic waste, which scarred the landscape; and alcohol, drugs, and debt, which deformed a way of life. In Paying the Land, Joe Sacco travels the frozen North to reveal a people in conflict over the costs and benefits of development. Resource extraction is only part of Canada's colonial legacy: Sacco recounts the shattering impact of a residential school system that aimed to remove the Indian from the child; the destructive process that drove the Dene from the bush into settlements and turned them into wage labourers; the government land claims stacked against the Dene Nation; and their uphill efforts to revive a wounded culture. Against a vast and gorgeous landscape that dwarfs all human scale, Paying the Land lends an ear to trappers and chiefs, activists and priests, telling a sweeping story about money and dependency, loss and culture, with stunning visual detail by one of the greatest comics reporters alive.

The winner of the 2001 Eisner Award for Best New Graphic Album. Sacco spent five months in Bosnia in 1996, immersing himself in the human side of life during wartime, researching stories that are rarely found in conventional news coverage, emerging with this astonishing first-person account.

This title is published on the 6th anniversary of the invasion of Afghanistan, the beginning of the 'War on Terror', John Berger, Naomi Klein, Arundhati Roy, Joe Sacco and others examine the consequences. On October 7th 2001, US-led forces invaded Afghanistan, marking the start of George Bush and Tony Blair's War on Terror. Six years on, where have the policies of Bush and Blair left us? Bringing together some of the finest contemporary writers, this wide-ranging anthology, from reportage and faction to fiction, explores the impact of this long war throughout the world, from Palestine to Iraq, Abu Ghraib, the curtailment of civil liberties and manipulation of public opinion. Published in conjunction with Stop the War Coalition and United for Peace and Justice, it provides an urgent, necessary reflection on the causes and consequences of the ideological War on Terror.

"Sacco brings the conflict down to the most human level, allowing us to imagine our way inside it, to make the desperation he discovers, in some small way, our own."--"Los Angeles Times "

Rafah, a town at the bottommost tip of the Gaza Strip, has long been a notorious flashpoint in the bitter Middle East conflict. Buried deep in the archives is one bloody incident, in 1956, that left 111 Palestinians shot dead by Israeli soldiers. Seemingly a footnote to a long history of killing, that day in Rafah--cold-blooded massacre or dreadful mistake--reveals the competing truths that have come to define an intractable war.

In a quest to get to the heart of what happened, Joe Sacco immerses himself in the daily life of Rafah and the neighboring town of Khan Younis, uncovering Gaza past and present. As in "Palestine" and "Safe Area Goražde," his unique visual journalism renders a contested landscape in brilliant, meticulous detail. Spanning fifty years, moving fluidly between one war and the next, "Footnotes in Gaza"--Sacco's most ambitious work to date--transforms a critical conflict of our age into intimate and immediate experience.

In his remarkable new book Joe Sacco returns to Bosnia, the setting for his first masterpiece, Safe Area Gorazde. In 2001 he went back to Sarajevo to meet up with his old 'fixer', an army veteran called Neven who, for the right price, could arrange anything for the visiting journalist. Sacco gradually realized that Neven's own story - a microcosm of the Balkan conflict itself - might be the most compelling of all. Through Neven, Sacco tells the story of the warlords and gangsters who ran the country during the war, but all the time he - and the reader - never know whether Neven is telling the truth.

Sacco paved the way for Palestine with his powerful triptych on modern war and its innocent victims, originally published in his comic Yahoo and collected here: 'When Good Bombs Happen to Bad People' chronicles the effect of aerial warfare on civilians, from Germany and Japan in World War II to Libya in 1986; 'More Women, More Children, More Quickly' is written from a victim's perspective, as Sacco illustrates his mother's harrowing experiences during Italian and German WWII raids on Malta; and 'How I Loved the War', Defeatist's centrepiece, is Sacco's impassioned but sardonic reflection on the Gulf War, and the surrounding propaganda and media circus. Published during the reign of Bush I, it has since acquired an even sharper relevance. Defeatist also features Sacco's first (relatively) long-form piece, 'In the Company of Long Hair', a hilarious roadie's-eye view of an American punk band's eventful European tour from Amsterdam to Madrid, as well as 'Cartoon Genius', 'Voyage to the End of the Library', 'A Disgusting Experience', and 'On My Day Off', a cycle of funny and rueful autobiographic comics that display Sacco's graphic verve to its fullest extent. Defeatist is rounded off with a large section of Sacco's earliest, pointedly satirical strips (none of which has been collected in book form before) and new introductions and notes by the author. A combination of youthful indiscretions and mature masterworks, Notes from a Defeatist spotlights the work of a brilliant young artist as he defines the capabilities and potential of his chosen medium.

In the vein of the old underground comix like ZAP or Weirdo, author Joe Sacco promises that BUMF will go where it needs to go, and do what it needs to do. Though world-famous for his serious, journalistic books like Palestine, Safe Area Gorazde, and Footnotes in Gaza, Bumf promises to echo back to Sacco s earlier days as a satirist and underground cartoonist. Bumf is a project that Sacco has been working on in between larger projects like Footnotes in Gaza, indulging his love of satire and cartooning. Often puerile, disgusting, and beyond redemption, Sacco apologized in advance, saying he couldn t help himself. They expect better things from me. They ll never put me on a stamp now. "

Joe Sacco is renowned for his non-fiction books of comics journalism like Palestine, Safe Area Gorazde and Footnotes in Gaza. Now in Bumf he returns to his early days as a satirist and underground cartoonist. In the vein of the old underground comix like ZAP or Weirdo, Bumf will be puerile, disgusting, and beyond redemption. It will go where it wants to go, and do what it wants to do. It will also be very funny.

Seeking new definitions of ecology in the tar sands of northern Alberta and searching for the sweetness of life in the face of planetary crises. Confounded by global warming and in search of an affirmative politics that links ecology with social change, Matt Hern and Am Johal set off on a series of road trips to the tar sands of northern Alberta-perhaps the world's largest industrial site, dedicated to the dirty work of extracting oil from Alberta's vast reserves. Traveling from culturally liberal, self-consciously "green" Vancouver, and aware that our well-meaning performances of recycling and climate-justice marching are accompanied by constant driving, flying, heating, and fossil-fuel consumption, Hern and Johal want to talk to people whose lives and fortunes depend on or are imperiled by extraction. They are seeking new definitions of ecology built on a renovated politics of land. Traveling with them is their friend Joe Sacco-infamous journalist and cartoonist, teller of complex stories from Gaza to Paris-who contributes illustrations and insights and a chapter-length comic about the contradictions of life in an oil town. The epic scale of the ecological horror is captured through an series of stunning color photos by award-winning aerial photographer Louis Helbig. Seamlessly combining travelogue, sophisticated political analysis, and ecological theory, speaking both to local residents and to leading scholars, the authors propose a new understanding of ecology that links the domination of the other-than-human world to the domination of humans by humans. They argue that any definition of ecology has to start with decolonization and that confronting global warming requires a politics that speaks to a different way of being in the world-a reconstituted understanding of the sweetness of life. Published with the help of funding from Furthermore: a program of the J. M. Kaplan fund