2023 Peter C. Rollins Book Award, Southwest Texas Popular Culture and American Culture Associations (SWPACA) A revisionist history of women's pivotal roles as creators of and characters in comic books. The history of comics has centered almost exclusively on men. Comics historians largely describe the medium as one built by men telling tales about male protagonists, neglecting the many ways in which women fought for legitimacy on the page and in publishers’ studios. Despite this male-dominated focus, women played vital roles in the early history of comics. The story of how comic books were born and how they evolved changes dramatically when women like June Tarpé Mills and Lily Renée are placed at the center rather than at the margins of this history, and when characters such as the Black Cat, Patsy Walker, and Señorita Rio are analyzed. Comic Book Women offers a feminist history of the golden age of comics, revising our understanding of how numerous genres emerged and upending narratives of how male auteurs built their careers. Considering issues of race, gender, and sexuality, the authors examine crime, horror, jungle, romance, science fiction, superhero, and Western comics to unpack the cultural and industrial consequences of how women were represented across a wide range of titles by publishers like DC, Timely, Fiction House, and others. This revisionist history reclaims the forgotten work done by women in the comics industry and reinserts female creators and characters into the canon of comics history.

Polyester's popularity in the 1960s and 1970s ushered in distinctive new styles in colorful print designs. Enthusiastic descriptions are given for hundreds of cheerful dresses, jumpsuits, bellbottoms, hotpants, and disco clothes. The social issues of the times are described to help interpret the moods that helped to popularize these new styles. You will delight in the variety displayed, from the pretty and conservative designs of the early 1960s to the granny dresses, patchwork designs, paisley patterns, and flag fashions of the 1970s. "Vintage" clothing is differentiated from "retro," and original designs by Emilio Pucci, Oscar de la Renta, Geoffrey Beene, Diane Von Furstenberg, Lilly Pulitzer, and others are showcased. A foreword by Richard Martin of the Metropolitan Museum of Art's Costume Institute gives a nostalgic first-hand summary of this colorful era.

For fast-paced true tales of extraordinary lives, turn to this series. These graphic novel format biographies inspire, entertain, and inform readers about individuals who have made significant contributions to society.

During the Golden Age of comics, publishers offered titles supporting the war effort - presenting fighting men and their feminine counterparts - babes in arms! Comic books during this period featured US service-women fighting all of the axis bad guys and gave several of the most noteworthy women artists of the era opportunities to create action-packed, adventure-filled, four-color stories. Now for the first time renowned pop-culture historian Trina Robbins assembles comic book stories by artists Barbara Hall, Jill Elgin, Lilly Renee, and Fran Hopper together with insightful commentary and loads of documentary extras to create the definitive book chronicling the work of these important Golden Age artists. This magnificent art book offers page-after-page of good girl action!

A revisionist history of women's pivotal roles as creators of and characters in comic books. The history of comics has centered almost exclusively on men. Comics historians largely describe the medium as one built by men telling tales about male protagonists, neglecting the many ways in which women fought for legitimacy on the page and in publishers' studios. Despite this male-dominated focus, women played vital roles in the early history of comics. The story of how comic books were born and how they evolved changes dramatically when women like June Tarpe Mills and Lily Renee are placed at the center rather than at the margins of this history, and when characters such as the Black Cat, Patsy Walker, and Senorita Rio are analyzed. Comic Book Women offers a feminist history of the golden age of comics, revising our understanding of how numerous genres emerged and upending narratives of how male auteurs built their careers. Considering issues of race, gender, and sexuality, the authors examine crime, horror, jungle, romance, science fiction, superhero, and Western comics to unpack the cultural and industrial consequences of how women were represented across a wide range of titles by publishers like DC, Timely, Fiction House, and others. This revisionist history reclaims the forgotten work done by women in the comics industry and reinserts female creators and characters into the canon of comics history.

From ancient warrior queens to the labor-movement maven Mother Jones, this book explores wild Irish women throughout history.

Part fictional narrative, part send-up of the New Age movement, and part comedic triumph, "Tales of Tongue Fu" splits the reader's sides with hilarious misadventures and wicked social commentary. The book's hero, Tongue Fu, evolves from the humble son of a radioactive mother and a kamikaze pilot father to a guru -- with an incredibly long tongue, which he uses for both romance and martial arts. Tongue Fu meets a cadre of riotous characters along his way, from Baba Blabla, who has been silent for 30 years, to Rosebud Zwaliyeh, an activist who joins a cult. At every turn, comedy legend Krassner skewers phony spiritualism with his formidable wit, and endlessly entertains with his razor-sharp satire and notorious sense of humor, as Trina Robbins delights with her singular artistic vision.

Add period flair to a variety of graphic projects with rare cuts of advertising art promoting everything from women's accessories, quality baked goods and choice meats, to quality luggage, holiday getaways, "Scientific Body Sculpturing" and "Dance Instruction by Experts." Practical, amusing and copyright-free!

The stories of the hard-rock miners' shooting wars, young Elizabeth Gurly Flynn (the "Rebel Girl" of contemporary sheet music), the first sit-down strikes and Free Speech fights, Emma Goldman and the struggle for birth control access, the Pageant for Paterson orchestrated in Madison Square Garden, bohemian radicals John Reed and Louise Bryant, field-hand revolts and lumber workers' strikes, wartime witch hunts, government prosecutions and mob lynching, Mexican-American uprisings in Baja, and Mexican peasant revolts led by Wobblies, hilarious and sentimental songs created and later revived-all are here, and much, much more. The IWW, which has been organizing workers since 1905, is often cited yet elusive to scholars because of its eclectic and controversial cultural and social character. Wobblies! presents the IWW whole, scripted and drawn by old-time and younger Wobbly and IWW-inspired artists. Contributors include Carlos Cortez (former editor of the Industrial Worker), Harvey Pekar (author of American Splendor), Peter Kuper (MAD's Spy vs. Spy), Sue Coe, Seth Tobocman, Chris Cardinale, Ryan Inzana, Spain Rodriques, Trina Robbins, Sharon Rudahl, and the circle of artists for World War 3 Illustrated.

In this wickedly funny, irreverent tribute to mythological "bad girl" goddesses from around the world, Trina Robbins tells 20 nasty, bitchy, utterly enjoyable tales. Her goddesses sleep with dwarves, slip drugs into drinks, have catfights with their sisters, kill, get even, and generally raise hell. Readers meet Innanna, the Sumerian goddess who plies the god of wisdom with beer so she can steal his powers; Norse goddess Freya, the original Snow White, who is after a diamond necklace; and Lilith, created by God to be Adam's equal, but hungry for more.

The art and commentary of Nell Brinkley (1886-1944) ran in American newspapers from 1907 through the 1930s. At the height of her popularity, "The Brinkley Girl" appeared in the Ziegfeld Follies and inspired poems and popular songs. Brinkley's name even sold hair curlers, and her delicate pen work influenced later women cartoonists. As early as 1913, Brinkley was drawing working women, from farm and factory workers to those pursuing careers, using her art to encourage decent pay, pensions, and housing for thousands of young women working for the war effort. This work covers her life and her work, which might upon first glance show pretty girls but on a closer inspection reveals a post-Victorian feminism. It also looks at her rise to popularity, the innocent sexuality of her Brinkley girls, the sugary and sentimental Betty and Billy series, and the beauty of her line drawings.