1446:
238:
sister Diana discovers letters to
Tonantzin from a prison inmate, Geraldo, who had once held her hostage, and which relate an apocalyptic political vision. She learns Maricela had read the letters to the near-illiterate Tonantzin, and had forged many more of them after Geraldo turned to Christian topics, as she and her secret lover Riri are attracted to Tonantzin and wish to keep her coming back. The pair run away from Palomar to escape Luba's abuse and the prejudice the village would have against their affair.
391:
527:; Hernandez defines it as "the action of forces that deform the Earth's crust and so produce continents, mountains, etc". "Human diastrophism" thus refers metaphorically to the great changes that take place in the lives of those in Palomar through the events in the story. The insular village society feels threatened by the encroachment of the outside world; its mayor resists having even a telephone installed: "It would mean the end of our innocence", he replies to Chelo's pleas.
1434:
593:, a longer, more complex and again politically-tinged graphic novel, after which he scaled back his Palomar stories and largely back away from politics. Years later, he stated: "I had two political stories in me, and , and that's it. Unless I came upon something political that I would've liked expressed, I preferred to keep away, as not to repeat myself or half-ass any truth about other people's misery".
497:("bathhouse girl"). Over the course of the stories she made her way to the center of political and social happenings in the fictional Latin American village of Palomar. Hernandez introduces her and the teenaged Heraclio as newcomers to the fictional Latin American village of Palomar in "Sopa de Gran Pena" (Spanish for "Heartbreak Soup") in
575:: between Raskolnikov and Heraclio, who fears the discovery his teenage affair with Luba; and Luba with Jean Valjean, both of whom rise from disreputable backgrounds and harassment from the law to become mayor of their communities, and for whom the romantic lives of their children become a focus in their stories.
626:
31 in
December 1989 asks Hernandez: "Do you think you could develop a character whose life wasn't pure misfortune? Someone who didn't have a miserable, depressing life? Someone I could care for, but not pity?" Hernandez retorts: "None of my characters has had a 'miserable, depressing life'. None. And
237:
Tonantzin, who has a reputation as shallow and sexually promiscuous, has become politically conscious and devotes her energies to preparing for nuclear
Armageddon. She takes to dressing in the manner of her indigenous ancestors, which alarms her friends and draws the disapprobation of the locals. Her
325:
witnesses the attempted murder of a young girl, he records it in his art rather than reporting it. Traumatized, his art becomes more distorted: he obsessively sketches the villagers, and gives the murderer a halo. William A. Nericcio sees
Humberto's narrative as a quasi-autobiographic artist's
233:
Growing personal anxieties lead Luba, the owner of
Palomar's bathhouse, to verbally and physically abuse her eldest of her four daughters, Maricela. Among the archaeological workers, Luba finds Khamo, with whom she has twice had sexual affairs. The pair begin another, cut short when Khamo falls for
241:
Waves of destructive monkeys have invaded the village, and the locals have taken to beating them to death. The monkeys destroy the laboratory set up for the murder investigation; this drives the sheriff Chelo to join the monkey hunt, where she accidentally shoots Luba's youngest daughter, Casimira,
280:
Guadalupe is Luba's second daughter. It is rumored in the village that her father is Manuel, whom Luba seduced in "Heartbreak Soup" when she was new to
Palomar. At the same time she seduced Heraclio, who was also new to the village, but she keeps secret that he is Guadalupe's real father until she
364:
Luba runs a bathhouse and is an unmarried mother of four: Maricela; Guadalupe, whose father
Heraclio she seduced when he was a teenager; and Casimira and Doralis, whose father is Khamo. She is a reluctant mother; the narrator says she "has stated that if she could change anything in her past, she
324:
Humberto is an aspiring artist, and a new character to the series, Humberto shies from social interaction. Heraclio educates him in the history of modern art; meanwhile, a sometime-companion AugustĂn taunts
Humberto's lack of skill. Humberto's devotion to improving his art overwhelms him: when he
229:
The schoolteacher
Heraclio introduces modern art to the aspiring artist Humberto, whom he finds secretly sketching the locals. This flood of ideas overwhelms Humberto, who feverishly redoubles his artistic efforts. He sketches Tomaso's attempted murder of a local girl, but keeps this discovery to
225:
The story weaves several narrative threads in the fictional
Central American village of Palomar. An archaeological excavation team that arrives in Palomar brings a forgotten former resident, Tomaso, who begins serial killing. Among the victims are a Swedish archaeologist, the mayor, and his wife.
171:
bathhouse girl, and makes her way to the center of political and social happenings in the fictional Latin American village of Palomar. Hernandez gradually took advantage of serialization to broaden his narrative scope; the stories became longer and more ambitious, and Hernandez delved more deeply
504:
3–4 in 1983. Hernandez gradually took advantage of serialization to broaden his narrative scope; the stories became longer and more ambitious, and Hernandez delved more deeply into the backgrounds of his large cast of characters as their stories develop over a narrative timeframe of decades.
610:
series, where it is revealed that he is behind the submerged statues of the denizens of Palomar that have been discovered. He declares: "One day this stream will be gone and the statues will be exposed. Reaching ever upward toward God—the sun—like eternal flowers and I will be forgiven my
530:
Hernandez deploys a highly stylized cartooning style that nonetheless captures nuances of expression and the individuality of his characters' features. He renders characters at times naturalistic and at others highly distorted and caricatured, particularly when expressing strong feelings.
230:
himself. Police discover the sketches and realize Tomaso is the murderer, but a local man, stricken with grief over having murdered his own children, confesses to Tomaso's murders as well. Humberto confounds the investigation by refusing to testify, asserting his "work speaks for itself".
234:
another woman. At the height of her frustrations, Luba hands over her youngest three daughters to their unknowing biological fathers: Guadalupe to Heraclio, whom Luba had seduced when he was a teenager and whose wife is expecting their own first child; and Doralis and Casimira to Khamo.
373:
Maricela is Luba's eldest daughter. She and her lover Riri plan to leave the village together, to escape both Luba's physical abuse and the village's disapproval of their lesbian relationship. When Riri compares the way she tosses her hair to Luba's, the enraged Maricela replies, "I am
478:. The stories rely on the complex social interactions of their large casts of characters, which drew attention for the large numbers of ethnic minorities—Latinos in particular—and complex and prominent female characters, in a field known traditionally for less sympathetic—and often
347:
Khamo is Luba's former lover and unknowing father of two of her children. When he arrives in Palomar to participate in an archaeological dig, he and Luba resume their affair; when it begins to fail, it shakes Luba's self-confidence, driving her to engage in casual sex with numerous
657:"one of the signal examples of alternative comics from the 1980s", and reviewer Tom Knapp called it "a landmark volume that belongs in the collection of any collector of graphic novels or, for that matter, any form of quality storytelling".
242:
in the shoulder. A repentant Chelo convinces Luba to run for mayor. Police catch Tomaso attempting to kill Diana, who had spied him trying to kill Humberto. Tomaso impales himself in the neck, but survives and receives a jail sentence.
316:, but she struggles with poor literacy. Luba seduced him when both were new to Palomar; he fears his wife will learn of the affair, though Luba keeps it a secret from him that he is the real father of her second daughter Guadalupe.
261:
Carmen is Heraclio's wife, with whom she has a son, Tito. She was abandoned on a doorstep as an infant with a note that read "Good riddance". She relates poorly to her husband's level of education, particularly as she has poor
420:
slugs, a popular food in Palomar. The locals gossip about her uneducated naïveté and sexual promiscuity, which has led to several abortions. She corresponds with an imprisoned convict Geraldo who had assaulted her in
305:
Heraclio is a schoolteacher married to Carmen, with whom he has a son, Tito. He is well read, though he lacks a counterpart to discuss such interests; he unsuccessfully encourages Carmen to read literature such as
264:
Carmen accepts the sudden revelation that her husband fathered Luba's second daughter Guadalupea a teenager. She struggles to help Tonantzin and "unbrainwash" her of the political ideas she has absorbed.
534:
Jesse Molesworth sees parallels between Luba and Tomaso: Tomaso murders five in a span of time during which Luba has sex with five men, and both spend time in Humberto's home gazing at his artwork.
123:. The story tells of a serial killer in the fictional Latin American village of Palomar, and the political and social implications of the insular villagers' growing contact with the outside world.
249:; she dies, and Khamo suffers severe burns trying to save her. As the story closes, the ghost of Tonantzin as she was before she was radicalized appears and an unexpected ash falls over Palomar.
1557:
386:
A former resident of Palomar, Tomaso returns with a group on an archaeological dig and sets out in secret to serial killing. A past victim calls out his name throughout the narrative.
1712:
156:(b. 1959). The stories featured sensitive portrayals of prominent female and multiethnic characters—especially Latinos—which were uncommon in American comics of the time.
1656:
285:. Heraclio's wife Carmen accepts her, telling her, "Guadalupe, whatever you two decide, you are always welcome in this house, to visit or even to live, if you want ..."
245:
Khamo comes to sympathize with Tonantzin's cause, and the pair leave Palomar hoping to enact political change around the world. At a demonstration in New York Tonantzin
642:
appeared—in lieu of a "story so far", he declared: "For any new reader of this story; forget it, it's hopeless". The problem only worsened with the following serial,
1680:
1379:
1632:
1736:
427:(1986), and whose apocalyptic ideas politicize her—she sees Palomar in light of an international struggle. She takes to wearing the traditional garb of
1648:
1245:
Nericcio, William A. (December 1995). Hinz, Evelyn J. (ed.). "Artifacture: Virulent Pictures, Graphic Narrative, and the Ideology of the Visual".
673:
The first self-published issue appeared in 1981; the first Fantagraphics issue from 1982 is an expanded reprint of the self-published issue.
1478:
1600:
1301:
1214:
1073:
423:
1332:
Royal, Derek Parker (Spring 2009). "To Be Continued...: Serialization and its Discontent in the Recent Comics of Gilbert Hernandez".
1573:
646:, which was longer and more complex. The weak reader reception to these two serials contributed to Hernandez' decision to bring
485:
Gilbert's Luba appeared in the first issue; a reworked version of the character as she came to be known first appeared in his
1285:
1198:
1125:
1146:
335:
1166:
159:
A version of Gilbert's Luba appeared in the first issue, but the character as she was to be known first appeared in his
1385:
1334:
428:
1768:
1471:
1117:
365:
sure would have thought twice about having any of the five to whom she often refers as her 'little albatrosses'".
1344:
1783:
1773:
553:
312:
1763:
557:
and is excited to find another teacher, Gloria, who shares his reading interests, though he does not known
1464:
1414:
548:
307:
1778:
1424:
1381:
Constructions of femininity in Latin/o Americancomics: redefining womanhood via the male-authored comic
596:
The character Humberto nearly disappears from the Palomar continuity following his début appearance in
330:
1525:
1277:
458:
132:
115:
68:
1508:
571:
when she refers to the character. Moleworth sees parallels with these characters and characters in
445:
145:
537:
Works of literature appear frequently throughout the story. Guadalupe idolizes the protagonist of
1704:
1209:
1254:
1296:
1728:
1356:
1310:
1223:
1082:
1069:"Picturing the Transnational in Palomar: Gilbert Hernandez and the Comics of the Borderlands"
1068:
1565:
1450:
567:
8:
650:
to an end in 1996, after which he produced various series and standalone graphic novels.
190:
73:
52:
1405:
Hatfield, Charles (May 1997). "Heartbreak Soup: The Interdependence of Theme and Form".
1616:
1487:
562:
558:
475:
441:
185:
21–26 (July 1987 – June 1988, and then in a revised and collected form as part of
172:
into the backgrounds of his characters and their community, and sociopolitical issues.
141:
137:
193:. The story has since appeared in a number of other collections, including the third
1664:
1581:
1532:
1498:
1360:
1314:
1281:
1258:
1227:
1194:
1121:
1086:
602:
449:
149:
110:
34:
543:
293:
1503:
1271:
453:
246:
153:
1688:
1640:
1150:
634:
to get up to speed with the increasingly longer and complex stories; in issue
505:
Hernandez embarked on his longest and most complex work to date when he began
1757:
1696:
1438:
1364:
1318:
1262:
1231:
1170:
1090:
326:
1297:"Autoclastic Icons: Bloodletting and Burning in Gilbert Hernandez's Palomar"
410:, Tonantzin (whose name means "revered mother") works as a vendor of edible
1624:
1137:
589:
519:
1110:
1672:
538:
288:
198:
1273:
Tex[t]-Mex: Seductive Hallucinations of the "Mexican" in America
1191:
Critical Survey of Graphic Novels: Independents and Underground Classics
898:
414:
1720:
524:
390:
1456:
407:
395:
711:
709:
479:
1433:
456:(b. 1959)–showcased their work in their anthology comic book
706:
619:
Shortly after Tonantzin's suicide, a reader's letter printed in
209:
in 2003 from Fantagraphics; and in 2007 the fifth volume of the
1210:"Comics as Remediation: Gilbert Hernandez's Human Diastrophism"
119:
in 1987–88, and it first appeared in collected form in 1989 in
474:
soon gained recognition as one of the leading publications in
630:
Henrandez recognized how difficult it was for new readers of
287:
Guadalupe is fascinated with the character Jean Valjean from
981:
945:
799:
797:
998:
996:
923:
921:
919:
917:
886:
876:
874:
872:
870:
868:
866:
864:
862:
860:
858:
187:
The Complete Love and Rockets, Volume 8: Blood of Palomar
121:
The Complete Love and Rockets, Volume 8: Blood of Palomar
816:
814:
812:
794:
784:
782:
780:
778:
776:
736:
734:
732:
730:
728:
1032:
1020:
993:
843:
969:
957:
914:
855:
1422:
933:
809:
773:
725:
763:
761:
140:
begun in the early 1980s showcasing the work of the
1008:
833:
831:
829:
547:, Jean Valjean. Heraclio encourages Carmen to read
523:refers to the deformation of the earth, such as by
203:
Human Diastrophism: A Heartbreak Soup Graphic Novel
113:. It appeared in serialized form in the comic book
1109:
1044:
758:
431:, to the consternation of her family and friends.
297:and declares she is "going to marry him someday".
1755:
826:
746:
1104:Hatfield, Charles (2005). "Gilbert Hernandez's
638:26 (June 1988)—in which the last instalment of
470:stories accounted for the bulk of the content.
272:Overwhelmed, self-doubting sheriff of Palomar.
1472:
1345:"Hernandez Brothers: A Selected Bibliography"
491:
412:
339:re-imagined pen in hand south of the border".
165:
126:
1184:
951:
489:stories as a strong-willed, hammer-wielding
356:Luba is a long-established character in the
163:stories as a strong-willed, hammer-wielding
109:, is a graphic novel by American cartoonist
1349:ImageTexT: Interdisciplinary Comics Studies
1189:". In Beaty, Bart; Weiner, Stephen (eds.).
1479:
1465:
1207:
1112:Alternative Comics: An Emerging Literature
880:
1384:(PhD). University of Iowa. Archived from
1167:"Love & Rockets #8: Blood of Palomar"
1404:
1269:
1244:
1103:
1038:
1026:
1002:
987:
975:
963:
927:
908:
904:
892:
849:
820:
803:
788:
740:
715:
389:
1574:God and Science: Return of the Ti-Girls
1294:
1014:
614:
1756:
1486:
1377:
1147:"Love & Rockets #12: Poison River"
1066:
939:
767:
606:, the last Palomar story in the first
1460:
1342:
1331:
1164:
1144:
1050:
837:
752:
719:
512:
252:
1558:Vida Loca: The Death of Speedy Ortiz
1187:Palomar: The Heartbreak Soup Stories
1185:L'Hoeste, Héctor Fernández (2012). "
682:The events are related in the story
207:Palomar: The Heartbreak Soup Stories
13:
1397:
1335:International Journal of Comic Art
1270:Nericcio, William Anthony (2007).
16:Graphic novel by Gilbert Hernandez
14:
1795:
1193:. Salem Press. pp. 606–610.
1444:
1432:
1378:Tullis, Brittany Nicole (2014).
1118:University Press of Mississippi
676:
653:Critic Charles Hatfield called
1713:Grip: The Strange World of Men
1059:
690:
667:
635:
623:
501:
182:
1:
1295:Pizzino, Christopher (2013).
700:
554:One Hundred Years of Solitude
435:
313:One Hundred Years of Solitude
1343:Royal, Derek Parker (2013).
578:
281:abruptly introduces them in
7:
1415:Ohio State University Press
360:stories. At the opening of
220:
213:from Fantagraphics, titled
10:
1800:
1208:Molesworth, Jesse (2013).
693:17–18 (May and July 1986).
440:From 1981 until 1996, the
127:Background and publication
92:July 1987 – June 1988
1592:
1549:
1542:
1517:
1494:
1278:University of Texas Press
1169:. Rambles. Archived from
1165:Knapp, Tom (2004-02-28).
1149:. Rambles. Archived from
1145:Knapp, Tom (2001-08-10).
1067:Glaser, Jennifer (2013).
394:Tonantzin is named after
88:
80:
63:
58:
48:
40:
30:
23:
660:
211:Love and Rockets Library
89:Date of publication
1769:American graphic novels
1705:The Children of Palomar
1681:The Adventures of Venus
1617:Love and Rockets X
600:. He reappears only in
396:the Aztec Earth-goddess
1255:University of Manitoba
627:I don't do requests".
492:
482:—portrayals of women.
413:
399:
166:
138:alternative comic book
1729:The Twilight Children
1357:University of Florida
1311:University of Florida
1224:University of Florida
1083:University of Florida
393:
1784:Magic realism novels
1774:Fantagraphics titles
615:Reception and legacy
568:Crime and Punishment
466:stories and Jaime's
452:(b. 1957), and
403:Tonantzin Villaseñor
247:sets herself on fire
152:(b. 1957), and
59:Original publication
1764:1989 graphic novels
1120:. pp. 68–107.
583:Hernandez followed
191:Fantagraphics Books
1676:(2011, with Mario)
1657:Speak of the Devil
1609:Human Diastrophism
1488:Hernandez brothers
990:, p. 102–103.
655:Human Diastrophism
640:Human Diastrophism
598:Human Diastrophism
585:Human Diastrophism
573:Human Diastrophism
513:Style and analysis
507:Human Diastrophism
476:alternative comics
442:Hernandez brothers
400:
362:Human Diastrophism
283:Human Diastrophism
253:Primary characters
215:Human Diastrophism
176:Human Diastrophism
142:Hernandez brothers
100:Human Diastrophism
25:Human Diastrophism
1779:Gilbert Hernandez
1751:
1750:
1747:
1746:
1665:The Troublemakers
1582:The Love Bunglers
1499:Gilbert Hernandez
1287:978-0-292-71457-1
1200:978-1-58765-950-8
1127:978-1-57806-719-0
911:, pp. 79–80.
895:, pp. 79–80.
806:, pp. 68–69.
111:Gilbert Hernandez
96:
95:
64:Published in
35:Gilbert Hernandez
1791:
1547:
1546:
1526:Love and Rockets
1481:
1474:
1467:
1458:
1457:
1449:
1448:
1447:
1437:
1436:
1428:
1418:
1392:
1390:
1374:
1372:
1371:
1339:
1328:
1326:
1325:
1291:
1266:
1241:
1239:
1238:
1204:
1181:
1179:
1178:
1161:
1159:
1158:
1141:
1135:
1134:
1115:
1100:
1098:
1097:
1054:
1048:
1042:
1036:
1030:
1024:
1018:
1012:
1006:
1000:
991:
985:
979:
973:
967:
961:
955:
949:
943:
937:
931:
925:
912:
902:
896:
890:
884:
878:
853:
847:
841:
835:
824:
818:
807:
801:
792:
786:
771:
765:
756:
750:
744:
738:
723:
713:
694:
692:
688:Love and Rockets
686:, originally in
680:
674:
671:
648:Love and Rockets
637:
632:Love and Rockets
625:
621:Love and Rockets
608:Love and Rockets
503:
499:Love and Rockets
495:
472:Love and Rockets
459:Love and Rockets
448:(b. 1953),
418:
408:an Aztec goddess
201:in 1989, titled
184:
180:Love and Rockets
169:
148:(b. 1953),
133:Love and Rockets
116:Love and Rockets
106:Blood of Palomar
103:, also known as
69:Love and Rockets
21:
20:
1799:
1798:
1794:
1793:
1792:
1790:
1789:
1788:
1754:
1753:
1752:
1743:
1588:
1538:
1513:
1509:Mario Hernandez
1504:Jaime Hernandez
1490:
1485:
1455:
1445:
1443:
1431:
1423:
1421:
1400:
1398:Further reading
1395:
1388:
1369:
1367:
1323:
1321:
1288:
1236:
1234:
1201:
1176:
1174:
1156:
1154:
1132:
1130:
1128:
1106:Heartbreak Soup
1095:
1093:
1062:
1057:
1049:
1045:
1037:
1033:
1025:
1021:
1013:
1009:
1001:
994:
986:
982:
974:
970:
962:
958:
950:
946:
938:
934:
926:
915:
907:, p. 100;
903:
899:
891:
887:
881:Molesworth 2013
879:
856:
848:
844:
836:
827:
819:
810:
802:
795:
787:
774:
766:
759:
751:
747:
739:
726:
714:
707:
703:
698:
697:
681:
677:
672:
668:
663:
617:
611:sins ..."
581:
515:
438:
336:Wilhelm Meister
286:
263:
255:
223:
195:Heartbreak Soup
129:
17:
12:
11:
5:
1797:
1787:
1786:
1781:
1776:
1771:
1766:
1749:
1748:
1745:
1744:
1742:
1741:
1733:
1725:
1717:
1709:
1701:
1693:
1685:
1677:
1669:
1661:
1653:
1649:Chance in Hell
1645:
1637:
1629:
1621:
1613:
1605:
1596:
1594:
1590:
1589:
1587:
1586:
1578:
1570:
1562:
1553:
1551:
1544:
1540:
1539:
1537:
1536:
1529:
1521:
1519:
1515:
1514:
1512:
1511:
1506:
1501:
1495:
1492:
1491:
1484:
1483:
1476:
1469:
1461:
1454:
1453:
1441:
1420:
1419:
1401:
1399:
1396:
1394:
1393:
1391:on 2016-11-16.
1375:
1340:
1329:
1292:
1286:
1267:
1242:
1205:
1199:
1182:
1162:
1142:
1126:
1101:
1063:
1061:
1058:
1056:
1055:
1043:
1041:, p. 107.
1031:
1029:, p. 167.
1019:
1007:
1005:, p. 103.
992:
980:
968:
956:
954:, p. 606.
944:
942:, p. 312.
932:
913:
897:
885:
854:
852:, p. 232.
842:
825:
808:
793:
772:
757:
745:
724:
722:, p. 262.
718:, p. 68;
704:
702:
699:
696:
695:
675:
665:
664:
662:
659:
616:
613:
603:Chelo's Burden
580:
577:
549:GarcĂa Márquez
544:Les Misérables
514:
511:
437:
434:
433:
432:
404:
388:
387:
384:
380:
379:
371:
367:
366:
354:
350:
349:
345:
341:
340:
322:
318:
317:
308:GarcĂa Márquez
303:
299:
298:
294:Les Misérables
278:
274:
273:
270:
266:
265:
259:
254:
251:
222:
219:
128:
125:
94:
93:
90:
86:
85:
82:
78:
77:
65:
61:
60:
56:
55:
50:
46:
45:
42:
38:
37:
32:
28:
27:
15:
9:
6:
4:
3:
2:
1796:
1785:
1782:
1780:
1777:
1775:
1772:
1770:
1767:
1765:
1762:
1761:
1759:
1739:
1738:
1734:
1731:
1730:
1726:
1723:
1722:
1718:
1715:
1714:
1710:
1707:
1706:
1702:
1699:
1698:
1697:Marble Season
1694:
1691:
1690:
1686:
1683:
1682:
1678:
1675:
1674:
1670:
1667:
1666:
1662:
1659:
1658:
1654:
1651:
1650:
1646:
1643:
1642:
1638:
1635:
1634:
1630:
1627:
1626:
1622:
1619:
1618:
1614:
1611:
1610:
1606:
1603:
1602:
1598:
1597:
1595:
1591:
1584:
1583:
1579:
1576:
1575:
1571:
1568:
1567:
1563:
1560:
1559:
1555:
1554:
1552:
1548:
1545:
1541:
1535:
1534:
1530:
1528:
1527:
1523:
1522:
1520:
1516:
1510:
1507:
1505:
1502:
1500:
1497:
1496:
1493:
1489:
1482:
1477:
1475:
1470:
1468:
1463:
1462:
1459:
1452:
1451:Latin America
1442:
1440:
1435:
1430:
1429:
1426:
1416:
1412:
1408:
1403:
1402:
1387:
1383:
1382:
1376:
1366:
1362:
1358:
1354:
1350:
1346:
1341:
1337:
1336:
1330:
1320:
1316:
1312:
1308:
1304:
1303:
1298:
1293:
1289:
1283:
1279:
1275:
1274:
1268:
1264:
1260:
1256:
1252:
1248:
1243:
1233:
1229:
1225:
1221:
1217:
1216:
1211:
1206:
1202:
1196:
1192:
1188:
1183:
1173:on 2004-05-06
1172:
1168:
1163:
1153:on 2002-02-09
1152:
1148:
1143:
1139:
1129:
1123:
1119:
1114:
1113:
1107:
1102:
1092:
1088:
1084:
1080:
1076:
1075:
1070:
1065:
1064:
1052:
1047:
1040:
1039:Hatfield 2005
1035:
1028:
1027:Hatfield 2005
1023:
1016:
1011:
1004:
1003:Hatfield 2005
999:
997:
989:
988:Hatfield 2005
984:
978:, p. 70.
977:
976:Hatfield 2005
972:
966:, p. 74.
965:
964:Hatfield 2005
960:
953:
952:L'Hoeste 2012
948:
941:
936:
930:, p. 79.
929:
928:Hatfield 2005
924:
922:
920:
918:
910:
909:Hatfield 2005
906:
905:Nericcio 1995
901:
894:
893:Hatfield 2005
889:
882:
877:
875:
873:
871:
869:
867:
865:
863:
861:
859:
851:
850:Nericcio 2007
846:
839:
834:
832:
830:
823:, p. 78.
822:
821:Hatfield 2005
817:
815:
813:
805:
804:Hatfield 2005
800:
798:
791:, p. 71.
790:
789:Hatfield 2005
785:
783:
781:
779:
777:
769:
764:
762:
754:
749:
743:, p. 69.
742:
741:Hatfield 2005
737:
735:
733:
731:
729:
721:
717:
716:Hatfield 2005
712:
710:
705:
689:
685:
679:
670:
666:
658:
656:
651:
649:
645:
641:
633:
628:
622:
612:
609:
605:
604:
599:
594:
592:
591:
586:
576:
574:
570:
569:
564:
560:
556:
555:
550:
546:
545:
540:
535:
532:
528:
526:
522:
521:
510:
508:
500:
496:
494:
488:
483:
481:
477:
473:
469:
465:
461:
460:
455:
451:
447:
443:
430:
426:
425:
419:
417:
416:
409:
405:
402:
401:
397:
392:
385:
382:
381:
377:
372:
369:
368:
363:
359:
355:
352:
351:
346:
343:
342:
338:
337:
332:
328:
327:coming-of-age
323:
320:
319:
315:
314:
309:
304:
301:
300:
296:
295:
290:
284:
279:
276:
275:
271:
268:
267:
260:
257:
256:
250:
248:
243:
239:
235:
231:
227:
218:
216:
212:
208:
204:
200:
196:
192:
188:
181:
177:
173:
170:
168:
162:
157:
155:
151:
147:
143:
139:
135:
134:
124:
122:
118:
117:
112:
108:
107:
102:
101:
91:
87:
83:
79:
75:
74:Fantagraphics
71:
70:
66:
62:
57:
54:
53:Fantagraphics
51:
47:
43:
39:
36:
33:
29:
26:
22:
19:
1735:
1727:
1719:
1711:
1703:
1695:
1687:
1679:
1671:
1663:
1655:
1647:
1639:
1631:
1625:Poison River
1623:
1615:
1608:
1607:
1599:
1580:
1572:
1564:
1556:
1531:
1524:
1410:
1406:
1386:the original
1380:
1368:. Retrieved
1352:
1348:
1333:
1322:. Retrieved
1306:
1300:
1272:
1250:
1246:
1235:. Retrieved
1219:
1213:
1190:
1186:
1175:. Retrieved
1171:the original
1155:. Retrieved
1151:the original
1138:Project MUSE
1136:– via
1131:. Retrieved
1111:
1105:
1094:. Retrieved
1078:
1072:
1046:
1034:
1022:
1015:Pizzino 2013
1010:
983:
971:
959:
947:
935:
900:
888:
845:
748:
687:
683:
678:
669:
654:
652:
647:
644:Poison River
643:
639:
631:
629:
620:
618:
607:
601:
597:
595:
590:Poison River
588:
584:
582:
572:
566:
552:
542:
536:
533:
529:
520:diastrophism
518:
516:
506:
498:
490:
486:
484:
480:misogynistic
471:
467:
463:
462:. Gilbert's
457:
439:
422:
411:
406:Named after
375:
361:
357:
334:
311:
292:
282:
244:
240:
236:
232:
228:
224:
214:
210:
206:
202:
197:volume from
194:
186:
179:
178:appeared in
175:
174:
164:
160:
158:
131:
130:
120:
114:
105:
104:
99:
98:
97:
67:
24:
18:
1689:Julio's Day
1673:Citizen Rex
1566:Wig Wam Bam
1060:Works cited
940:Tullis 2014
768:Glaser 2013
563:Dostoyevsky
559:Raskolnikov
525:earthquakes
199:Titan Books
1758:Categories
1721:Bumperhead
1633:Girl Crazy
1370:2014-11-29
1338:: 262–280.
1324:2015-05-11
1257:: 79–109.
1237:2015-02-06
1177:2017-01-16
1157:2012-09-19
1133:2012-09-19
1096:2015-02-06
1051:Knapp 2004
838:Royal 2013
753:Knapp 2001
720:Royal 2009
701:References
436:Background
429:her people
378:like her!"
1601:Duck Feet
1365:1549-6732
1319:1549-6732
1302:ImageTexT
1263:0027-1276
1232:1549-6732
1215:ImageTexT
1091:1549-6732
1074:ImageTexT
684:Duck Feet
579:Aftermath
517:The word
509:in 1987.
424:Duck Feet
348:partners.
277:Guadalupe
262:literacy.
49:Publisher
1737:Maria M.
1533:Mister X
493:bañadora
370:Maricela
329:story, "
321:Humberto
302:Heraclio
221:Synopsis
167:bañadora
1593:Gilbert
1425:Portals
1417:: 2–17.
487:Palomar
464:Palomar
450:Gilbert
376:nothing
358:Palomar
161:Palomar
150:Gilbert
136:was an
31:Creator
1740:(2016)
1732:(2016)
1724:(2014)
1716:(2015)
1708:(2013)
1700:(2013)
1692:(2013)
1684:(2012)
1668:(2009)
1660:(2008)
1652:(2007)
1644:(2006)
1636:(1997)
1628:(1994)
1620:(1993)
1612:(1989)
1604:(1989)
1585:(2014)
1577:(2012)
1569:(1994)
1561:(1989)
1518:Series
1439:Comics
1363:
1317:
1284:
1261:
1247:Mosaic
1230:
1197:
1124:
1089:
691:#
636:#
624:#
502:#
415:babosa
383:Tomaso
331:Goethe
258:Carmen
205:; the
183:#
81:Issues
1641:Sloth
1550:Jaime
1543:Books
1413:(2).
1389:(PDF)
1355:(1).
1309:(1).
1253:(4).
1222:(1).
1081:(1).
661:Notes
587:with
561:from
468:Locas
454:Jaime
446:Mario
344:Khamo
269:Chelo
189:from
154:Jaime
146:Mario
84:21–26
1407:Inks
1361:ISSN
1315:ISSN
1282:ISBN
1259:ISSN
1228:ISSN
1195:ISBN
1122:ISBN
1087:ISSN
539:Hugo
353:Luba
289:Hugo
44:1989
41:Date
1108:".
565:'s
551:'s
541:'s
333:'s
310:'s
291:'s
1760::
1409:.
1359:.
1351:.
1347:.
1313:.
1305:.
1299:.
1280:.
1276:.
1251:28
1249:.
1226:.
1218:.
1212:.
1116:.
1085:.
1077:.
1071:.
995:^
916:^
857:^
828:^
811:^
796:^
775:^
760:^
727:^
708:^
217:.
144::
1480:e
1473:t
1466:v
1427::
1411:4
1373:.
1353:7
1327:.
1307:7
1290:.
1265:.
1240:.
1220:7
1203:.
1180:.
1160:.
1140:.
1099:.
1079:7
1053:.
1017:.
883:.
840:.
770:.
755:.
444:—
398:.
76:)
72:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
