by Daniel Clowes


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Product Details

ISBN-13: 9781770462441
Publisher: Drawn & Quarterly
Publication date: 02/07/2017
Edition description: Reprint
Pages: 80
Sales rank: 799,072
Product dimensions: 7.40(w) x 9.90(h) x 0.40(d)

About the Author

Daniel Clowes is the acclaimed cartoonist of the seminal comic book series Eightball and the graphic novelsGhost World, David Boring, Ice Haven, Mr. Wonderful, and The Death-Ray. He is the subject of the monographThe Art of Daniel Clowes: Modern Cartoonist, published in conjunction with a major retrospective exhibit. He is the Oscar-nominated screenwriter of Ghost World, Art School Confidential, and Wilson. Clowes is the recipient of numerous awards, including the PEN Award for literature, an Eisner, a Harvey, and an Ignatz, and a frequent cover artist for The New Yorker. He is married and lives in Oakland, California.

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Wilson 2.5 out of 5 based on 0 ratings. 6 reviews.
brianfizzy More than 1 year ago
Genuis. Wilson is a cynical self obsessed insensitive idiot who is hilarious. This graphic novel changes style every page and is beautifully drawn and written by Clowes. One of his best... and that's saying a lot!
Anonymous More than 1 year ago
Anonymous More than 1 year ago
Don't listen to Chandlerswain, who is a dumbhead. Clowes is brilliant. Chandlerswain's own review is Wilsonian. I think freud referred to this behavior as transferrence or projection. I get the two confused
Anonymous More than 1 year ago
Anonymous More than 1 year ago
ChandlerSwain More than 1 year ago
Daniel Clowes has created a number of graphic novels, most famously "Ghost World"; the material collected from his "mature audience" comic book "Eightball". With his latest graphic novel "Wilson", Clowes creates an entirely original, previously unpublished work. Fans of the writer/artist, however, may find little actually new in the book. "Wilson" concerns the existential crisis of a middle-aged character who seems to be not only unemployed (an evident career choice) but positively unaffected by the world around him or anyone in it. EVERYTHING ultimately annoys and disappoint Wilson, and after a few pointedly sharp moments of social observation, the book rather rapdily dissolves into an endless whiny howl against (again) EVERYTHING. Now, ceaseless misanthropy can be successfully employed in the service of satirical commentary (as has Mr. Clowes based the bulk of his career on), but in this instance Clowes hits the proverbial brick wall. In past works, Clowes has subversively used the misanthropy of his characters as a uniquely subtle springboard for a gonzo approach to social commentary, but here not only is his central character monotonously uninteresting (and abusive), but there is no supportive context to rationalize such a one-note approach. Wilson's angst concerning his dying father becomes a manic tirade, and when a gesture of kindness from an attending nurse reveals itself, Wilson uses that as an excuse for another bellow. In another episode, Wilson is walking his beloved dog down the street and enjoys the compliments greeting his canine companion, until one pedestrian walks by mutely and Wilson launches obscenities at the "offender". (This is sociopathy masquerading as wit.) This episode is actually quite revealing ( the book is told not in traditional linear narrative fashion, but in sequences of six panels, as if each page were an individual daily newspaper strip complete with punchline) as it aptly demonstrates that Mr. Clowes' creation exists for his own satisfaction and that everyone about him exists (in his mind) as a consoling bandage for his self-absorbed psyche, until he selfishly rejects any consolation and the mad carnival starts all over again. Supporting characters, such as Wilson's long abandoning/sought after wife Pippa is made to look physically foolish and mentally inert (even by Clowes' standards); there is no realistic rationalization that these two lumps would have ever gotten together except as a whim in Clowes' god-like conception of his own miserable universe. The pages alternate in artistic styles, not for any aesthetic purpose, but merely to staunch the flow of the book's monotony. "Wilson" is the graphic novel version of a screeching baby sitting behind you in an airplane, only in this case you can return the book to the shelf where it won't bother anyone.