6.5 x 9.3
128 Pgs
$26.95 CAD/$22.95 USD

"One of the most gifted graphic novelists of our time."—Wired

Killing and Dying is a stunning showcase of the possibilities of the graphic novel medium and a wry exploration of loss, creative ambition, identity, and family dynamics. With this work, Adrian Tomine (Shortcomings, Scenes from an Impending Marriage) reaffirms his place not only as one of the most significant creators of contemporary comics, but as one of the great voices of modern American literature. His gift for capturing emotion and intellect resonates here: the weight of love and its absence, the pride and disappointment of family, the anxiety and hopefulness of being alive in the twenty-first century.

“Amber Sweet” shows the disastrous impact of mistaken identity in a hyper-connected world; “A Brief History of the Art Form Known as Hortisculpture” details the invention and destruction of a vital new art form in short comic strips; “Translated, from the Japanese,” is a lush, full-color display of storytelling through still images; the title story, "Killing and Dying", centers on parenthood, mortality, and stand-up comedy. In six interconnected, darkly funny stories, Tomine forms a quietly moving portrait of contemporary life.

Adrian Tomine is a master of the small gesture, equally deft at signaling emotion via a subtle change of expression or writ large across landscapes illustrated in full color. Killing and Dying is a fraught, realist masterpiece.

Praise for Killing and Dying

This new collection of six interconnected graphic stories is as masterfully wrought as past achievements like Sleepwalk and Summer Blonde, and just as hauntingly evocative of modern American loneliness, anxiety, and hope...Tomine pays attention to the minute gestures: a nervous cross-and-re-cross of the arms, the brief moment when someone glances down at their feet between sentences.

Village Voice

"The question looming is: What are we doing with our lives? Tomine offers no easy answers, but his virtuosic touch enriches the exploration."

Max Winter, The Boston Globe

Adrian Tomine has established himself as one of the nation’s greatest and most versatile cartoonists.


Imagine Raymond Carver’s writing sensibilities overlaid with Edward Hopper’s art (or vice versa) and the end result might be Adrian Tomine’s graphic short stories: they are serious literature in a graphic form. Tomine’s work is spare yet dense and every image and word counts. His new collection brings together six interconnected, yet stylistically diverse stories.

Phoenix New Times

Tomine may be my favorite comics artist — deft and subtle, with a bittersweet understanding of the tension between aspiration and loss...Moving, sharply rendered, these are comics where the real action takes place between the lines.

Los Angeles Times

Graphically, Tomine excels at imbuing every figure—big or small—with individualized traits (hands on hips, cocked shoulder), giving the sense that the story’s focus could shift deep into the background and still find rich, full life. Achingly human and divinely rendered.

Kirkus Reviews

Tomine’s lines are so clean and precise, his compositions so natural-looking, that it’s easy to treat his images as transparent vessels of meaning, the cellophane wrapper enfolding the tart, bright candy of the plot. But even his smallest, plainest panels are heavy with subtext, thick with unstated emotion and full of the kind of information that can never quite be conveyed in language.

New York Times Book Review

As a serious cartoonist, one secretly hopes to create “That Book”: a book that can be passed to a literary-minded person who doesn’t normally read comics; one that doesn’t require any explanation or apology in advance and is developed enough in its attitude, humanity and complexity that it speaks maturely for itself... Adrian Tomine’s Killing and Dying may finally be That Book, and I’m amazed and heartened by it.

Chris Ware

One of art comic's most revered talents returns with his latest collection of emotionally haunting tales of American life. Think the best of what '90s independent cinema was going for, but with better a better aesthetic.

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