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Rating: 
Summary: Quino a Gem!
Review: I won't be able to do justice with an eloquent review right now, but i can echo the sentiments expressed in another's (Ron A. Zajac, zajac@nortel.com), and mourn the lack of availability of this cartoonist's funny, poignant, and, ultimately, ineffable work. I love some of the acknowledged greats - herriman (and marquis!), kelly, suess (yes), etc. - and wish that someone situated to act on it would make this man's wonderful work available!
Rating:
Summary: Quino is the best cartoonist in the world (that I know)!
Review: This is an English collection of Quino cartoons, though most of the cartoons are wordless. Quino is mostly famous for his comic Mafalda which he made during nine years beginning in 1964, but his cartoons are if possible even funnier than Mafalda because the cartoons give him total freedom of subject,length, etc. This book is not easy to acquire, though if you want it, Amazon is probably one of the only places where you''ll find it(eventually, I pre-ordered about the 5th of april 2001, and it arrived juli 20 2002 (!)). Quino isn't just another funny cartoonist, but he'll make you think too.
Rating:
Summary: Quino a Gem!
Review: Who is this guy, Quino? I collect original comic art, and would love to get hold of this guy and talk turkey!
There are lots of funny folks around, but no one walks that tendentious tightrope between the truely funny and the all-too-painfully-true like Quino does. Whether he's crafting one of his one- or two-page comic vignettes or dashing off a gag, his stuff is urbanely harrowing, poignant, jocular, profound, lighthearted, scintillating, insightful, melancholic, piercing, or some new and exciting combination of the above.
The greatest pity of Quino relates to the fact that his work is virtually unknown in the U.S. This is particularly odd as he long ago made an aesthetic decision which should have served as a concession to the U.S.'s largely monolingual culture; most of his comics are wordless. To appreciate Quino requires only a handful of things; to be human, to have eyes that work, to have been subject to the griefs and glories of Western Civ, and to have not totally lost your sense of humor.
I note with some asperity that the best U.S. publishers seems to have done is to keep up on his character Mafalda. Although there is no doubt a monumental wealth of great work from his pen, the only other work available is this long out-of-print collection of short strips and gags. Why do no U.S. publishers see the obvious intrinsic value in hearalding Quino's mightly oevre in a bright, new, thick, glossy edition? Were the pertinence of this question not so self-evident, one might mistake it for the brayings of a mere infatuated fanboy!
Must I go offshore to get my Quino fix?
Author: Ron A. Zajac
Email: zajac@nortel.com
Rating: 
Summary: Quino; the universal langage of cartooning
Review: Who is this guy, Quino? I collect original comic art, and would love to get hold of this guy and talk turkey!
There are lots of funny folks around, but no one walks that tendentious tightrope between the truely funny and the all-too-painfully-true like Quino does. Whether he's crafting one of his one- or two-page comic vignettes or dashing off a gag, his stuff is urbanely harrowing, poignant, jocular, profound, lighthearted, scintillating, insightful, melancholic, piercing, or some new and exciting combination of the above. The greatest pity of Quino relates to the fact that his work is virtually unknown in the U.S. This is particularly odd as he long ago made an aesthetic decision which should have served as a concession to the U.S.'s largely monolingual culture; most of his comics are wordless. To appreciate Quino requires only a handful of things; to be human, to have eyes that work, to have been subject to the griefs and glories of Western Civ, and to have not totally lost your sense of humor. I note with some asperity that the best U.S. publishers seems to have done is to keep up on his character Mafalda. Although there is no doubt a monumental wealth of great work from his pen, the only other work available is this long out-of-print collection of short strips and gags. Why do no U.S. publishers see the obvious intrinsic value in hearalding Quino's mightly oevre in a bright, new, thick, glossy edition? Were the pertinence of this question not so self-evident, one might mistake it for the brayings of a mere infatuated fanboy! Must I go offshore to get my Quino fix? Author: Ron A. Zajac
Email: zajac@nortel.com
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