6 Books Published by Drawn and Quarterly on AALBC — Book Cover Collage

When you’re always searching, you might just surprise yourself with what you find

After a rocky attempt at living in London with his partner, Lawrence finds himself single, broke, and back at home in Compton with his mom and great-aunt, moping from bed to kitchen table and back to bed again, with long layovers on the front porch to sit and watch the world pass him by. Everything had been so good—a degree, an animation internship, paid music gigs, the perfect girl. How the heck did Lawrence get knocked so far down, with such little semblance of his former life remaining to hold him together? Well, that’s a long story…

Set to a cacophonous soundtrack of church praise, playground noise, bus-stop camaraderie, and Pacific Ocean waves, Lawrence Lindell’s heartbreaking—and heartwarming—We All Got Something recounts a tragic and random act of violence, the PTSD that follows, lost love, and coming to terms with the underlying mental health crises sabotaging it all. A testament to the healing power of art and the vital role community plays in the process, Lindell’s graphic memoir is deeply personal and specific, but also relatable—because we all got something.

The follow-up to Lindell’s Eisner-nominated and Excellence in Graphic Literature Award-winning graphic novel Blackward, We All Got Something brings Lindell’s love of the comics community into a different light, and shows the author exploring deeper and darker corners of his past, with his signature blend of humor, heart, and cartoony lines.

Black, weird, awkward and proud of it. Welcome to the club!

Tired of feeling like you don’t belong? Join the club. It’s called the Section. You’d think a spot to chill, chat, and find community would be much easier to come by for nerdy, queer punks. But when four longtime, bookish BFFs—Lika, Amor, Lala, and Tony—can’t find what they need, they take matters into their own hands and create a space where they can be a hundred percent who they are: Black, queer, and weird.

The group puts a call out for all awkward Black folks to come on down to the community center to connect. But low attendance and IRL run-ins with trolls of all kinds only rock everybody with anxiety. As our protagonists start to question the merits of their vision, a lifetime of insecurities—about not being good enough or Black enough—bubbles to the surface. Will they find a way to turn it around in time for their radical brainchild, the Blackward Zine Fest?

Lawrence Lindell’s characters pop from the page in playful Technicolor. From mental health to romance, micro—and macro—aggressions to joy, our crew tackles everything life throws at them in this heartwarming tale about building a place to belong and the power of community.

A seasoned cartoonist of epic proportions, Brandon-Croft carves out space for Black women’s perspectives in her nationally syndicated strip

Few Black cartoonists have entered national syndication, and before Barbara Brandon-Croft, none of them were women. From 1989 to 2005, she brought Black women’s perspectives to an international audience with her trailblazing comic strip Where I’m Coming From.

From diets to day care to debt to dreaded encounters with everyday racism, no issue is off-limits. This remarkable and unapologetically funny career retrospective holds a mirror up to the ways society has changed and all the ways it hasn’t. The magic in Where I’m Coming From is its ability to present an honest image of Black life without sacrificing Black joy, bolstered by unexpected one-liners eliciting much-needed laughter.

As the daughter of the mid-century cartoonist Brumsic Brandon Jr.—the creator of Luther, the second nationally syndicated strip to feature a Black lead—Brandon-Croft learned from the best. With supplementary writing by the author and her peers alongside throwback ephemera, this long-overdue collection situates Brandon-Croft as an inimitable cartoonist, humorist, and social commentator, securing her place in the comics canon and allowing her work to inspire new readers at a time when it is most needed.

An auspicious debut examining the culture of hair from the Rona Jaffe Foundation Award–winning cartoonist

Hot Comb offers a poignant glimpse into black women’s lives and coming-of-age stories as seen across a crowded, ammonia-scented hair salon while ladies gossip and bond over the burn. The titular “Hot Comb” is about a young girl’s first perm?a doomed ploy to look cool and stop seeming “too white” in the all-black neighborhood her family has just moved into. In “Virgin Hair,” taunts of “tender-headed” sting as much as the perm itself. “My Lil Sister Lena” shows the stress of being the only black player on a white softball team. Lena’s hair is the team curio, an object to be touched, a subject to be discussed and debated at the will of her teammates, leading Lena to develop an anxiety disorder of pulling her own hair out. Throughout Hot Comb, Ebony Flowers re-creates classic magazine ads idealizing women’s need for hair relaxers and products. “Change your hair form to fit your life form” and “Kinks and Koils Forever” call customers from the page. Realizations about race, class, and the imperfections of identity swirl through these stories and ads, which are by turns sweet, insightful, and heartbreaking. Flowers began drawing comics while earning her Ph.D., and her early mastery of sequential storytelling is nothing short of sublime. From her black-and-white drawings to her color construction-paper collages, Hot Comb is a propitious display of talent from a new cartoonist who has already made her mark.

"Aya is an irresistible comedy, a couple of love stories and a tale for becoming African. It’s essential reading." -Joann Sfar, cartoonist of The Rabbi’s Cat

Ivory Coast, 1978. It’s a golden time, and the nation, too-an oasis of affluence and stability in West Africa-seems fueled by something wondrous. Aya is loosely based upon Marguerite Abouet’s youth in Yop City. It is the story of the studious and clear-sighted nineteen-year-old Aya, her easygoing friends Adjoua and Bintou, and their meddling relatives and neighbors. It’s a wryly funny, breezy account of the simple pleasures and private troubles of everyday life in Yop City. Clément Oubrerie’s warm colors and energetic, playful line connect expressively with Marguerite Abouet’s vibrant writing. This reworked edition offers readers the chance to immerse themselves in Abouet’s Yop City, bringing together the first three volumes of the series in Book One. Drawn & Quarterly will release volumes four through six of the original French series (as yet unpublished in English) in Book Two. Aya is the winner of the Best First Album award at the Angoulême International Comics Festival, the Children’s Africana Book Award, and the Glyph Award; was nominated for the Quill Award, the YALSA’s Great Graphic Novels list, and the Eisner Award; and was included on "best of" lists from The Washington Post, Booklist, Publishers Weekly, and School Library Journal.

Aya has captured the hearts of North American readers of all ages for the rare portrait it paints of a vibrant, happy, bourgeois Ivory Coast in the 1970s, based upon Marguerite Abouet’s youth in Yop City. Not only is Aya complemented with Clément Oubrerie’s gorgeous artwork, but the volumes also offer a slice-of-life peek into African culture: complete with recipes, glossaries, and wardrobe instructions for turning one’s pagne (brightly colored fabric) into a skirt, head wrap, or baby carrier. Engaging and fun, the universal stories in Aya provide a much-needed context for today’s heartbreaking news stories.Aya is the winner of the Best First Album award at the Angoulême International Comics Festival, the Children’s Africana Book Award, and the Glyph Award; was nominated for the Quill Award, the YALSA’s Great Graphic Novels list, and the Eisner Award; and was included on "best of" lists in The Washington Post, Booklist, Publishers Weekly, and School Library Journal.