Graphic Mondays

Dzyd Wayne has a new column up at Coilhouse, called From the Continental Shelf, in which he
discusses his favorite European Comics. This installment features Dylan Dog...Dzyd Douglas has writes in the Times on the offerings from Los Bros Hernandez, some of which have crossed my desk (and one of which I've started and am enjoying). I approve of the usage of "Zeppo":

“Amor y Cohetes,” the final volume of seven collecting the first (1982-1996) “Love and Rockets” series, is a gallimaufry of 42 short pieces that don’t quite belong to either Jaime’s Maggie-and-Hopey continuity or Gilbert’s tales of the inhabitants of Palomar, aside from a pair of tales in which the brothers tackle each other’s characters. (There are also a few stories by Mario Hernandez, the Zeppo of the family.)

...Also in the NYT, a front-page piece on Feiffer's Explainers...This is not comics, but while we're reading the Book Review, the penultimate and antepenultimate sentences of David Thomson's take on an Astaire bio seems specifically designed to drive B. Kite bonkers:

Astaire is never going to be “rescued” for a trashy age by the revelation of a sordid private life. At the same time, his terrifying concentration and his refusal to acknowledge certain appetites lead to a conclusion seldom reached about performers in ballet or other musical forms: Fred Astaire was not human, not sexual, not sexed. But in his total disregard of the hardship and squalor of the ’30s, he let it be known that art need have nothing to do with life. That’s where “Citizen Kane” betrays itself. It is heavy-handedly about “America.” “Top Hat” and the others are strolls through Arcadia.