by Edward Sorel Edward Sorel is widely recognized as America's premier illustrator. But when he wasn't painting covers and making drawings for The New Yorker, The Atlantic, Time, and Rolling Stone , he was making comic strips. Sorel's strips are iconoclastic, cynical, and universally excoriating. No target escapes his watchful wrath: politicians, theological dynasties, idealogues left and right, lawyers, publishers, and the usual gang of movers and shakers (nor does he spare himself). Culled from the pages of The Nation , the Village Voice, Penthouse , and other magazines, Sorel proves he is that most dangerous of creatures - a cartoonist with a chip on his shoulder.
"Superpen" is the best Sorel collection. This later book, which reprints a few pieces from the aforementioned, finds Sorel tediously preoccupied with his anti-Christian prejudices, and has little of the range and variety of its predecessor. His art is still stunning to look at, however.
Some simplistic and repetitive anti-Christian Right jokes drag this down; not because they're mean, because you see no effort in them. Art's lovely and inviting, with showcases like a splash page of a new, modern hell that follows Republican preferences. Personal taste but this whole era of comedy feels dried-out to me. If you're more interested in it, buy buy buy.