The Amazing Spider-Man
By Stan Lee and Steve Ditko
Foreword by Jason Reynolds
Introduction by Ben Saunders
Series edited by Ben Saunders
By Stan Lee and Steve Ditko
Foreword by Jason Reynolds
Introduction by Ben Saunders
Series edited by Ben Saunders
By Stan Lee and Steve Ditko
Foreword by Jason Reynolds
Introduction by Ben Saunders
Series edited by Ben Saunders
By Stan Lee and Steve Ditko
Foreword by Jason Reynolds
Introduction by Ben Saunders
Series edited by Ben Saunders
Part of Penguin Classics Marvel Collection
Part of Penguin Classics Marvel Collection
Category: Fiction Graphic Novels | Classic Nonfiction
Category: Fiction Graphic Novels | Classic Nonfiction
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$28.00
Jun 14, 2022 | ISBN 9780143135739
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$50.00
Jun 14, 2022 | ISBN 9780143135722
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Praise
“A groundbreaking example of comics representation in literature.”
—Publishers Weekly
“Penguin provides introductory essays; superb analyses by the series editor, Ben Saunders; and extensive bibliographies.”
—Michael Dirda, The Washington Post
“Stories become classics when generations of readers sort through them, talk about them, imitate them, and recommend them. In this case, baby boomers read them when they débuted, Gen X-ers grew up with their sequels, and millennials encountered them through Marvel movies. Each generation of fans—initially fanboys, increasingly fangirls, and these days nonbinary fans, too—found new ways not just to read the comics but to use them. That’s how canons form. Amateurs and professionals, over decades, come to something like consensus about which books matter and why—or else they love to argue about it, and we get to follow the arguments. Canons rise and fall, gain works and lose others, when one generation of people with the power to publish, teach, and edit diverges from the one before … A top-flight comic by Kirby—or his successor on “Captain America,” Jim Steranko—barely needed words. You could follow the story just by watching the characters act and react. Thankfully, Penguin volumes do justice to these images. They reproduce sixties comics in bright, flat, colorful inks on thick white paper—unlike the dot-based process used on old newsprint, but perhaps truer to their bold, thrill-chasing spirit.”
—Stephanie Burt, The New Yorker
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