基本信息出版社：Abrams Image
页码：128 页
出版日期：2009年04月
ISBN：0810983613
International Standard Book Number：0810983613
条形码：9780810983618
EAN：9780810983618
装帧：精装
正文语种：英语

内容简介 Cartoonist George Booth has spent four decades at the New Yorker constructing a universe so distinct, it would be immediately identifiable even without his signature on the bottom of the panel. In Booth’s world a bare lightbulb dangles precariously . . . a frayed carpet barely covers the living room floor . . . flies buzz . . . a couple speaks matter-of-factly . . . a man looks up from behind his newspaper. And somewhere, in the foreground or off to the side, a dog twitches involuntarily. In Booth’s cartoons dogs act as a Greek chorus, serving as a proxy for the reader by pointing out the mundane absurdity of life that is obviously lost on their owners. This 40th-anniversary collection highlights George Booth’s best and funniest dog cartoons—with a special introduction by Bill Cosby.
作者简介 George Booth is an award-winning illustrator whose work has appeared in the New Yorker, the New York Times, and several children’s books. His previous books include The Essential George Booth, Omnibooth, and Think Good Thoughts About a Pussycat. In 1993 Booth was recognized with a Gag Cartoon Award for his work in the New Yorker by the National Cartoonist Society. He lives in Stony Brook, NY. Bill Cosby is an American comedian, actor, author, producer, and activist. He is also the bestselling author of Fatherhood.
专业书评 From Booklist

They look like pointy-eared dwarf alligators on short, claw-footed stilts, and they’re seldom the point or the executor of the gag, but for cartoon lovers, Booth’s dogs are as definitive of their cartoon species as B. Kliban’s ebullient, meatloafish cats are of theirs (there are cats in Booth’s stuff, too, but they’re definitely second bananas). Their memorability has a lot to do with their utter doggyness. Only occasionally, as in the formal but irregular series one might call the Sleeper and His Dog, does a Booth pooch go human by, say, turning a key in a lock. Usually, they just sit, lie, bark, scratch, and react to what a cartoon’s unkempt, lunatic humans do and say. But, graced with an ineffably radiant tinge of the seediness that suffuses every Booth cartoon, they somehow subtly occupy a—if not the—spot on which the gazing eye must eventually rest. And they’re always funny, often enough so to turn a chuckle into a chortle, maybe even a guffaw, or, better yet, a bark.