They lived on opposite sides of the planet, at roughly the same time, and never met. In their lifetimes (one is now dead) each became an acknowledged and influential master in his chosen form of storytelling, and even though their media, social contexts and biographies were worlds apart, the early work of each artist bears striking similarities: they shared a melancholy, darkly humorous, and peculiarly bleak vision of character, story, and life.
After a lifetime in manga—from being a precocious, published artist before he was 15, to becoming known as the “godfather” of an entire style of storytelling—Yohihiro Tatsumi finally gained a significant profile in the West with the publication of four books over the past few years.
Starting in 2005, Canada’s Drawn and Quarterly published three collections of Tatsumi’s short stories, representing work from 1969 to 1972, and a massive memoir that covers his life and work in manga up to 1960.
Represent a fraction of his output, the four books shed light on a fascinating genre of manga, and reveal an avenue of storytelling with connections to the greatest modern short fiction.