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Charles Burns grew up in Seattle in the 1970s. His work rose to prominence in Art Spiegelman's Raw magazine in the mid-1980s and took off from there, for an extraordinary range of comics and projects, from Iggy Pop album covers to the latest ad campaign for Altoids. In 1992 he designed the sets for Mark Morris's delightful restaging of The Nutcracker. He's illustrated covers for Time, the New Yorker and the New York Times Sunday Magazine. He is the official cover artist for The Believer magazine. Black Hole received Eisner, Harvey and Ignatz awards in 2005. Burns lives in Philadelphia with his wife and two daughters.<b>Beautifully disturbing...A masterpiece of mood. This book is still haunting me!</b>
- George Kay, writer of TV-series Lupin and Hijack,
Art, dreams and reality form a near-seamless mesh... <b>unsettling and beautifully executed</b>
Guardian, *Books of the Year*
<b>How thrilling to see the return of celebrated American creator Charles Burns on such uncompromisingly fierce form</b>... Suffused with apprehension, this is a powerfully allegorical comic'
- Rachel Cooke, Observer, *Books of the Year*
Burns' new book is<b> a joy to read</b> and a welcome return to his long form storytelling that he’s been sorely absent from for years. The central plot is <b>beautifully told </b>with subtle meanderings from a bygone age of youth, but accompanied with the strange and often disturbing imagery we’re so used to seeing from<b> a creator at the top of his game. A great melding of both style and substance.</b>
- Charlie Adlard, author of The Walking Dead,
<b>I love everything about this book:</b> the story, the drawings, its way with all things extraterrestrial… It’s wraparound wonderful, <b>as close to immersive as any comic could be… </b>a book to be read and reread
Observer
Charles Burns' comics are fluid, smooth and <b>as solidly built as a vintage TV set, but they shudder with the chill of the uncanny</b>
New York Times
<b>The confidence with which Burns positions himself within the larger map of other writing</b> and art is entirely earned
New Statesman
<b><i>Final Cut</i> is among Burns’s best work,</b> its huge full-page drawings pushing your buttons in the moonlit American outdoors
Guardian
<b>A striking celebration of cinema's power and a chilling acknowledgement of its limitations.</b>
Kirkus Reviews
<i>Sugar Skull</i> is <b>one of the most </b>vividly drawn and painfully and <b>honest expositions of male guilt I’ve ever read</b>
Observer