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A contract with god

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A contract with god

  1. 1. STOP smc-. :Ne ABE, AND out. THE c0oDs, ,.o~/ , BOYCHIK, I'M TELLINK / ou, lT'sA MEHIAH. .. AWHOLE MONTH WE CAN PLA/ PlNOCHLE WIT No WIMMEN To BODDER 00 ME A FAVOR AND C LOSE THE W1NDER. ..C'M0N -I-PAY ATTENTION -ro THE GAME I uv ' M. li, =, | ); __'1 _. __: __. . __; ;. —~ fl’ 5 / V-7 1;-g‘-[1-r um V A)’ “"| '. y"{| ' Ar-fin“ ! "' ' éwillll‘ u_I_i_! n' N, . -vi= "'--"’-3*-‘ I . ‘ - rut}! ‘A ll ‘:1! J, N. ‘ . ! _ L ""?1is, mll»1. v (‘filly 3 I t"v<1~--er H z l~%: ‘V (“,3 fr . a . 1’: “"! "-M iii’: lg‘ _ J _ . . -» K ‘ WI‘ " 1 , + ‘ M W i ul‘ ” Mt nu ‘ T)‘ W V: I131 ‘~51 H1“ W . %._. . I55
  2. 2. Vou GONNA pm cows- uooen TA GONNA Loo1< our TH‘ WINDER? I56
  3. 3. i= W! ,.. VERE _ you GOw? ... We VORE PA2T~/ -60, GTT PLAY, PLAY, ..8E M‘/ GU E6T. ,. E2 -1’ GOTTA wen MY TANTE M: NNIE. ..6HE GOT AN ATTACK TODA~/ .,.6uo17ENL/ T ‘V « J, :“r: ~v-H ‘ > I W “ » _- ' v1’. » I V _ A0 A‘ 1 7' . DON T Wofigfim mam sm vou AINT éesn Aeoumv smce EAE~TEI2/ MV wn= E'6 A L GONE TOTHE ’ ‘ ‘fx? x‘. {{'viii’ I57
  4. 4. I59 LI-’7sEN, HoNI= .y—IT’s ! ".; ';'= : ’ A, THREE ‘/ EARE WE BEEN f LIKE THI$. ..WHEN A26 we GONNA Do MRI! " AND WHAT DO 1 ' HAVE ? .’-5AN, LEAlE3 YOUR WIFE . ..TELL HEI2 —. ==i‘: ‘.‘. ‘{'_"" eAIv . ..IT’5 eeTTIN'L! Ir5 FOR ME . ..WE AINT NO cHIcI<ENs, ~r I<Now/ ‘/ OU KNOW I GOT T W0 KIDG, I<ATHLEEN/ / f; ."‘: ‘I’ | l'iHI‘| l OI<AI, oI<AI-so, 9 I'LL TELL HER WHEN
  5. 5. ~' A OII, waID GETE AIzOuND. ..wANT MY IRVING I HEAR VOIIR WIFE IECHILLVINK’ UP IN THE MOUNTAINS I. ’ HELL0,6AIv. ..IRVING MINK5, V’eoT ROOM IN THE cAR?1'IIII c0MIN' IJPTO THE MOuNTAINé THIE W5EKEND, ’.. .‘THANK6.’ g ~ It AVVICE ? ?,, .DRop IN , ; . ON HER THIe WEEKEND HE~I, sAM. ’.. .~Iou GOT ROOM IN THE f ‘| l N0.’. ..IJU6T PR. OMI6EDA6PACE I 3 T0 IRVING MINK~s. ..TIIA-rI= IIL9 ~ A , IT uI= ...9OI2R~I,1DoN'T wANT . V I To OVERLOAD-ITS M/ * DROTHI= .R's CAR I I59
  6. 6. I60 I DROP ME OFF AT G209-SMAN-’= .,. ER III come UPTO FEGEL6 IVovV, vVILLIE. ,.POPPAE III ‘I W COMING UP TONIGHT-60‘/ ou A SLEEP IN THE BARNHWTEY, YOU'RE GOING DOINN To GROEIEMANS To GTAV VVITI-I AUNT Ro5I: ... ./ Iz’LLE “ I 61.56? WITI-NOUR cousIN, J = ‘l§[~lIn
  7. 7. ° I’ ARE HAVING A I -- I DANCE IN TIIE cAsINo , _ --IN HONOROF THE ‘ V WITH M16606 MINK€>, ,. A MAN ALIZEADY. ’ ‘D . l I "‘I'I‘I' I, "IV I "'III’. «I ZII '
  8. 8. ,, II. I'II’: '. I “ IIIIIM WILLIE, “ You Am: AVERY GOOD . __ DANCER. ..ER. .HOW ‘T I . WILLIE FANNIE. 2 E I62
  9. 9. MAN ANDWIFE, ’ Vou THINK I DONT KNOW ABOUT YOUR 5HII<6EH ? ? 2 MAVBE IF Vou WAS ‘ LOOK AT ME I'M I= ATAND MORE INTEREETED , _ . 0I. D., .AIITI-IAN I. IGL~/ BODV / / WITH HAND5 LIKE sANDpApI; Iz FROM TH’ House wORI<~ I GOT HIGH 9LOODPRE56UI2E ALSO-~ 1 AINT GIVING You NO DNORcE/ WE GOT KIDE To THINK OF-You WANNA PLAV AROIJNI7 WITH VOUR 6HII<6EH? ?.. Go, '! I'LL HIDE IT FROM THE KID5 so THEY WONT BE AGHAMED I Ib3
  10. 10. nu . , / ./5 * | r /25 /4 BE 7’f, E ‘ /9// gi L/ /DE/2 fr/ E/V Y0” COULD HA V5 A BETTER LIFE ' ‘t’, 2: ‘ v, ;"**% «ummwm IUIE . 1! I :1 1"! “ 4' . I“ i “I ‘ I ‘ I , u.n 1‘ ‘ 1 v y . - ‘ VI) V - - ‘r -__, 47 A . I1| ““ _ "‘ I I‘ I ,1 ‘ “ A. 4 ‘ V w ‘ . I . _1_i'“ _' ‘ ; | , ,-. 3 TV" ‘i | '_ _ II 1 '7-~~~ -. ‘ A I ‘ I ‘ ‘f= ~. _g 3 A‘_¢ I. — 1 | A‘; f C‘. ‘ I ‘x In . ‘ ‘ ? n J I 4_-: -é ‘; ~ VIC-—. ‘* , F73- I "F11 _ ' " " ' A M _ J, ‘ LL; ___'vI, ’»[‘ 4 §_: q:y. :_'_ , o 1 g" ‘ uuu"it1!! §, lb+
  11. 11. ." ‘Tu? ’ ; I BROUGHT ~/ ou ABLANKET, WtLLIE IN was You wees c0Lo. /[ -11!! !! Q3- ‘ minimum‘: ~]. I ‘i J | ]._; ,W. ~}’ . .‘ f . ‘ u GONNA . §( ‘ you-K/ ~10 -WHAT GETTING BIG I . ..Am{H(q; ‘ E oJ; .. lE _DARLwG‘”NA*H ‘* ‘ ~“"r‘f: ? NOW, NoVI. ..NOV‘J"' 1 . . Dorr/ ... oo-rr-TO-ME {b5
  12. 12. I66 6EE, MPs|2ALYN . ..6UE69 1. CAME -roo FA6'I’. ..60I2RY, ,. 1,1’/ A AHHH How ‘ow ARE You EaEI+! .i. ,', WILLIE .7 m[| I'*"‘ mu‘-. » ‘ ' NAH,6wEETaE. ..THAT Ms W ’ PRETTY Iv”‘si35‘5L‘%’F0f2 , GOMEONE ~/ ouRAe: E.. .IM some To TEACH You. ..Ev THE ENDOFTHE euMME2 r2~. 'I. °~:5:. r ‘ How. »-WHEN o #00 INTHE HAY WITH A KIDI, ’ HA!
  13. 13. 1*“. 2 “ ~" 7:5 wq IHEARO ‘IOUWERE IRA/ If~! Cés! I UPTO YouI2owTI2IcI<s IWA6 JU51’ . ..so, : CAME uPTo comma To FINDOUT. ..HA! SONE' 651’ SOME ONE INTI-IE House FI2EeH MILK I 6Aw/0u6oINToTI-IE ANDTI-II<3 KID _ aAI2N-AT ms TIME %p. fipG’fi'| o“! _§ k % Op NI@H'r? ?.. .HM I ‘D ME. ..IlfIIN‘Ah FI(: (a ERED our
  14. 14. I68 WOTGAMATTER ? .’ I'M NOT ENOUGH FOR ~/ ou ? ? OFF. ..0H, IRVIN6 ~Iou‘2E 60,60 0oooI—I. .yEe9,YE6e, . DAQLING 0000f/ /// //-/ /4 AHHHIIH I LOVE IT-~, ‘,'< 1 , . R . .v. ..]. . N. .-6.. .
  15. 15. ' / / V / I / Q / / 77 Y L , .-. I, / I 1,/ ‘ I ; /7// ./ * « Q / - / / K / /
  16. 16. I70 xIouI2 FOLKS 6ENT /0U DOWN HERE -ro swap WITH U6, . PETEY .7? AND PA WANNA 6LEEP TOOETHEIZ Nov I<NOw WHY? PRETTY HERE AT cLA= se~/ ‘CAUSE POPPA CAME uP—AND TI-IERE WA9 N0 ROOM FOR
  17. 17. DUMBELL 3/ . ~! ou OONT KNOW NuTH| N.’. . HEE, HEE, HEE, HEE, HEE / / You MEAN You CAN PEE OUTTA THAT HOLE ? GOSH. ’ Z‘/ EN'HH, ,,, IF we VI/ ONTGET INTER TROU BLE, ’ WAN NA WATCH THE GROWN-UP6 COIN’ vnzry ‘FI-IIN65 ? -umuou: --. ... ... .--. .._. ... ... .. ... ... ‘ u---u. ..— u-uugnml-umuuum ‘ V‘ I , -.
  18. 18. I72 ‘ . E2ENNY, .. NOT LII4E‘IHI9.. .I WANT ‘IOU E>H0lILD EEEPEC-r ME. ’ UIIWHMIII’IIIII| j|I! |l[[II'| !9iI , ‘ A" , .III I I nu. ‘ ‘ VII. I I IIIFIII I ‘V GOI. DIE, ..6OLDlE. ’ WE'RE GONNA C-IET MAI2I2IED, ,.90 WW NOT DO IT Now, ,. ,7’
  19. 19. §0,WE'LL WAIT UNTIL WE ‘RE MAI2RIED. ..BUT . HONEY, LET'S DO IT RIGHT AWAY. ’ " ‘ TI-II6 PLACE I6 COSTING ME. APRETTV WELL, To TELL THE TRUTH OOLDIE, I'M N0‘l’. ..I'M JUST A cuTTER. ' OH, wELL, 50 YOUR FOL| <6'I. L TAKE ME INTO THE BU-’= INE66.’ AFTER WE'RE MARRIED WI-IA‘r’§ THE DIFFERENCE ? / BUT EENN~/ , I -THOIIEHT you WERE I MEAN, You‘RE A RICH. .. THAT IE~, Y0uARE I '. A MANUFACTURER W -, ::1’ I""1=E£': AREN'T YoLI? ? I3
  20. 20. I'M NOT Rue! - Em-IEK MY FOLK6 ARE 17009 THEY CAN HARDLY GLIPPORT Mg; / ou Lave ME - NOTHING EL6E MATTERS. ’ IT voeeN‘T MAKE A DIFFERENCE! .. .‘/ OU EARN A eoov uvma, ,, DON'T / ou. -
  21. 21. ‘ HAT ARE % You name A, BENNY . '!? I75
  22. 22. EE. ..WHAT’D I . E TELL‘/ OU. ’.’ CMON LET'S GETOUTTA ' I76
  23. 23. A oooH. .I'MA Romeo WOMAN I. ’ . /vw goo. .. A TeAMP, ..AwH0RE / WHO WILL WANT ME I'LL HAVE‘/ OU 60LDIE. .,I LOVE y0u, ..IT DOESN'T MATTER TO ME WHETHER YOU'RE AlIR6lN A OR NOT. .. ITSYOU IWANT. ’ AFTER TI-H6 . '?oH em You ? ?.. v-~/ ou’RE HE 22915 . ..NE MET ON THE TRAIN LATE? I e~uBsEDvou. ..I- I'M so AsHAMgp, , . . . HERBIE . ’ I77
  24. 24. 179 . ,,you EEET NON,60LOIE. ' No oNE NEED EVER KNOW, -NoT EVEN YOUR PARENT6.’ IN AMONTH oI2TvVo, I'LL BE EoIN(: INTO PRIVATE Pr2Ac-ncE. wE'LL GET I MARRED-ANDTHATE GIETGOME 6LEEPu- I eoTTA PLAY WITH THE BAND _ -IT45 MYJOBI
  25. 25. I - 1‘ ‘ 4-" I A ‘IEAHC’? 50?? YOU 0H, I-o. .. IT'5 MIEHT I»W. '.. .THAT IIEEEIE THE LIKE TO pHoNEE~/ , TQLIMPETER! KNOW 'r'MAT I2’ . ,,Loo, <,; /M 6TCIj*gE ACHEAP . . A , , QECPETARV ‘ ' 160.‘. .. ‘HA fl. ~/ .3 You DIDN'T EVEN PEN ETIZATE You AI2E 9IcI<,9ENN)’. ..I MEAN, 9ExuALL~/ . . ./ ou NEED MEDICAL HELP. ..Do You UNDEEETAND ? I79
  26. 26. wHV DoN'T WE BOTH A‘ KEEP QUIET ABOUT 'I'HIs, ', . . DON'T EVER MENTION GOLDIEE m on “ ‘ How Doyou I<Now. .,? ! ‘ _ I MEAN, How pm You I<Now I THAT ABOUTME ? ? H -A _mIlI| iW . ' “WV "III " WHAT WAS - ou, 22.. some MEET Vang I= oLI<6 II’ Ii . I I~IIII_'I - — - .11‘ I
  27. 27. And so the Summer ends. .. and like migratory birds the . / aCa_tJOII€fS return tothe sanctuary of the Tenement where I8!
  28. 28. I WELL, BENNy, BACK FROM THE MOUNTAIN6 ? / so, How INAE ITT’? TAI<INE ME INTo THE DIAMOND BU9INE9S3' “IIIA, ~
  29. 29. NoO, ,,wILLIE? VAcATIoN5 OVER AI. REAOy/ 60, ST ART GETTING READY FOR =5cI—IooI. .’. ’ THIS YEARYOURE GONNA HAVE LOT6A EoNNA Ee= "AIj"TRAVELLINE. A Low, ,, §0,/ IZZEL BE THE III! -%: «! OF THE HOUSE Now , ',. ,~/ ‘HEAR ME R U 0 N E R E H: D N w R A W H. E. 6 m P 6 E on FATHER Is, ... WILLIE WILLIE?
  30. 30. the WILL EISNER LIBRARY FRCIM DB CEIMIBS The Building City People Notebook A Contract With God The Dream. er Dropsie Avenue: The Neighborhood Family Matter Invisible People A Life Force Life on Another Planet New York, the Big City To the Heart of the Storm Will Eisner Reader the SPIRIT ARCHIVES I-"RUM DB COMICS Will Eisner’s The Spirit collected in chronological order in full—color, hardcover editions ALESEJ BY WILL EISNER Comics and Sequential Art Graphic Storytelling
  31. 31. (ofu Efsu EK Will Eisner’s career spans the entire history of comic books from the formative days of the 19305, through the 19405 when he revo— lutionized narrative sequential art with his internationally famed series, The Spirit, to his mature work which, beginning in the 19705, led the field in the creation of the con» temporary graphic novel form. In addition to his award—_yvinning graphic novels, he is the author of the influential study Comics and Sequential Art. If you'd like to learn more about Will Eisner, visit his website at www. willeisncricom.
  32. 32. THE i-WFEET GRAPE-iiC3 NOVEL Not only is Mr. Eisner regarded as a master sequential artist. . . but his graphic novels have made him the Eisenstein of the medium — his A Contract With God invented that genre with its publication in 1978. He is a grace- ful and consummate artistwhose works offer . . . insight into the human condition. .. —Forward (New York) A Contract With God [is] the collection of realistic illustrated stories with which Eisner put himself again in the vanguard of the new wave of comics . . . the latest installments in one of the most distinctive bodies of work in comics, and indeed any narra- tive literature. —The Guardian (London) Will Eisner is the heart and mind of American comics. —Scott McC| oud, author of Understanding Comics Drawing on his memories of growing up in New York in the 19303, Will Eisner has depicted the lives and dreams of the residents of a Bronx tenement in this first work in a new medium, the graphic novel. The famed creator of The Spirit in the 1940s, Eisner has revolution- ized sequential art with the series of novels that began with A Contract With God. $12.95 us 20.00 CAN ISBN 156339-674-5 9 781563 896743

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