Whether you love or hate the comics work of Chris Ware, his iron-clad argument of comics as a viable storytelling medium in his introduction to THE BEST AMERICAN COMICS 2007 cannot be denied. After all, he writes, graphic novels now have been embraced by no less than The New York Times, featured in modern art museums and – in the case of Alison Bechdel’s FUN HOME, excerpted within – named the best book of the year by Time. This book, which Ware edits, also should serve as equally compelling evidence.

With an inaugural volume last year edited by Harvey Pekar, THE BEST AMERICAN COMICS aims to showcase the greatest in graphic-art storytelling. But whereas Pekar almost exclusively chose depressing stories, Ware’s editorial eye has more scope, and thus, a much better, brighter compilation results.

The change is evident from the start, with David Heatley’s colorful cover and delightful slice-of-life endpapers that depict his – and our? – daily life without using any words. It’s totally charming, yet nakedly honest.

Kicking the anthology off, Art Spiegelman provides a remembrance of his youth, falling in love with comics and having his world forever rocked when his father brings home a stack of taboo-laden EC titles. Also cut from real life are personal strips from Jeffrey Brown and KING-CAT’s John Porcellino; both seem to make perennial appearances in these kinds of collections, and for good reason: Their work is solid, sincere and deserving of a far wider audience.

Similarly, Adrian Tomine’s OPTIC NERVE stories are always good, and the NERVE-esque excerpt from SHORTCOMINGS is no exception, chronicling the unlikely relationship of a young Asian man dating outside his race for the first time … with a white lesbian girl. ‘Tis a recipe for disaster, of course, expertly written and drawn.

My favorite story might be Gilbert Hernandez’s very adult “Fritz After Dark,” in which a man recollects the storied sexual history of his fourth wife, an incredibly large-busted B-movie starlet. As befitting of either Hernandez brother, it’s edgy and funny, yet unexpectedly erotic.

Some selections make little sense, but are so visually interesting – ranging from highly detailed to purposely juvenile – that they merit inclusion. Falling into this category are the enigmatic names of C. Tyler, C.F. and Paper Rad, and I swear the latter two’s works had to be created with copious narcotics.

Other well-known indie names within include Charles Burns, Ivan Brunetti, Kim Deitch and Seth, all turning in reliable work. However, I’m ready to call Robert Crumb the Meryl Streep of underground comics. Just because you’re an elder statesman doesn’t mean everything you do is automatically golden.

At more than 350 pages and 30 contributors, this 2007 edition is not wanting of material, but it could cast a wider net. The BEST AMERICAN COMICS series still may be an infant, but I think it harbors an anti-mainstream sentiment; there is excellent work being done by the big boys of DC and Marvel – superhero or otherwise – and it would be nice to see that recognized, especially when some of this work is cited in the “100 Distinguished Comics” list at the book’s back.

However, given all the great stuff this collection exposes readers to, it’s hard to chalk that up as a reason against purchase, for this comes highly recommended. –Rod Lott

Buy it at Amazon.

OTHER BOOKGASM REVIEWS OF THIS SERIES:
• THE BEST AMERICAN COMICS 2006 edited by Harvey Pekar

OTHER BOOKGASM REVIEWS OF THESE AUTHORS:
• AN ANTHOLOGY OF GRAPHIC FICTION, CARTOONS, & TRUE STORIES edited by Ivan Brunetti
• BLACK HOLE by Charles Burns
• KING-CAT CLASSIX: THE BEST OF KING-CAT COMICS AND STORIES by John Porcellino
• BIG FAT LITTLE LIT edited by Art Spiegelman and Françoise Mouly