"I'm often wary of using the word 'inspiration' to introduce my work -- it sounds too much like a sun shower from the heavens, absorbed by a passive individual enjoying an especially receptive moment. While that may be the case on rare occasions, the reality is usually far more prosaic. Staring at a blank piece of paper, I can't think of anything original. I feel utterly uninspired and unreceptive. It's the familiar malaise of 'artist's block' and in such circumstances there is only one thing to do: just start drawing." -- Shaun Tan
A collection of three jaw-dropping stories: THE RED TREE, THE LOST THING, and THE RABBITS, by New York Times bestselling author and illustrator Shaun Tan
A girl finds a bright spot in a dark world. A boy leads a strange, lost creature home. And a group of peaceful creatures loses their home to cruel invaders. Three stories, written and illustrated by Shaun Tan, about how we lose and find what matters most to us.
Never widely available in the U.S., these tales are presented in their entirety with new artwork and author's notes.
A truly remarkable work of art that is already one of the most talked-about book of the season.
"A shockingly imaginative graphic novel that captures the sense of adventure and wonder that surrounds a new arrival on the shores of a shining new city. Wordless, but with perfect narrative flow, Tan gives us a story filled with cityscapes worthy of Winsor McCay." -- Jeff Smith, author of Bone
"A magical river of strangers and their stories!" -- Craig Thompson, author of Blankets
"Magnificent." -- David Small, Caldecott Medalist
Shaun Tan follows THE ARRIVAL with a collection of off-the-wall tales combined with his genius illustrations in a unique hybrid format that will build on our current success.An exchange student who's really an alien, a secret room that becomes the perfect place for a quick escape, a typical tale of grandfatherly exaggeration that is actually even more bizarre than he says... These are the odd details of everyday life that grow and take on an incredible life of their own in tales and illustrations that Shaun Tan's many fans will love.
“'Why isn’t the finished work as good as the sketch?' Tan (The Arrival) asks in the introduction to this collection of loose illustrations and rough ideas, wondering why drawings lose their spontaneity as they undergo revision. These sketches took little time to make, he says, and some 'barely escaped the paper-recycling bin.' Fascinated with hybrids, Tan draws cyclopean monsters with claws and tentacles, light bulbs with tails, cars with antennae, and a flower whose bloom is a single human eye. A section of full-color paintings and drawings offers rich and complex layers of pigment, lush shadows, and startling highlights of scarlet and magenta. In one, an Asian man wearing glasses holds the hand of a small boy on a sidewalk; 'Dad + me,' reads the legend. A careful set of sketches records pre-Columbian artifacts; another, just as earnest, invents a character alphabet for an undersea civilization; a cover sketch for Margo Lanagan’s Tender Morsels also appears. The sharing of unfinished work is a generous gesture, and the collection is a treasure trove for any young artist who wants to know more about how ideas are captured on paper." - Publishers Weekly starred review "Tan, the mastermind behind the incomparable The Arrival (2007) and Lost and Found (2011), opens up his sketchbooks and offers up an array of drawings, doodles, and visual experiments. Separated into works for books, theater, and film; life drawings; notebooks; and tantalizing glimpses of untold stories, the entries all share Tan’s unique trademarks. Unmistakable are his flawless craftsmanship, his organically industrial yet timeless aesthetic, and his lyrically haunting style and tone. Given their own page and focus, many details that might have attracted merely a glance in larger works are turned here from a flourish into a full-fledged character or visual idea. Simultaneously, mechanics of his world-building skill come clear, like a penchant for embellishing illustrations to make them appear a part of a larger blueprint or schematic, giving the sense of a small image within a vast tapestry that is itself an infinitely branching world of imagination. The author’s stated hope is that, in their evolutionary examination of images and narratives, the sketchbook pages “offer a privileged insight into the creative process.” So it does, making it an invaluable resource for burgeoning visual storytellers. But even for those interested in little more than pondering and daydreaming, this is a powerful springboard for the imagination." - Jesse Karp, Booklist starred review