375:
222:, paying particular attention to the physical aspects of the individual books—the quality of the paper, binding and page dimensions. In a world of disposability and instant communication, Ware states on the reverse of the book that "it's sometimes reassuring—perhaps even necessary—to have something to hold on to". In all, the box contained four broadsheets, three magazines, two strips, two pamphlets, a four-panel storyboard, a hardcover book, and a book designed to mimic the
1320:
241:
woman sees herself as a failed artist, and the work follows her in the
Chicago brownstone apartment building in her twenties. Later in life as a mother, she puts on weight and feels her creativity stifled by domesticity. She still thinks of her first boyfriend, who left her after an abortion, and feels frustrated with her husband.
385:
Ware makes use of flat, isometric perspective and tiny lettering in rigidly regular square or rectangular panels in his diagrammatic pages. Along with its bright, primary colors and simple, cartoon forms, Ware's graphic style employs symmetrical, repetitive geometrical shapes and motifs, using clear
273:
Loss is a dominant theme in the work. The characters suffer loss in terms of relationships, romance, finance, weight, and in terms of the main character, loss of limb. The characters fear and resist these losses–though sometimes they desire it. There is much interconnectivity—the smallest details
210:
The completed book was published in box form, and is made up of fourteen printed works, including cloth-bound books, newspapers, broadsheets and flip books. The individual pieces are designed to be read in any order, though the inside of the box includes navigational diagrams to assist the reader,
240:
is an unnamed woman with brown hair who suffered the loss of the lower half of her left leg in a childhood boating accident. She comes to inhabit the third floor of a three-story apartment building, with a couple who constantly argue on the second floor and the elderly landlady on the first. The
244:
In the story "Touch
Sensitive", people from the future wearing glass helmets peer down on a couple who reside on the building's second floor. They use a technology that can read fragments of memories from an "area's consciousness cloud" and witness the potential breakup of the couple. In the
245:
future, the female protagonist, now a mother, tells her child the story of
Branford the Best Bee in the World. Branford appears in a stapled pamphlet and a newspaper in the set. After being squashed, he becomes Branford the Benevolent Bacterium. One of the books, resembling a
386:
lines and colors. The artwork brings unity to the otherwise messy contents of the project. The cutaway interiors of rooms recall the technique used in domestic scenes by 17th-century Dutch painters, as well as the labeled drawings in the children's storybooks of
255:-like section, a long, accordion-like foldout section, and other segments difficult to categorize. Some of the stories focus on a single character, such as the thoughts of the landlady, or the story of how the arguing couple met.
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as "Ware's masterpiece". Academic Martha
Kuhlman saw Ware's attempt to "document the multiple perspectives" of the project's characters to aspire "to a graphic novel on the scale of
266:, where had previously lived—her closest college friend commits suicide, her cat dies, she flushes a baby mouse down the toilet, and she is tormented about what to believe about
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430:'s influence in the box's design. Roeder sees Ware's incorporation of the myriad forms of comics from the medium's history as "a miniature pantheon of comic art".
115:. The intricate, multilayered stories pivot around an unnamed female protagonist with a missing lower leg. It mainly focuses on her time in a three-story
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437:, the book received, based mostly on American publications, "rave" reviews with nine critic reviews and eight being "rave" and one being "positive". On
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The buildings figure prominently in the story. The thoughts of the apartment building in which most of the story takes place are displayed in
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in 1987, though it was turned down, and had done some smaller-scale single-edition boxed projects while in art school. The boxed version of
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29:
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251:, charts the happenings in the three-story building on 23 September 2000. There is a large foldout resembling a game board, a
390:. Rather than Scarry's labels, though, the building itself comments on the banalities of life in a careful cursive script.
767:
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218:". Ware experiments with the book as printed object in a way similar to the experimental French comics collective
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gave it an aggregated critic score of 8.9/10 based on an accumulation of
British and American press reviews.
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lettering. The female protagonist is unable to escape the omnipresence of death in the suburban home in
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123:, but also follows her later in her life as a mother. The parts of the work can be read in any order.
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1277:"Chris Ware's Building Stories as Deleuzian Fabulation, or How and Why to Read Comics Affectively"
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439:
1601:
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1025:
1007:
978:
443:, based on British and American press reviews, the book received an "omniscore" of 4.5 out of 5.
404:
321:
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103:. The unconventional work is made up of fourteen printed works—cloth-bound books, newspapers,
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1290:
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544:, for Best Graphic Album: New, Best Writer/Artist, Best Letterer, and Best Publication Design.
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ran a seven-month series from 2005-2006 that was reproduced in the box set in the form of a
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28:
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1228:"From loose to boxed fragments and back again. Seriality and archive in Chris Ware's
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982:
945:"From Loose to Boxed Fragments and Back Again. Seriality and Archive in Chris Ware's
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was named as one of the best books of the year by several publications including the
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Aside from the box itself, which has a small quantity of comic panels printed on it,
252:
212:
170:
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in 2006. The work took a decade to complete, and was published by
Pantheon in 2012.
96:
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111:—packaged in a boxed set. The work took a decade to complete, and was published by
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548:
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featured a series of articles by the contributors to the 2010 collection of essays
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was one of Ware's inspirations, and the box seems partially inspired by
Duchamp's
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1085:"'I Hoped That the Book Would Just Be Fun': A Brief Interview with Chris Ware"
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292:(1935–41), which allowed Duchamp to carry around miniatures of his works.
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A 52-page cloth-bound hardcover book with no markings (a near-replica of
267:
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120:
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A double-sided accordion foldout of the protagonist with her daughter
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with a note that reads "everything you need to know to read the new
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A 16-page comic book featuring the old woman from the first floor
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1021:"When is a book like a building? When Chris Ware is the author"
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Partial
Answers: Journal of Literature and the History of Ideas
331:
A 16-page comic book featuring the couple from the second floor
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A double-sided accordion foldout of the protagonist in the snow
190:. The story "Touch Sensitive" was originally published in the
1330:
317:"Branford: The Best Bee in the World", a 24-page comic book
278:
in the book, as when its protagonist comes across a set of
990:
Freedman, Ariela (2015). "Chris Ware's
Epiphanic Comics".
1574:
Breakdowns: Portrait of the Artist as a Young %@*!
1158:"Bits Of Beauty Amidst The Gloom In 'Building Stories'"
783:
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677:
410:
The Comics of Chris Ware: Drawing is a Way of
Thinking
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were previously published. Some appeared in Ware's
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2012 graphic novel by American cartoonist Chris Ware
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43:
35:
21:
1136:: Stories about Art and Buildings, and Growing Up"
359:A 4-page broadsheet (including "Actual Size" from
274:have great importance in the work. There is some
156:#18 (2007), which itself contained material from
131:Ware said he proposed a similar boxed project to
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774:. October 11, 2012. Accessed October 25, 2012
8:
320:"September 23rd, 2000", a 32-page hardcover
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768:Building Stories - Suggested Reading Order
27:
18:
1637:Jimmy Corrigan, the Smartest Kid on Earth
1391:Jimmy Corrigan, the Smartest Kid on Earth
1257:
1064:"Building Stories by Chris Ware – review"
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426:. Kuhlman and art historian Roeder find
953:The Journal of Graphic Novels and Comics
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556:AngoulĂŞme International Comics Festival
1644:Julius Knipl, Real Estate Photographer
799:
727:
698:
657:
633:
1444:Timothy McSweeney's Quarterly Concern
1384:Floyd Farland - Citizen of the Future
754:
347:"The Daily Bee", a fold-out newspaper
187:Timothy McSweeney's Quarterly Concern
7:
1237:Journal of Graphic Novels and Comics
710:
308:A 52-page wordless landscape booklet
412:. Academic Daniel Worden described
353:A four-panel accordion-folded board
1532:A.D.: New Orleans After the Deluge
535:Jan Michalski Prize for Literature
337:"Disconnect", a 20-page comic book
304:contains the following 14 pieces:
282:itself in a bookstore in a dream.
14:
1318:
1130:Roeder, Katherine (2012-10-10).
872:"Building Stories by Chris Ware"
551:, for Excellence in Presentation
943:Crucifix, Benoît (2017-03-27).
350:A single poster, folded in half
1040:Kuhlman, Martha (2012-10-08).
1:
1702:Graphic novels set in Chicago
1452:The Best American Comics 2007
1250:10.1080/21504857.2017.1303619
1175:Worden, Daniel (2012-10-12).
1083:Mautner, Chris (2012-10-10).
965:10.1080/21504857.2017.1303619
513:Lynd Ward Graphic Novel Prize
508:Graphic Novels Division Award
1697:Pantheon Books comics titles
784:Building Stories Essays 2012
740:Publishers Weekly staff 2012
678:Publishers Weekly staff 2012
530:, finalist for Graphic Novel
506:National Cartoonist Society
398:To mark the publication of
200:The New York Times Magazine
1718:
1616:In the Shadow of No Towers
1567:The Beauty Supply District
1520:Comics from Pantheon Books
920:. Jan Michalski Foundation
458:New York Times Book Review
1526:
1226:Crucifix, Benoît (2018).
1199:"Building Stories Essays"
1042:"The God of Small Things"
1019:Heer, Jeet (2012-10-05).
26:
1430:The Ragtime Ephemeralist
197:app in September 2011.
1275:Haddad, Vincent (201).
519:Cartoonist Studio Prize
326:New York Times Magazine
99:by American cartoonist
382:
119:apartment building in
1162:National Public Radio
1004:10.1353/pan.2015.0020
377:
1687:Comics by Chris Ware
1588:The Cardboard Valise
1377:Acme Novelty Library
1105:staff (2012-06-25).
488:Entertainment Weekly
356:A 20-page broadsheet
342:Acme Novelty Library
153:Acme Novelty Library
1692:2012 graphic novels
1630:The Jew of New York
482:The Washington Post
236:The protagonist of
225:Little Golden Books
1595:Chicken with Plums
1470:Krazy & Ignatz
1203:The Comics Journal
1185:The Comics Journal
1140:The Comics Journal
1089:The Comics Journal
1046:The Comics Journal
1026:The Globe and Mail
840:"Building Stories"
813:"Building Stories"
558:Special Jury Prize
405:The Comics Journal
383:
322:Little Golden Book
264:Oak Park, Illinois
248:Little Golden Book
205:Little Golden Book
182:Hangar 21 Magazine
127:Publishing history
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1665:Read Yourself Raw
1486:
1485:
1177:"Loss as Life in
1116:Publishers Weekly
1103:Publishers Weekly
766:McCulloch, Joe. "
526:Los Angeles Times
499:Awards and honors
470:Publishers Weekly
88:
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82:978-0-375-42433-5
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904:"About the Book"
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880:. Archived from
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414:Building Stories
400:Building Stories
302:Building Stories
280:Building Stories
276:self-reflexivity
238:Building Stories
216:Building Stories
148:Building Stories
139:was proposed to
137:Building Stories
92:Building Stories
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22:Building Stories
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1156:(2012-10-09).
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998:(2): 337–358.
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918:"Edition 2013"
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852:on 23 May 2022
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177:Chicago Reader
159:The New Yorker
141:Pantheon Books
133:Eclipse Comics
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884:on 1 Oct 2015
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877:The BookScore
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845:The Omnivore
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1244:(1): 3–22.
936:Works cited
824:17 February
800:Roeder 2012
728:Weldon 2012
699:Roeder 2012
658:Weldon 2012
634:Worden 2012
418:James Joyce
378:Cartoonist
192:McSweeney's
105:broadsheets
1681:Categories
1651:La Perdida
1560:Black Hole
1362:Chris Ware
1300:2018-07-18
1209:2012-10-20
1190:2012-10-13
1167:2012-10-16
1145:2012-10-13
1122:2012-10-08
1094:2012-10-13
1075:2012-10-16
1060:Leith, Sam
1051:2012-10-08
1032:2012-10-16
818:Book Marks
755:Leith 2012
563:References
537:, finalist
528:Book Prize
493:Amazon.com
435:Book Marks
380:Chris Ware
117:brownstone
109:flip books
101:Chris Ware
95:is a 2012
71:Chris Ware
44:Page count
1623:Ice Haven
1602:Epileptic
1295:1549-6732
1282:ImageTexT
1268:194415161
1012:142473333
983:194415161
711:Heer 2012
394:Reception
52:Publisher
47:260 pages
1462:Designer
1446:issue 13
959:: 3–22.
296:Contents
268:abortion
888:12 July
856:12 July
423:Ulysses
328:serial)
260:cursive
232:Content
228:style.
121:Chicago
67:Creator
1609:Habibi
1422:Editor
1369:Comics
1325:Comics
1311:Portal
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491:, and
220:Oubapo
184:, and
1289:(4).
1264:S2CID
1008:S2CID
979:S2CID
554:2015
547:2013
540:2013
533:2013
523:2013
517:2013
511:2013
504:2012
370:Style
1658:Maus
1291:ISSN
926:2013
890:2024
858:2024
826:2024
464:Time
344:#18)
195:iPad
165:Nest
107:and
77:ISBN
39:2012
36:Date
1254:hdl
1246:doi
1000:doi
969:hdl
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