PICK OF THE MONTH I

Actually, you don't need Previews for this month's picks - they're already in bookstores. But the catalog is filled this month with people who've never had books in Previews before. Please do not rob me of books I actually know something about.

THE CARTOON HISTORY OF THE UNIVERSE VOL. III: THE RISE OF ARABIA TO THE RENAISSANCE, by Larry Gonick, from WW Norton
DEC02 3136, pg. 380, $21.95

Last month, I said that Norton didn't even bother soliciting this book through Diamond because they knew Gonick's work, despite having mass-market appeal, no longer sells well in comic shops. Turns out they just forgot. Oops.

Gonick has made a real rod for his back with these books. He has to condense the whole of human history, but can't let his pages groan with text. He's made sure not to be Euro-centric or anything-else-centric, so he doesn't have the luxury of losing whole continents when they're inconvenient. And he has to be relentlessly amusing about it all, even about things like (in this volume) the Hundred Years War and the Black Death. It's a job that requires superhuman amounts of research, a gift for cartooning and a bottomless supply of wit. It hardly seems possible. Except, of course, that Gonick's done it.

The book is exhausting sometimes, I will admit. Gonick has 800 years to cover and therefore moves at quite a gallop. But he's a natural entertainer - he started as an underground cartoonist, and still owes a visible debt to Gilbert Shelton - and brings to his subject an essential irreverence. Read it and get yourself an education.

See also: THE CARTOON HISTORY OF THE UNIVERSE VOL. I
DEC02 3134, pg. 380, $21

THE CARTOON HISTORY OF THE UNIVERSE VOL. II: CHINA TO THE FALL OF ROME
DEC02 3135, pg. 380, $19.95

PICK OF THE MONTH II

DAVID BORING, by Dan Clowes, from Fantagraphics Books
DEC02 2695, pg. 307, $16.95

"Imagine trying to distill DAVID BORING down to a one-sentence pitch," Dan Clowes has said. "'It's like Fassbinder meets half-baked Nabokov on Gilligan's Island.'"

I'll have to take his word on that. All I know is that it's excellent. And it's hardly just me saying so - DAVID BORING was one of the graphic novels, along with JIMMY CORRIGAN and SAFE AREA GORAZDE, that broke into the literary mainstream in the landmark year of 2000.

DAVID BORING is impossible to summarise, and purposefully so. It's got a three-act structure and something of a Hollywood ending, complete with credits, but it's warped beyond recognition. The apocalypse seems nigh in chapter 2, yet becomes a matter of no real urgency in chapter 3. Ever say of a real-life event, "if someone were to put that in a book, no-one would believe it"? DAVID BORING's like that all the way through.

Our eponymous hero, for example, gets shot in the head. On two separate occasions. And I'd say he wasn't much fazed by it, if he weren't so perpetually fazed by life in general. He's an affectless, anhedonistic nineteen-year-old who can't puzzle out meaning from his past and barely shows up for his own present. He is in no shape to deal with what's thrown at him in this story: obsession, murder, incest, millennial dread, and the end of the world.

DAVID BORING fulfils the promise of Clowes' surreal LIKE A VELVET GLOVE CAST IN IRON. That book he made up as he went along. BORING is just as wildly improbable but is rich with subtext that could only have been carefully worked out in advance. It is also filled with effects that are irreproducible in other media; after working with Terry Zwigoff to adapt GHOST WORLD to the screen, he wanted his next book to be hopelessly unfilmable. It's a bravura piece of storytelling, heightened by Clowes' meticulous and eerily still drawing style. You shouldn't need me to tell you this, after all this time, but DAVID BORING is essential.

You can view the animated trailer Pantheon did for the book here.

DARK HORSE

HELLBOY: ANTHOLOGY #1, by various
DEC02 0014, pg. 25, $2.99

THE ART OF HELLBOY, by Mike Mignola
DEC02 0015, pg. 26, $49.95

Just because creator Mike Mignola is out in Hollywood assisting with the HELLBOY movie, doesn't mean we'll lack for comics about the big red lug. THE ART OF HELLBOY is one of those massive deluxe hardcover art books heavy enough to club zombies back to death with, while HELLBOY: ANTHOLOGY is a chance for various creators, likely and unlikely, to play in Mignola's sandbox. This issue sports a typically handsome John Cassaday cover, and includes a story by Andi Watson!

DC COMICS

This month's feature articles are overwhelmingly superhero, but I'm giving up commenting on the DC Universe, I think. I don't know what to think anymore. I was all set to sneer at the revival of DIAL 'H' FOR HERO, of all damn things (now rechristened H-E-R-O), until I saw that Will Pfeifer was writing it. Pfeifer wrote a screamingly funny miniseries for Vertigo a couple years back called FINALS, drawn by Jill Thompson. It meets all the criteria of a 'pop comic' - new, smart, twisty, quick (between about 60-120 pages), relevant, not genre-bound, (usually) tinged with a wicked and knowing humour. But Vertigo forgot to tell anybody about it. So it sank without a trace, and is unlikely ever to be collected. (This is true of a lot of Vertigo's pop comics - GRIP, GIRL, FACE, FLEX MENTALLO, FOUR HORSEMEN, insert your own favourites here. The shining exceptions have been THE SYSTEM (collected) and KILL YOUR BOYFRIEND (published with a spine to begin with). And so now Pfeifer is reviving DIAL 'H' FOR HERO. I don't like it, but I can't bring myself to sneer at it.

Speaking of Vertigo...

VERTIGO X PREVIEW
DEC02 0824, pg. 95, $0.99

This is a magazine commemorating Vertigo's 10 year anniversary and promoting their upcoming titles.

It's interesting to see how they've changed. First off, they're not the home of 'dark fantasy' anymore. There's not much left of that outside of the SANDMAN franchise, and even that's lightening up - Jill Thompson's doing a graphic novel starring the female Endless in a farce drawn manga-style. No aggravated mopery or ostentatious quoting of Milton at the new Vertigo. Second, they don't seem to be wedded to an 'anchor serial' anymore. They're all over the map, and happier that way. Perhaps they're embracing the pop model at last. I hope so - it could make them a colourful oasis of novelty in the drab wasteland of commercial comics.

The third shift is weirder; Vertigo seems to be investing heavily in the action genre. This is what I mean by the Year of Status Quo Plus. When Marvel gets successful, everybody drops what they were doing and trains their guns on Marvel. And so you get THE LOSERS ("the ultimate high-stakes heist crew... action with attitude!"), THE WINTERMEN ("a 21st century gangster tale" that "combines the Russian Mafia with fallen superheroes"), and BEWARE THE CREEPER (a female Scarlet Pimpernel-type in belle époque Paree). The theory, I suppose, is that new, original books can deliver a purer hit of action than company-owned costumed-character comics can.

Unfortunately, that's the same theory Wildstorm has been operating under. They've been launching new, original action titles left and right these past several months: GLOBAL FREQUENCY, 21 DOWN, BLACK SUN, POINT BLANK, THE RESISTANCE. GLOBAL FREQUENCY is doing well, due to the marquee value of Warren Ellis' name. The rest are already among the worst-selling titles that DC publishes. They sell worse than every single Marvel book. Hell, they sell worse than every CrossGen book. If I were at Vertigo, I'd be looking at this debacle next door and sweating a little.

Oh, yeah, the magazine. It does contain one piece of comics: a return by Peter Milligan, assisted by his X-STATIX cohort Mike Allred, to SHADE THE CHANGING MAN. Who he, you ask? Read on...

SHADE, THE CHANGING MAN VOL. 1: THE AMERICAN SCREAM, by Peter Milligan, Chris Bachalo & Mark Pennington
DEC02 0823, pg. 95, $17.95

This is a path-breaking piece of work, one of the books that became the foundation for Vertigo. So why, lots of people have grumbled, didn't DC collect it long before this?

Well, to be fair, I can see why: it takes a while to find its legs. Milligan had to do a great deal of violence to Steve Ditko's goofy concept, an alien from the planet Meta armed with a Vest of Madness, before he could write the book he wanted to write. And what he wanted to write, unfortunately, was a Nightmare Journey to the Dark Heart of the American Dream. That part hasn't aged so well, particularly since it uses JFK as a launching point. (Who did kill the Kennedys? As Milligan tells us, it was you and me. Fancy that.)

Furthermore, Shade himself started as a poetic, sensitive new-age kind of guy, someone the reader could sympathise with. He would get madness flung at him and try desperately to cope. For my money, though, Shade got more interesting later in the run, when he started giving in to the madness. (And when Milligan broke with Ditko's original for good.)

Nevertheless: when Milligan's on, he's on. And he's on in SHADE's very first scene, which is not just horrible but truly tragic, and which introduces Kathy, perhaps the real hero of the series, always a little less stable than she lets on but with reserves of inner strength. There are more moments to match that as the book goes on, and by the end Milligan has loosened up enough to mix a wicked satirical streak in with the horror, in the Hollywood Monsters storyline. Worth reading.

IMAGE COMICS

JACK STAFF #1, by Paul Grist
DEC02 1804, pg. 124, $2.95

Nice to see Paul Grist make the leap from self-publishing to (what passes in comics for) the 'big time'. This title began life as a UNION JACK revival pitched to Marvel UK; when they turned it down, Grist filed the serial numbers off the character and published it himself. He then filled the book with analogues of other British comics characters and TV show heroes from his youth. And yet, according to the reviews, it's not just a wallow in nostalgia or a parade of in-jokes, but rather a story that can stand full well on its own.

My only complaint is, it's Grist's other title that I follow, and have been hankering to see the return of: KANE, his police procedural. It's graced by inventive storytelling, just the right amount of comic relief, and some of the most elegantly simple use of black & white since Alex Toth. But with any luck, JACK STAFF will do well for Image and they'll start publishing KANE as well.

If you want to catch up, there is a trade of the first four issues: JACK STAFF: YESTERDAY'S HEROES (DEC02 1807, STAR17035, pg. 124, $15.95).

GRRL SCOUTS: WORK SUCKS #1 (of 4), by Jim Mahfood
DEC02 1793, pg. 118, $2.95

A few months back, Image published STUPID COMICS #1, Mahfood's collection of short satirical strips, and on the strength of a long list of endorsements from pros, I gave it a shot. Damned if I could see what the fuss was about. Most of the strips were endless harangues, heavily derivative of Evan Dorkin, and though I have a high tolerance for that sort of thing, I won't stand for being harangued about fat, pathetically easy targets,like MTV, forchrissake. (Did you know, they hardly ever even play music anymore?)

Judging from some of that book's slice-of-life strips, though, he may employ a lighter touch in his fiction. (On the other hand, the use of the word 'grrl' doesn't inspire confidence. Is it 1991, still?) In this instalment, Mahfood's adorable trio of culture jammers have to go overground for a spell and get real jobs. Tom Hart already did a similar plot in the HUTCH OWEN collection, so Mahfood has a high standard to meet, here...

ADHOUSE BOOKS

MY OWN LITTLE EMPIRE, by Scott Mills
DEC02 2397, pg. 220, $9.95

Well, I'm glad to see Adhouse, which recently had a critical hit with Joel Priddy's little gem PULPATOON PILGRIMAGE, is here to stay. But I can't imagine what comics needs less than another autobio book about "being a teenager in the '80s", particularly one involving "unrequited love" and "Morrissey concerts". And I didn't much care for Mills' graphic novel BIG CLAY POT. I thought it was cloying and cliché, that it read way too quickly, and that Mills' minimalist drawing style, which makes everything look soggy and insubstantial, largely failed to convey the book's historical setting (which was 200 BCE Japan, for no terribly good reason). Most critics seem to like Mills better than I do, but I notice that The Comics Journal just made similar criticisms of Mills' newest book, the WWI drama TRENCHES. So, colour me sceptical.

AIT/PLANETLAR

TRUE STORY, SWEAR TO GOD VOL. 1: CHANCES ARE..., by Tom Beland
DEC02 2403, pg. 222, $14.95

The publisher that started out with 'man movies on paper' now presents a chick flick on paper. And somehow, it makes perfect sense.

This is another goddamn autobio comic, yes. But it stands out because it's about that rarest of autobio comic subjects: requited love. This is the near-as-damnit fairytale story of how Beland met the girl of his dreams. At Disneyworld, no less. And he's every bit as besotted now as he was that day. This is not an analytical book, nor is it an exercise in soul baring (note that, when Tom has to talk to Lily about his failed first marriage, he carefully withholds the details from the reader). It is what it looks like on the surface: a guileless love ballad like they don't write anymore. Gentle and told with a graceful, Hirschfeld-influenced line. Makes a nice change, and well worth checking out.

Unless you've had a run of bad luck in love lately, in which case you'll just resent the hell out of the goofy bastard.

SKY APE: ALL THE HEROES, by Phil Amara, Tim McCarney, Richard Jenkins & Michael Russo
DEC02 2404, pg. 222, $6.95

The latest adventures of the crime-fighting gorilla with the jetpack that runs on champagne. It's daffy. In this one, he teams up with a whole slew of superheroes with funny names to pummel a plague of supervillains with funny names. I haven't seen that much of SKY APE, to be honest, but my impression is that it's funnier than THE TICK but not nearly as funny as Jay Stephens' LAND OF NOD stories.

ALTERNATIVE COMICS

It's Alternative Comics' 10th anniversary! They may not have a strong brand, but they publish a great deal of good work. None of which I'm qualified to comment on this month, though...

HICKEE, edited by Graham Annable
DEC02 2409, pg. 228, $12.95

An anthology of gag strips done by cartoonists who work in animation, led by Graham Annable, who proved himself an able gag cartoonist in GRICKLE (DEC02 2410, STAR13433, pg. 228, $14.95) last year. Anthologies such as these can be wildly variable, but the overall artistic success of the MONKEYSUIT books, also done by animators, bodes well for this.

WHEN I'M OLD: THE COLLECTED STORIES OF GABRIELLE BELL, by Gabrielle Bell
DEC02 2413, pg. 228, $12.95

A collection of fiction from her minicomics. Looks fascinating; I know not the first thing about it. Here's an overview of Bell's work, taken from Submedia.

STRUM & DRANG: GREAT MOMENTS IN ROCK & ROLL, by Joel Orff
DEC02 2412, pg. 228, $6.95

Orff collects people's best anecdotes about rock music, or at least involving rock music, and then illustrates them in his weekly strip, GREAT MOMENTS IN ROCK & ROLL, of which this is a collection. If nothing else, it's a killer premise.

URBAN HIPSTER #2, by David Lasky and Greg Stump
DEC02 2416, pg. 229, $2.95

The first issue (DEC02 2415, pg. 229, $2.95) came out in 1998, and was a pisstake of the post-grunge Seattle scene. This does not sound like a killer premise, frankly. But it was well received (must have been, if they're bringing it back after all this time), and Lasky, best known for having compressed James Joyce's ULYSSES down to 10 pages, has long had the reputation as a talent due to break out.

CG ENTERTAINMENT

Even people who wouldn't read a CrossGen book on a bet (like me) praise their business savvy, but their Previews section this month should raise questions about their sanity. You see, they're bringing LADY DEATH back. CrossGen president Marc Alessi is friends with Chaos president Brian Pulido, and when Chaos went bankrupt (actually, slightly before Chaos went bankrupt - long story), Alessi bought the rights to Pulido's flagship creation, and is letting Pulido write it again for CrossGen.

But not without some changes. Because Lady Death was the original Bad Girl, and CrossGen is a family-friendly publisher. So she no longer has anything to do with demons, exactly, she's no longer dead, and while she's still got that lovely pallored skin, she doesn't flaunt any of it. She is, for perhaps the first time, fully clothed.

That thunder you hear is Chaos's fanbase, rushing for the exits.

The weird part is, a glance at this month's covers reveals that CrossGen isn't above a little cheesecake now and again. So why de-sex LADY DEATH so thoroughly? Do they really think they're going to rehabilitate the reputation of the poster girl for softcore funnybooks?

Gather round, children - it's not often you get to see a marketing train-wreck in slow motion...

DRAWN & QUARTERLY

LOUIS RIEL #9, by Chester Brown
DEC02 2634, pg. 296, $2.95

The penultimate issue of Brown's fine biography of Riel, the 19th-century half-Indian messianic rebel, often called the most controversial figure in Canadian history. In this issue: the last stand of the Metis, and Riel, tormented and increasingly unhinged, put on trial for treason.

FANTAGRAPHICS BOOKS

THE COMICS JOURNAL #250
DEC02 2696, pg. 307, $12.95

It's a double-size landmark issue, crammed full of more stuff than I can list. Worth singling out is "Neji-shiki," a manga short story by Yoshiharu Tsuge that the Journal is translating into English for the first time and publishing in full. Editor Milo George says, "Tsuge is a giant of Japanese comics, and this hugely influential, deeply moving and formally daring story should stand with comics like Maus as a true masterpiece."

You can read the full solicitation here. This looks unmissable.

THE WIPEOUT, by Francesca Ghermandi
DEC02 2700, pg. 310, $19.95

Ghermandi's comics are gleefully mental. An Italian cartoonist, her only books to reach Anglophone audiences up until now have been two black & white silent volumes of PASTIL, in which a little girl with a tablet-shaped head is chased across all creation by such things as a vengeful robot marionette and a rogue eyeball. Greg McElhatton aptly describes them as Lewis Carroll stories drawn by MC Escher.

THE WIPEOUT is a graphic novel in full colour, described by Fantagraphics as "a cross between MULHOLLAND DRIVE and GUMBY" and "a violent, dream-laden fantasia." Couldn't you do with a violent, dream-laden fantasia?

C TYLER'S INK PARTY, by Carol Tyler
DEC02 2694, pg. 307, $10.95

Autobio stories, but blessedly unpretentious and hipster-free, about getting by and being driven crazy by your family. Studs Terkel endorsed Tyler's last book, THE JOB THING, which gives you some idea of the tone. The Comics Journal included her 'The Hannah Story' in their Top 100 (English-Language) Comics of the Century.

NO MORE SHAVES, by David Greenberger & various
DEC02 2697, pg. 307, $18.95

A collection from the comics version of Greenberger's long-running arts project, DUPLEX PLANET. You've heard, perhaps, of the corny old Art Linkletter feature "Kids Say the Darnedest Things"? This is "Old Folks in Nursing Homes Say the Darnedest Things." Despite Greenberger's declared empathy, I've never been sure just who the joke is supposed to be on. But then, he's gotten every arts-cartoonist alive to contribute at one time or another, so what do I know?

POGOSTICK #1, by Al Columbia & Ethan Persoff
DEC02 2698, pg. 310, $4.95

The elusive Al Columbia is writing this one but not drawing it, which means it stands an outside chance of actually seeing print. Handling art chores is Ethan Persoff (whose last published comic, TOP SHELF, came off like ACME NOVELTY LIBRARY drained of its humanity, and was disastrously received). What Persoff brings to the project is a flat, almost clip-art-ish style that's meant to mask a brutal streak. You can see where it would fit the story, about a lonely office drone named Audrey who is either a poorly socialised incompetent or "a brilliant manipulator". I might prefer Columbia solo - where is that PIM & FRANCIE book we've been tantalised with? - but I'll take what I can get.

SHOULDN'T YOU BE WORKING? #1, by Johnny Ryan
DEC02 2699, pg. 310, $5.95

A collection of gags Johnny Ryan doodled on his scratch pad during slack moments at his day job. No, really. This has to represent a new low for something or other. I'm getting stupider just looking at the solicitation.

HIGHWATER BOOKS

Interesting: a couple years ago, tiny arts-comics publisher Highwater Books, one of the driving forces behind comics' design revolution, stopped bothering with Diamond and solicited only through small indy-friendly distributors like Cold Cut and FM. Now they've swallowed their pride and slunk back. I can see where they'd have felt ill served by Diamond, but it can't have been wise to cut off a revenue stream out of spite. For my sake, I'm glad they're back.

CLIMBING OUT, by Brian Ralph
DEC02 2753, pg. 320, $10

This is where I lose what little indy cred I might have left; I haven't read CAVE-IN, the book to which CLIMBING OUT is a sequel. CAVE-IN was the toast of the small press, won a couple of Ignatz Awards, earned Ralph a Xeric grant, was among The Comic Journal's best of 1999, and is fairly described by Highwater as "universally adored". It's a little silent graphic novel about a cave boy who goes exploring and befriends a mummy, and is wistful and allegorical. That's all I know. Do be smarter than I was and check this out.

SHRIMPY AND PAUL, by Marc Bell
DEC02 2751, pg. 318, $16.95

The best way I can describe Bell's work is as a cross between R Crumb (in his 1940s-ish funny-animal style) and early Julie Doucet (the stuff where beer bottles and other anthropomorphic flotsam would run around and jabber at her). It's also utter gibberish.

If you are a gibberish fan, though, this rave write-up from small press mega-review site Optical Sloth suggests that this may be the gibberish for you: "[SHRIMPY AND PAUL] is the kind of book where, if I had a ratings system that was on a 1-10 scale, I would give it an 11... The people who said that he's the next big thing are right, if there's any justice at all in the world."

INSOMNIAC PRESS

CHEWING ON TINFOIL, by Joe Ollmann
DEC02 2789, pg. 324, $15.95

This is interesting- a debut graphic novel from a publisher of 'real' books. Seems to range from family drama and quasi-autobio to social commentary and satire. At Comic Book Galaxy, Rob Vollmar loved it, calling it "poignant" and "better than I could have hoped for."

MEATHAUS COMICS

GARDENHEAD #1, by Dash Shaw
DEC02 2812, pg. 328, $3.50

A short graphic novel by a rising young experimental cartoonist. Rob Clough at Savant called it "the best comic I've read in 2002." It is, says the solicitation, "a love story between a phrenologist librarian and a bulimic woman." That's what it says. You might understand better if you go read the first ten pages at Shaw's website. Possibly.

MORDAM RECORDS

WORLD WAR 3 ILLUSTRATED #33, by various
DEC02 2825, pg. 331, $4

The venerable graphix magazine of the hard left, having disposed with 9/11 last issue, moves on to Israel vs Palestine. It will be interesting to see if they achieve any better "moral clarity" (to steal a term from the right) in this one; the human bits in #32 were very good, with WW3 co-founder Peter Kuper's strips being best of all, but what analysis there was boiled down to blaming Ronald Reagan.

This one contains an excerpt from Eric Drooker's acclaimed new graphic novel, BLOOD SONG, and a back cover by Art Spiegelman.

ONI PRESS

CHEAT, by Christine Norrie
DEC02 2846, pg. 334, $5.95

The debut graphic novel by the artist of Oni's popular HOPELESS SAVAGES, this is a story about infidelity and its repercussions. It's in the same format as Andi Watson's DUMPED, which I like - just long enough to be substantial without overstaying its welcome. You can read an interview with Norrie and see some pencilled pages at The Pulse.

SPARKPLUG COMICS

REPORTER #2, by Dylan Williams
DEC02 2890, pg. 342, $2.50

I'm a jerk. When Dylan Williams' Xeric-winning minicomic REPORTER last turned up in Previews, I knew it was considered important but couldn't find out why in a hurry, and so I griped that "the solicitations text and Williams' website are thoroughly unhelpful." All I can say is that I was in deadline frenzy and easily frustrated. Dylan, my apologies.

Now it's my turn to be unhelpful, as REPORTER is tough to explain and I haven't got the space. The basic rules: Each issue contributes to an overarching story but is designed to stand alone. It's about writing and whether it's possible to tell the whole truth. It's told naturalistically but there are ghosts, muses bandaged like mummies and dressed like noir toughs, and strange little men compulsively trying to record life as it goes by in preference to living it. The drawing is not remarkable but the storytelling is.

You can read the first several pages of each issue on Williams' new, significantly more helpful website.

TOP SHELF PRODUCTIONS

CLUMSY, by Jeffrey Brown
DEC02 2949, pg. 349, $10

A debut graphic novel about a long-distance relationship gone wrong, with a pair of heavy-hitting endorsements:

"This was one of my favorite books to come out in the past year." --Chris Ware

"This is my favorite graphic novel ever." --James Kochalka

You can read the full text of their blurbs and see a sample of Brown's naïve artwork in the course of this rave review.

COMICS MAGAZINES

COMIC ART MAGAZINE #2
DEC02 3030, pg. 366, $9

This is a mouth-watering package. Again, I'm going to let the solicitation speak for itself:

"This second 80-page issue of this new full-color magazine on the art of the comics features 19th-century comic pioneer Rodolphe Töpffer; a portfolio of Jack Cole's Humorama cartoons; Richard Sala; the underground comics of Rory Hayes; "Something Cool": Alex Raymond's Rip Kirby and the rise and fall of the photorealistic comic strip; Hergé and the origins and legacy of the European "clear line" school of cartooning; and much more, including another brand-new one-page strip by a leading contemporary cartoonist! All in majestic full-color!"

Cuts one hell of a wide swath, doesn't it? And it feels refreshingly normal.

Chris Ekman is a political cartoonist.

This article is Ideological Freeware. The author grants permission for its reproduction and redistribution by private individuals on condition that the author and source of the article are clearly shown, no charge is made, and the whole article is reproduced intact, including this notice.