Mother, Come Home is Paul Hornschemeier’s piercing graphic-novel debut, long out of print and now available for the first time in hardcover. It secured the cartoonist’s place as one of his generation’s most skillful and ambitious practitioners, and proved a harbinger of the subject matter that the artist would go on to explore most consistently in later work: the nuclear family.

Mother, Come Home quietly studies the inner lives of recently widowed David and his 7-year-old son, Thomas; both are unable to deal with their grief directly. Thomas, protected by a lion’s mask that his mother gave him, constructs an identity for himself as “the groundskeeper”: ritual and routine, already important to children that age, become paramount to him. He struggles desperately to keep up appearances while his father, a professor of symbolic logic, becomes lost in abstractions. Father and son begin to retreat into their fantasies, but only one emerges.

Mother, Come Home is masterfully drawn: Eisner-, Harvey-, and Ignatz-Award-nominated Hornschemeier’s controlled brushwork is clean, and his nine-panel page layouts pace David’s inexorable descent into utter despair. Hornschemeier is equally precise when it comes to Mother, Come Home’s color palette: subdued but warm, which suits the story’s melancholy and contemplative mode. Mother, Come Home is a powerful work with universal themes of anguish and loss.

Paul Hornschemeier

Paul Hornschemeier is the creator of the Harvey, Eisner, and Ignatz nominated series Forlorn Funnies, as well as Mother, Come Home, The Collected Sequential, and The Three Paradoxes. Paul lives and works in Chicago.

"An ascending star... [Hornschemeier] leaps into an elite group of current cartoonists — including Kyle Baker and Oak Park's Chris Ware — whose versatility and verve push the art form into exciting new territory... Hornschemeier doesn't simply push the panel edges of the comics medium; he designs entirely off the page, encouraging other creators to join him over the horizon." – Chicago Tribune

"Paul avoids the hammering sentimentality and labored connect-all-the-dots obviousness of too much contemporary work, in any media." – Jonathan Lethem