The real history of America isn’t told in speeches or textbooks. It hides in diners and basements, in motel rooms and parking lots, in the quiet space between one life and another. The real America is a country of restlessness, guilt, and a kind of endless yearning — the America of loneliness.
Across eight graphic novels —by Alex de Campi, Daniel Clowes, Adrian Tomine, Charles Burns, Emil Ferris, and the Hernández brothers— runs the same invisible thread: the portrait of a nation trying to recognize itself.
Alex de Campi’s Bad Karma starts on the road. Two war veterans —one Black, one white— drive across the South trying to fix a crime that can’t really be undone. What they find isn’t redemption, just the same wound running through their country — violence, racism, and denial that never quite go away. The American highway, once a symbol of freedom, feels more like a confession that doesn’t end.Daniel Clowes, in Patience and Ghost World, brings that same sense of disillusionment to the suburbs. His America is fluorescent and numb — a world of pastel-colored boredom where people fill the void with irony, fantasy, or small talk. Patience sends a man through time to repair his life; Ghost World leaves two young women wandering through a town that seems drained of meaning. Clowes paints the emotional paralysis of middle-class life: a society so self-aware it can no longer feel.
Then the nightmare turns inward with Charles Burns’s Black Hole and Emil Ferris’s My Favorite Thing Is Monsters. Both turn loneliness into flesh.
In Black Hole, a strange disease spreads through 1970s Seattle, twisting teenagers into strange, mutant shapes — an image of shame, desire, and fear. Burns’s heavy black lines make the skin itself look haunted, like America’s uneasy relationship with its own desires.
Ferris, meanwhile, turns the monstrous into liberation. Her heroine, Karen, a queer girl in 1960s Chicago, draws herself as a werewolf in her diary. Through her eyes, Ferris creates a sprawling portrait of difference, memory, and resistance. Where Burns sees the curse of transformation, Ferris finds its beauty. Both reveal the same truth: America fears what it cannot name, and yet, in that fear, it finds its most honest art.
Adrian Tomine’s Intruders brings us into the city. His characters —quiet, anxious, polite— move through apartments and offices like ghosts in plain sight. The son of Japanese immigrants, Tomine captures that feeling of modern exhaustion: the illusion of being connected all the time, while feeling completely alone. His pages are neat, clean, and a little cold — an America that shines on the outside but feels hollow once you touch it.
Finally, Jaime and Gilbert Hernández open a different door — one that leads to the parts of America the others never draw. In The Education of Hopey Glass and Human Diastrophism, the Chicano brothers behind Love and Rockets bring a bilingual, brown, punk, and tender world to life.
Jaime follows Hopey, a woman growing older but not softer, still fighting for her place in a culture obsessed with youth. Gilbert sets his stories in Palomar, an imaginary Latin American town full of noise, humor, and heartbreak. Together, they reinvent what “American” even means — not purity or perfection, but mixture, rhythm, contradiction. Their stories beat with life: brown skin, loud music, and stubborn tenderness.
Together, these eight works redraw the emotional map of the United States.
De Campi and Clowes show its moral exhaustion.
Burns and Ferris bring out its monsters — the ones inside, the ones outside, and the ones nobody talks about.
Tomine and the Hernández brothers give voice to those who live in translation, caught between languages, between belonging and loss.
In the end, what they tell us is that America’s real story —its most honest myth— isn’t about triumph, but about longing. Under the highways and billboards, there’s another kind of empire quietly spreading — the empire of solitude.
Because the real history of America —its secret diary, you could say— isn’t written in wars or elections, but in drawings, in the dialogue balloons, in the small silences that hold them together.













