“Flung Out of Space” is a rewarding, often prickly graphic novel recounting the creative launch of author Patricia Highsmith.

Set in 1940s New York City, the book captures the author as a struggling artist. Her day job entails writing hack comic books she doesn’t respect; in her off hours, she chips away at a novel that eventually becomes “Strangers on a Train,” famously adapted by Alfred Hitchcock.

Highsmith’s life on the margins is complicated by the fact that’s a lesbian, barely closeted in a homophobic world. The hostility is made clear right in the opening pages, when a bartender tosses Highsmith out after a brief flirtation with another woman.

In writer Grace Ellis’ telling, Highsmith is openly difficult: she’s sneering, short-tempered, anti-Semitic (as shown during a brief encounter with Stan Lee, before his Marvel bullpen days). But how much of that stems from self-loathing fueled by a unaccepting society?

The young author spends her days double-dipping, freelancing at her day job to earn extra income to pay for psychiatric sessions to “make her straight.” Ironically, group therapy ends up introducing her to a new cohort of lesbian lovers, but any happiness the author finds is quickly squelched. A promising relationship dies when the woman’s ex uses video of his wife with another woman to blackmail her into returning home, back to a life of closeted misery.

Highsmith never submits. She remains rebellious, blowing back convention and eventually writing a seminal lesbian novel, “The Price of Salt,” a book that features one of the earliest examples of a happy ending for a gay couple. It’s hard to sell, but it eventually does, despite Highsmith’s best efforts at self-sabotage. (As her agent, whose girlfriend Highsmith slept with, says, “Happy New Year, Pat. Maybe one of your resolutions can be to stop making your own life hell.”)

“Flung Out of Space” is smart and heartfelt. It introduced me to a new perspective on Highsmith, her accomplishments and her limitations. Ellis’ writing is crisp and snappy, a strong match for Highsmith’s own prose.

The art by Hannah Templer is excellent as well. She does a good job capturing the glamour of Highsmith’s affairs as well as the mundanity of post-war living, whether it’s the author’s pool at a budget comics publisher or the temp job Highsmith picks up at Bloomingdale’s to make a little extra cash to fix her own typewriter.

Witty, dry and subtly surreal, Sean Adams’ “The Thing in the Snow” is a mannered send-up of office culture.

The book is set in the isolation of the Northern Institute, where a caretaker crew of three workers sits bunkered in an expanse of ice. Research funding has dried up, but the parent organization doesn’t want to close the institute, so the group is there to keep things in shape. They’re mostly on their own. Their only outlet to outside world is a task list and Post-It notes dead-dropped via a weekly helicopter.

The crew passes the time with pointless work, checking the window blinds or counting the building’s chairs. But one day they spot something outside…a thing in the snow.

In the boredom they inhabit, the thing becomes a near obsession, even as the group tries to unravel the other mysteries of the Northern Institute. Why does time pass so slowly here? Why do their memories seem garbled? What’s with the strange messages the former researchers left under the tables? And why has one scientist chosen to stay marooned with them, working on a solitary, barely sane treatise about the cold?

Those questions make the book sound more fantastical than it is. While Adams conjures a good sense of mystery, the overall tone of “The Thing in the Snow” is workplace satire. Much of the book is told from the perspective of Hart, the status-fixated manager of the crew. A middle manager to his core, he’s committed to preserving his place in the hierarchy and ensuring optimal workplace management, even as “the thing” grows weirder and the tasks more meaningless.

If you can manage the deliberately staid tone Adams uses, you’ll find a creative exploration of life and work and how we might waste our years putting too much importance on the latter. I found “The Thing in the Snow” brisk and funny, a worthwhile accomplishment.

Quotes

“The point is, had I waited, the other two might have known a world without coffee and light socialization to look forward to each morning, and then they might see my commitment to going above and beyond and appreciate me more. But I do not feel appreciated. I feel taken for granted and often disrespected, and also powerless to correct matters, as voicing one’s desire to be respected and not to be taken for granted is much like voicing one’s desire for light socialization–antithetical to achieving the stated goal.”

“The others’ distaste for Gilroy is not unfounded. Condescending, pretentious, and often outright batty, he’s the kind of person who eschews empathy with such vigor that distaste is not just warranted, it is the correct evolutionary response, and anyone who might express a response otherwise would raise red flags about their own penchant for sociopathy.”

With “Slow Birding,” biologist Joan Strassman offers a call to study and savor deeply the birds that share the space we live in.

Strassman’s local habitat is St. Louis, which encompasses her backyard, nearby parks and forests, and the swampy, marshy habitats of the Mississippi drainage basin. She breaks the book into sections exploring these habitats, introducing us to a range of species that lives in each, from blue jays to great egrets.

Each section follows a similar pattern. She shares her personal observations, using them as a launching point for a deeper discussion of each species’ biology. She typically summarizes a long-term research project for each bird, sharing, for instance, how white-throated sparrows have, metaphorically, four sexes or how American robins philander to increase the number of offspring they leave behind.

I found Strassmann’s stories fascinating. I enjoyed the deeper dive into the science of each species, both for the behavioral diversity they revealed as well as the fanaticism of the scientists who studied them. (Spending 24 hours straight in a bird blind? Not for me!)

More than anything, Strassman’s passion for birds is clear, and she does an excellent job packaging it in such a way as to inspire the reader. I’m not likely to take a sketchbook outside or spend time mapping birds as they hop about my yard. But I have gained a new appreciation for my near avian neighbors after reading her book.

Quotes

“Starlings are our birds. We brought them here, and our mangling of the environment causes them to thrive. The least we can do is try to understand them. Removing them is impossible at this point. And remember, they do less damage to native birds than we do with habitat destruction.”

A decent collection of space and sci-fi based short stories inspired by H.P. Lovecraft’s Cthulhu mythos. Like many anthologies, it’s uneven. I was on the verge of giving up after the first few–the writing seemed awkward and unpolished–but I’m glad I stuck with it, as I ended up finding several stories that satisfied the itch for the dark, weird and cosmic.

Favorites included:

• Ada Hoffman’s “Harmony Amid the Stars,” a spooky tale of long-haul transit through the whispering regions of space.
• Dan Webb’s “The Comet Called Ithaqua,” offered a nice, eerie “toxic house” tale.
• Pamela Rentz’s “Lottie vs. the Moon Hopper” offered a strong working-class voice in a creepy space station.
• Orrin Grey’s “The Labyrinth of Sleep” offered a slow, mysterious build as we navigate a dreamscape, something difficult to do well.
• Sean Craven’s “Deep Blue Dreams” offered a spooky, narcotic tale of jellies and bliss.

With “Birds of Maine,” comics creator Michael DeForge puts forth an off-kilter masterpiece. This extensive graphic novel follows the general format of a daily strip, with four panels and (typically) a gag to close. But it’s delightfully colorful and weird. Better, the panels gradually cohere into a larger journey of creation and self-discovery.

Our primary character is Ginni, a young cardinal. She has a supportive family, friends that she forms a band with and a dream of being a fashion designer (despite the fact that birds don’t wear clothes). She lives in a bird colony on the moon, a utopian, quasi-Marxist place, colonized long ago and now in distant contact with the humans (and birds) of Earth.

Things are pretty good on the moon. Birds there have a fungal computer network with which they can communicate, a “universal worm” to sustain them and ample polycules and bird orgies (along with a general “live and let live” attitude). Among this abundance, though, Ginni has to go through the young-person’s journey of self-discovery, figuring out who exactly she is and what role she should play.

DeForge uses his bird utopia to satirize life on Earth. Even with the help of the best bird historians, his cast can’t quite get a grasp on the need to work, health insurance or being forced to stay with your family of birth. Despite the political undertones of his avian perspective here, DeForge doesn’t come off as judgy or preachy. His birds have a sense of humor about themselves and are perfectly capable of being ridiculous when called for. Sections about human society are balanced with a well-placed F bomb or bird breeding joke.

The story doesn’t stay static. Ginni becomes pen pals with an Earth-based bird fan. A human astronaut drops in (although she’s more hung up on her ex-boyfriend than committed to any cross-species connection). But the story is a slow build, with the characters and their reactions to one another taking the forefront.

DeForge’s art is beautiful throughout. Colorful, wiggly and almost psychedelic, it uses the whole palate to convey the range of bird colors and types. He adapts a cartoony shorthand for most of the characters, rendering them as a simple configuration of shapes–more like flowers than birds. But his reduction of form makes the characters memorable and distinct, even as DeForge occasionally zooms in for more detailed depictions of angry swans and fungal networks.

“Birds of Maine” is a difficult work to describe, but it’s wonderful to experience. Thoughtful, playful and artistic, it’s an accomplishment to behold.