But the success of the book was rapid and widespread and after a few months I started thinking about another project, and when Chris Ware approached me to work with him on a similar volume for Gasoline Alley Sunday pages, I could not turn down that opportunity. I had accomplished what I could not get a “real” publisher to do - create a fully-restored, full-size edition of the Winsor McCay classic - and I planned to continue to work at my “regular job” in digital entertainment. Peter Maresca : After the publication of Little Nemo in Slumberland, So Many Splendid Sundays there was no real future imagined for Sunday Press. Since you’ve described yourself as an “accidental publisher,” I am wondering about how you imagined the future of Sunday Press ten years ago, after you launched your first reprint ? And how do you look back on these years now ? Today with ten years of experience and ten books in his catalogue, Peter Maresca tells us all about the origins of Sunday Press, the reprint process, and his editorial decisions, describing an enterprise that is profoundly rooted in a network of human relationships.īenoît Crucifix : Sunday Press celebrated last year its tenth anniversary.

If the publisher has given us to read differently the classic comics of Winsor McCay and Georger Herriman, Sunday Press has also sketched a larger picture of the first years of the comic strip, by giving a second chance to long-forgotten comics in its anthologies Forgotten Fantasy and Society is Nix.

Forgotten Fantasy by Peter Maresca