the going prices for comics, either mainstream or underground. The first eight issues of Raw (Volume 1), published by Mouly and co-edited by Mouly and Spiegelman, were printed in black-and-white in an enormous, doormat-sized magazine format with a stapled binding. The physicality of Raw was evident in each issue: tipped-in plates, bubblegum cards, and torn covers were part of the aesthetic of the magazine, accomplished by hand by Mouly, Spiegelman, and friends at gatherings after the printing of a new issue. For example, one issue came with "City of Terror" trading cards and gum; another issue contained a flexi disc with a sound collage made from excerpts of Ronald Reagan's speeches; a third issue had a corner torn off the cover, with the missing corner from a different copy taped inside. In 1987 Pantheon Books published a book collection of pieces from the first three issues titled Read Yourself Raw. Volume 2 The final three issues of Raw (Volume 2) were printed in a "digest" or "paperback" format with a mixture of full-color and black-and-white pages, some of which were printed on differing paper stock. They featured longer stories that focused more on narrative than bold graphic experiments. These issues were published by Penguin Books. In 1991, Mouly and Spiegelman published the final issue of Raw, which was no longer a small, hands-on operation, nor was it something they still thought necessary, as the artists then had a range of publishing outlets that had not existed when Raw first saw the light of day. Contents Among the comics the first issue contained was the only strip Mouly herself was to produce, "Industry News and Review No. 6", an autobiographical strip in which she contemplates her late-1970s anxieties and thoughts of suicide. Other strips in the eclectic anthology included an example of the early 20th-century newspaper strip Dream of the Rarebit Fiend by Winsor McCay, and an excerpt from Manhattan by contemporary French cartoonist Jacques Tardi. As an editor, Mouly was hands-on, suggesting ideas and changes — an approach considered anathema to the editor-adverse underground spirit, but artists welcomed her input as in the end she did not interfere with their autonomy. Raw featured a mix of American and European contributors (including some of Spiegelman's students at the School of Visual Arts), as well as various contributors from other parts of the world, including the Argentine duo of José Antonio Muñoz