A legendary lost comic from the dawn of the art form’s commercial resurgence in the early ’90s, Frank Santoro’s Storeyville recalls the oversize pages of the Sunday papers from the early twentieth century, the era in which its story of railroad-hopping lost men is set. On first glance, the book’s imposing size and low page count recall precious documents pressed between boards for preservation’s sake. That may be because the original was self-published in 1995 by Santoro and then-collaborator Katie Glicksberg on delicate, tabloid-size newsprint and mostly given away for free. The cover to that