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In this latest graphic novel, Coe continues a career-spanning exploration of historical manipulation, media distortion, and the commodification of corporate tragedies like 9/11. Through the lens of true crime, Coe's new work investigates the assassination of Dr. Martin Luther King Jr., examining not only the facts of two King trials and three related books but also the artificial cultural narratives that have shaped public memory. The walls of human memory, belief and disbelief are Coe's métiers.


Coe’s meticulous compositions dissect the ways political violence is staged and mythologized. The graphic novel format—melding journalistic inquiry with illustrated storytelling—serves as both an act of witness and a critique of spectacle. Just as the war model boxes laid bare the machinery of militarism, these pages reveal the architecture of systemic racism and state complicity, confronting the reader with uncomfortable truths.


How history is framed, whose stories are centered, and whose are erased. By appropriating and reconfiguring familiar iconographies, Coe exposes the tension between personal memory and collective myth. The Zombie Forever stamps—an indictment of historical whitewashing—find a parallel here, as the work resists the embalming of King’s legacy into something passive and apolitical.


Ultimately, this novel is not just a retelling but a reclamation, challenging audiences to look beyond the official narratives and confront the raw, unresolved realities of one of America’s most defining tragedies.

Zombiegov stamps
Dorian Gray stamps
Subway Venus by Coe, oil on canvas
Weeping Wojnarowizc, fired tile by Coe
Weeping Wojnarowizc, oil on canas, by Coe
Billy Simms, Heisman Trophy winner
Robyn cooking
Tim Van Alstyne

Label 5

Dick Dupois, Pasadena, CA
Dale Palarz, barbique, by Coe
Eddie Falco by Wayne Coe
James Earl Jones by Coe
Brad Dourif by Coe
John Wayne, In The Saddle
Danny Boyle, director, by Coe
Carmen Diaz by Coe, Storymaker
My son, asleep, By Coe
Subway V
Meryl Streep, watercolor, by Coe
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