“Here Comes Kitty is a dark circus of the very best kind: bright ‘damage’ on every page. It pierces the heart with its mixture of love and going. I am honored to speak in support of such an extraordinarily brilliant book.” —Bhanu Kapil
“Here Comes Kitty reaches out in all sorts of ways like a compendium of the postmodern without pretentiousness which—despite containing humor, the erotic, the gothic, the wry, the popular and the sophisticated—tells a tight tale with wild invention and makes you want both to turn the pages and dwell on the images.” —Tom Phillips, author of A Humament
“Richard Kraft and Danielle Dutton’s Here Comes Kitty, a collage project (Kraft’s) with written interludes (Dutton’s), beautifully, wantonly, defies review. Like a dream, it slips off the binds of the mind, building up structures which differ from those present upon rational waking.” —Natalie Helberg, Numero Cinq
“Monumental incongruities—dazzling composition. Richard Kraft and Danielle Dutton have created a riot of images and words. The exuberance is contagious. A delight. A must.” —Rosmarie Waldrop
“Here Comes Kitty: A Comic Opera explodes off the page. Kraft, a multidisciplinary artist, pastes images of Hindu gods next to exercise diagrams and drawings of monkeys and elephants into bars and restaurants — all superimposed on a pre-existing 1960s Cold War–era comic. Equally bizarre and juxtaposed fragments of text, composed by Danielle Dutton, accompany the images. The effect is seductive.” —Megan Liberty, Hyperallergic
“Here Comes Kitty: A Comic Opera is an unexpectedly original work. Kraft describes the book in musical terms, as a song, or an opera. I get his point, but I would describe it more as an extended work of visual art: a painting whose canvas stretches across 50-odd pages, shifting and morphing before the viewer’s eyes. Even the ‘interpolations’ of text carry a visual quality to them, both in the images they generate and in the nature of their incongruous and riotous presentation.” —Hans Rollman, PopMatters
“The raucous paper opera is regularly ‘interrupted’ with prose poem entr’actes by Danielle Dutton, before returning to its elaborate system of motifs and patterns, pitting sense against nonsense in a way that’s both cosmic and buoyantly childlike.” —Sean Rogers, The Globe and Mail