In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima’s Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.
Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman’s first “Maus” story about his immigrant family’s survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa’s inaugural work of “atomic bomb manga,” the comic book Ore Wa Mita (“I Saw It”)—a title that alludes to Goya’s famous Disasters of War etchings.
Chute explains how the form of comics—its collection of frames—lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness.
For centuries, women who aspired to write had to enter a largely male literary tradition that offered few, if any, literary forms in which to express their perspectives on lived experience. Since the nineteenth century, however, women writers and readers have been producing "disobedient" counter-narratives that, while clearly making reference to the original texts, overturn their basic assumptions.
This book looks at both canonical and non-canonical works, over a variety of fiction and nonfiction genres, that offer counter-readings of familiar Western narratives. Nancy Walker begins by probing women's revisions of two narrative traditions pervasive in Western culture: the biblical story of Adam and Eve, and the traditional fairy tales that have served as paradigms of women's behavior and expectations. She goes on to examine the works of a wide range of writers, from contemporaries Marilynne Robinson, Ursula Le Guin, Anne Sexton, Fay Weldon, Angela Carter, and Margaret Atwood to precursors Caroline Kirkland, Fanny Fern, Mary De Morgan, Mary Louisa Molesworth, Edith Nesbit, and Evelyn Sharp.
Gathers tales from the Southwestern United States and Northern Mexico to understand the relationship between people and place in a borderland
Landscape is the space of negotiation between human beings and the physical world, and rarely are the negotiations more complex and subtle than those conducted through the desert landscape along the Mexico-U.S. border.
Patricia L. Price views the shaping of the landscape on and around the border through various narratives that have sought to establish claims to these dry lands. Most prominent are the accounts of Anglo-American expansionism and Manifest Destiny juxtaposed with the Chicano nationalist tale of Aztlán in the twentieth century, all constituting collective, contending claims to the U.S. Southwest. Demonstrating how stories can become vehicles for changing places and identities, Price considers characters old and new who inhabit the contemporary borderlands between Mexico and the United States—ranging from longstanding manifestations of good and evil in the figures of the Virgin of Guadalupe and the Devil to a collection of lay saints embodying current concerns. Dry Place weaves together theoretical insights with field-based inquiry, autobiography, and creative writing to arrive at a textured understanding of the bordered landscape of late modern subjectivity.READERS
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