Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In
Graphic Subjects
, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman’s
Maus
, David Beauchard’s
Epileptic
, Marjane Satrapi’s
Persep
Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In
Graphic Subjects
, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman’s
Maus
, David Beauchard’s
Epileptic
, Marjane Satrapi’s
Persepolis
, Alan Moore’s
Watchmen
, and Gene Yang’s
American Born Chinese
.
These essays, accompanied by visual examples, illuminate the new horizons that illustrated autobiographical narrative creates. The volume insightfully highlights the ways that graphic novelists and literary cartoonists have incorporated history, experience, and life stories into their work. The result is a challenging and innovative collection that reveals the combined power of autobiography and the graphic novel.
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Paperback
,
336 pages
Published
March 1st 2011
by University of Wisconsin Press
This is a decent enough set of essays on an array of autobiographical (more or less) comics. Some are too academic, suffering from pretnesion and jargon. Others are not academic enough, especially some of the short, more reflective pieces, which are in some instances simply too brief to be of much use. Several, however, are quite insightful indeed (e.g. Bart Beaty on the Toronto school of autobiography), very useful and interesting even if one has not read the comics in question. Still, and poss
This is a decent enough set of essays on an array of autobiographical (more or less) comics. Some are too academic, suffering from pretnesion and jargon. Others are not academic enough, especially some of the short, more reflective pieces, which are in some instances simply too brief to be of much use. Several, however, are quite insightful indeed (e.g. Bart Beaty on the Toronto school of autobiography), very useful and interesting even if one has not read the comics in question. Still, and possibly inevitably, a mixed bag. The essay on
Watchmen
tries valiantly to tie itself in with autobiography, with some success, but it feels more like a piece included to get that classic text into the book rather than because it really fits. More for comics scholars than fans, but fans will find several pieces very readable.
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