Life Narrative and Contemporary Comics
Some of the most acclaimed books of the twenty-first century are autobiographical comics by women. Aline Kominsky-Crumb is a pioneer of the autobiographical form, showing women's everyday lives, especially through the lens of the body. Phoebe Gloeckner places teenage sexuality at the center of her work, while Lynda Barry uses collage and the empty spaces between frames to capture the process of memory. Marjane Satrapi's Persepolis experiments with visual witness to frame her personal and historical narrative, and Alison Bechdel's Fun Home meticulously incorporates family documents by hand to re-present the author's past.
These five cartoonists move the art of autobiography and graphic storytelling in new directions, particularly through the depiction of sex, gender, and lived experience. Hillary L. Chute explores their verbal and visual techniques, which have transformed autobiographical narrative and contemporary comics. Through the interplay of words and images, and the counterpoint of presence and absence, they express difficult, even traumatic stories while engaging with the workings of memory. Intertwining aesthetics and politics, these women both rewrite and redesign the parameters of acceptable discourse.
Scholarly and fascinating.
The graphic novel industry isn't a boys club.
Graphic Women is a text that will appeal to anyone with an interest in contemporary women's literature and trauma studies, as well as those with a budding or established interest in the rich world of comics studies.
An absorbing book written with dedication, impressive documentation, and a very sharp eye for detail.
...an essential book for those who are interested in autobiography, visual studies and comics in general as it initiates a beginning in the study of women's graphic memoirs.
PrefaceAcknowledgmentsIntroduction: Women Comics1. Scratching the Surface: "Ugly" Excess in Aline Kominsky-Crumb2. "For All the Girls When They Have Grown": Phoebe Gloeckner's Ambivalent Images3. Materializing Memory: Lynda Barry's One Hundred Demons4. Graphic Narrative as Witness: Marjane Satrapi and the Texture of Retracing5. Animating an Archive: Repetition and Regeneration in Alison Bechdel's Fun HomeNotesWorks CitedIndex