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Comics and the Body: Drawing, Reading, and Vulnerability

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Comics and the Body: Drawing, Reading, and Vulnerability COMICS AND THE BODY STUDIES IN COMICS AND CARTOONS Jared Gardner and Charles Hatfield, Series Editors COMICS AND THE BODY Drawing, Reading, and Vulnerability ESZTER SZÉP THE OHIO STATE UNIVERSITY PRESS COLUMBUS Copyright © 2020 by The Ohio State University. This edition licensed under a Creative Commons Attribution-NonCommercial- NoDerivs License. The various characters, logos, and other trademarks appearing in this book are the property of their respective owners and are presented here strictly for scholarly analysis. No infringement is intended or should be implied. Library of Congress Cataloging-in-Publication Data Names: Szép, Eszter, author. Title: Comics and the body : drawing, reading, and vulnerability / Eszter Szép. Other titles: Studies in comics and cartoons. Description: Columbus : The Ohio State University Press, [2020] | Series: Studies in comics and cartoons | Includes bibliographical references and index. | Summary: “Looking at works by Lynda Barry, Ken Dahl, Katie Green, Miriam Katin, and Joe Sacco, presents a new way to see how our bodies read and show up in comics. Emphasizes the discursive, performative, and vulnerable nature of the body”— Provided by publisher. Identifiers: LCCN 2020023809 | ISBN 9780814214541 (cloth) | ISBN 0814214541 (cloth) | ISBN 9780814280805 (ebook) | ISBN 0814280803 (ebook) Subjects: LCSH: Comic books, strips, etc.—History and criticism. | Human body in literature. Classification: LCC PN6714 .S98 2020 | DDC 741.5/9—dc23 LC record available at https://lccn.loc.gov/2020023809 Cover design by Amanda Weiss Text design by Juliet Williams Type set in Palatino Linotype For Kálmán CONTENTS List of Illustrations ix Acknowledgments xi INTRODUCTION Embodiment, Vulnerability, and Comics as Dialogue 1 ONE The Authentic Line: Lynda Barry’s What It Is and Syllabus 53 TWO Cartoon Bodies and Transformative Lines: Ken Dahl’s Monsters 79 THREE Style as Engagement: Joe Sacco’s Safe Area Goražde and The Fixer 109 FOUR Reading and the Body: Miriam Katin’s We Are On Our Own and Letting It Go 135 FIVE Embodied Interaction: Katie Green’s Lighter Than My Shadow and Joe Sacco’s The Great War 163 CONCLUSION Comics and the Body: Lining Things Up 183 Works Cited 189 Index 199 ILLUSTRATIONS FIGURE I.1 Vanessa Davis, Make Me a Woman 37 FIGURE 1.1 Lynda Barry, What It Is, 106 55 FIGURE 1.2 Lynda Barry, Syllabus, 72 64 FIGURE 1.3 Lynda Barry, Syllabus, 77 67 FIGURE 1.4 Lynda Barry, What It Is, 129 71 FIGURE 1.5 Lynda Barry, What It Is, 157 75 FIGURE 2.1 Ken Dahl (Gabby Schulz), Monsters, 23 87 FIGURE 2.2 Ken Dahl (Gabby Schulz), Monsters, 54 90 FIGURE 2.3 Ken Dahl (Gabby Schulz), Monsters, 103 96 FIGURE 2.4 Ken Dahl (Gabby Schulz), Monsters, 115 101 FIGURE 2.5 Ken Dahl (Gabby Schulz), Monsters, 52 103 FIGURE 2.6 Ken Dahl (Gabby Schulz), Monsters, 50 105 FIGURE 3.1 Joe Sacco, The Fixer, 5 119 FIGURE 3.2 Joe Sacco, Safe Area Goražde, 152 128 FIGURE 3.3 Joe Sacco, The Fixer, 12–13 131 ix x • ILLUSTRATIONS FIGURE 4.1 Miriam Katin, We Are On Our Own, 3 143 FIGURE 4.2 Miriam Katin, We Are On Our Own, 30 144 FIGURE 4.3 Miriam Katin, We Are On Our Own, 62 145 FIGURE 4.4 Miriam Katin, Letting It Go 153 FIGURE 4.5 Miriam Katin, Letting It Go 159 FIGURE 5.1 Aaron Jacob Kashtan, “Materiality Comics,” 2 165 FIGURE 5.2 Katie Green, Lighter Than My Shadow, 172–73 168 FIGURE 5.3 Katie Green, Lighter Than My Shadow, 198–99 169 FIGURE 5.4 Katie Green, Lighter Than My Shadow, 148–49 170 FIGURE 5.5 Katie Green, Lighter Than My Shadow, 382–83 172 FIGURE 5.6 Joe Sacco, The Great War 175 FIGURE 5.7 Joe Sacco, The Great War, plate 15 179 See also the conclusion in comic form, pages 183–87. ACKNOWLEDGMENTS I could not have written this monograph alone. I am indebted to and I would like to thank: Laurike in ’t Veld and Harriet Earle, the “Glamorous Ladies of Comics,” for their expertise, insightful advice, sense of humor, encouragement, and friendship. A special thanks to Laurike for her help with my comic; Balázs Horváth for being the first reader of what are now chapters 1, 2, and 3, and for providing extensive reliable feedback; Judit Friedrich and Zsófia Bán for their guidance and for the ques- tions they have challenged me with; Kata Gyuris and Dóra Vecsernyés for their editing advice and for helping me to focus; Paul Williams for demonstrating research discipline at the Billy Ire- land Cartoon Library and for the discussions on all things comics; the community of comics scholars I have met at events. Your feed- back has been great encouragement and inspiration while I was writing and editing this book. I have learned a lot from discus- sions on drawing and comics with you; xi xii • ACKNOWLEDGMENTS the institutions that have supported my research by being inspiring environments to work in: the Billy Ireland Cartoon Library and Museum, the Fine Arts Library of The Ohio State University, both in Columbus, Ohio, and Central European University Library in Budapest, Hungary; the institutions that have supported my research with their grants: the European Association of American Studies Travel Grant, the Representations of Violence in Contemporary American Popular Culture research project at the University of Bucharest and proj- ect leader Mihaela Precup, Eötvös Loránd University, and the New National Excellence Program in Hungary; the peer reviewers for their remarks, suggestions, and support on the manuscript of this book; all the staff at The Ohio State University Press who were involved in the process of preparing this book, and the editors of the Studies in Comics and Cartoons series, Charles Hatfield and Jared Gard- ner, for making this book possible; my mother, Eszter Meleg, for having encouraged me to study; my husband, Kálmán Jelitai, for the support, coffee (the best in the world!), interest, questions, and for reminding me that days off are the best things about writing monographs. Sections of this book have appeared, in a different form, in the fol- lowing publications: Szép, Eszter. “Discourses of Trauma and Representation: Mother- hood and Mother Tongue in Miriam Katin’s Graphic Memoirs.” Documenting Trauma in Comics: Traumatic Pasts, Embodied Histo- ries, and Graphic Reportage, edited by Dominic Davies and Can- dida Rifkind, Palgrave Macmillan, 2020, pp. 243–62. Szép, Eszter. “Embodied Reading and Performing Vulnerability in Joe Sacco’s The Great War.” Representing Acts of Violence in Comics, edited by Nina Mickwitz, Ian Horton, and Ian Hague, Routledge, 2019, pp. 89–102. INTRODUCTION EMBODIMENT, VULNERABILITY, AND COMICS AS DIALOGUE EADING COMICS is not only a performance of our cogni- tive skills, it is also a performance and interaction of bodies. RI remember clearly the morning when I was reading Miriam Katin’s autobiographical graphic narrative, Letting It Go (2013) in the bathtub: What a charming colorful book of memories and mun- dane events, what a modern old lady talking to her son via Skype, I thought. The book deals with the everyday activities of a comic book artist called Miriam, and the process of her learning to accept that her son plans to settle in Germany, a country that she still associates with the Holocaust and her childhood traumas. I remember marveling at the courage Katin has in drawing caricatures of herself, showing the character that stands for her in a series of unflattering situations, like freaking out at the sight of cockroaches. Katin representing Miriam occasionally almost as a witch, with ridiculous uncombed hair, big bulging eyes, and in an old- school nightgown. What irony, I thought. The narrative is equally honest and uncompromising about the preju- dices of the old hag in a nightie. But I was not prepared to see the naked body of the protagonist of this confessional narrative covered in her own excrement. I winced. The scene is in full color and is long, 1 2 • INTRODUCTION almost longer than one can bear. Why is this such a challenge to bear? What is happening to my body while I am reading that book, that scene? How does this address by the artist change my approach to the remaining parts of the story? Why is Katin doing this? Was she not afraid to draw herself like that? Is it a unique gesture or is it part of a strategy? How does such a representation relate to the tradition of self- representation in comics and to the ways cartoonists commu- nicate with their readers? This book was born out of these questions. • By focusing on ways in which the activities of the body are crucial to making and reading comics, this book explores comics as a dialogue between artists and readers. At the heart of a dynamic and medi- ated interaction between artists and readers we find the body: Com- ics are made by expressive lines that mark the unison of movement and thinking, and they are interpreted not simply visually, but also by and via the reader’s body. The chapters of this book explore how this embodied dialogue takes place in contemporary nonfiction com- ics: These comics usually have a first- person character or narrator, and they assert to reveal someone’s personal account or experience of reality. This relationship of nonfiction comics to events of reality, together with the essentially embodied nature of both drawing and reading comics, invites the last keyword of my approach: vulnerabil- ity. I show that drawing, reading, and the interaction enabled by non- fiction comics are rooted in, and offer means to find out more about, the experience of being vulnerable. Via interacting with comics, opportunities are offered for artists and readers to share ideas and experiences: The material object of the comic held in hand creates opportunities for a “dialogical and dialec- tical engagement”—to borrow Vivian Sobchack’s term from phenom- enological film theory (23).
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