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MUNDANE INTIMACIES and EVERYDAY VIOLENCE in CONTEMPORARY CANADIAN COMICS by Kaarina Louise Mikalson Submitted in Partial Fulfilm

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MUNDANE INTIMACIES and EVERYDAY VIOLENCE in CONTEMPORARY CANADIAN COMICS by Kaarina Louise Mikalson Submitted in Partial Fulfilm MUNDANE INTIMACIES AND EVERYDAY VIOLENCE IN CONTEMPORARY CANADIAN COMICS by Kaarina Louise Mikalson Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at Dalhousie University Halifax, Nova Scotia April 2020 © Copyright by Kaarina Louise Mikalson, 2020 Table of Contents List of Figures ..................................................................................................................... v Abstract ............................................................................................................................. vii Acknowledgements .......................................................................................................... viii Chapter 1: Introduction ....................................................................................................... 1 Comics in Canada: A Brief History ................................................................................. 7 For Better or For Worse................................................................................................. 17 The Mundane and the Everyday .................................................................................... 24 Chapter outlines ............................................................................................................. 30 Chapter 2: .......................................................................................................................... 37 Mundane Intimacy and Slow Violence: ............................................................................ 37 Outmigration, Kinship, and Petroculture in Kate Beaton’s Autobiographical Comics .... 37 Homecoming: Beaton’s Family Comics........................................................................ 39 Comics of a “Complicated Place” ................................................................................. 51 Gender in the Workspace of the Tar Sands ................................................................... 70 Multispecies Storytelling ............................................................................................... 82 Chapter 3: .......................................................................................................................... 89 Gothic Girlhood and the Mundanity of Violence in Canadian Comics ............................ 89 Uncanny Mothers and Gothic Girlhood ........................................................................ 98 Queer Girlhood in Skim ............................................................................................... 109 ii Girlhood Heteronormativity ........................................................................................ 116 Ungrievable Bodies and Perpetual Mourning: Indigenous Girlhood .......................... 132 Visual Violence and Monstrous Men .......................................................................... 139 Chapter 4: ........................................................................................................................ 148 Dismantling Detainment and Displacement Through Comics: ...................................... 148 The Work of Tings Chak and Eric Kostiuk Williams..................................................... 148 Scaling up: Maps, Skylines, and Panoramas ............................................................... 170 Discipline and Cellular Space ...................................................................................... 195 Incarcerated Time ........................................................................................................ 203 Dismantling the Disciplinary Space ............................................................................ 206 Conclusion: Complicity vs. Care ................................................................................. 211 Chapter 5: ........................................................................................................................ 213 Multimodal Literacy and Social Change in Gord Hill’s Comics .................................... 213 Multimodal Literacy .................................................................................................... 218 Paratext ........................................................................................................................ 225 Mapping as a Visual Mode .......................................................................................... 240 Symbols ....................................................................................................................... 249 Visual Metaphors ......................................................................................................... 253 Print Culture As Visual/Linguistic Mode .................................................................... 265 Multimodality and De-platforming ............................................................................. 269 iii Visual and Activist Violence ....................................................................................... 271 Conclusion ................................................................................................................... 278 Chapter 6: Conclusion..................................................................................................... 280 Works Cited .................................................................................................................... 285 iv List of Figures Figure 1: Britain, Canada, and the USA, 1869 (“A Pertinent Question”) 9 Figure 2: Boat in “Loss” 44 Figure 3: Goodbye in “Loss” 45 Figure 4: Saltines in “Ducks” 65 Figure 5: Bathroom door in “Ducks” 71 Figure 6: Looking in mirror, “Ducks” 75 Figure 7: Reacting to harassment in “Night Shift” 77 Figure 8: Dying duck in “Ducks” 83 Figure 9: Whispering Woman looms over Regan (Carroll 17) 103 Figure 10: Break in layout in “The Hole the Fox Did Make” (Carroll 18) 105 Figure 11: Groom’s finger pricks Monica’s finger in “The Groom” 130 Figure 12: Monica glimpses Mr. Dolan in “The Groom” 131 Figure 13: May walks through the city in Will I See? (Robertson et al. 5) 140 Figure 14: Red spreads across the panels in Will I See? (Robertson et al. 17) 141 Figure 15: The complicity of the gutter in Understanding Comics (McCloud 68) 142 Figure 16: Streetscape from Undocumented 175 Figure 17: Opening skylines in Condo Heartbreak Disco 179 Figure 18: Komio reacts to development in Condo Heartbreak Disco (Williams 33) 181 Figure 19: Cellular space in Condo Heartbreak Disco 201 v Figure 20: Cellular space in Undocumented 203 Figure 21: Missing domestic time in Undocumented (Chak 94) 205 Figure 22: Dissolving into erasure in Undocumented (Chak 95) 205 Figure 23: The cover of The Antifa Comic Book 232 Figure 24: The cover of the first issue of Captain America 233 Figure 25: Johnny Canuck punches Hitler in Dime Comics 237 Figure 26: Map of colonial invasion using unexplained shading (Hill 500 Years 33) 244 Fig. 27: Map in 500 Years featuring Mapuche symbol (Hill 40) 245 Figure 28: Map in 500 Years highlighting Haida culture (Hill 52) 245 Figure 29: Antifa protestor confronts white supremacist group 251 Figure 30: Tattooed arm in The Outside Circle 256 Figure 31: Gang sign on birthday card in The Outside Circle 257 Figure 32: Joey and enter institutions in The Outside Circle 259 Figure 33: Joey and Pete experience parallels struggles in The Outside Circle 260 Figure 34: Joey leans on fence in The Outside Circle 261 Figure 35: Contract describes Indigenous presence in child welfare services 262 Figure 36: Parallel form in 7 Generations (Henderson and Robertson 18-19) 265 Figure 37: Richard Spencer is punched in The Antifa Comic Book (Hill 127) 270 Figure 38: Final panel of The Antifa Comic Book (Hill 127) 272 vi Abstract This dissertation argues that contemporary Canadian comics construct a sustained and critical gaze of the mundane and the everyday. Canadian artists are using the form of comics to reveal the structures of oppression and violence that are so familiar as to become mundane. My introduction lays out the theoretical framework of the everyday and argues that it is well-suited to the study of Canadian comics. The first chapter examines Kate Beaton’s webcomics, which reveal the environmental, cultural, and economic damage of Canada’s petroculture. I use Rob Nixon’s concept of slow violence to argue that Beaton’s mundane gaze brings nuance to her personal experiences with Canada’s Tar Sands. In my second chapter, I read Emily Carroll’s horror comics, Jillian Tamaki and Mariko Tamaki’s graphic novel Skim, and the graphic novel Will I See? as examples of a new gothic girlhood graphic. Read together, these texts reveal that there is nothing mundane about girlhood. Everyday, girls are vulnerable to the intersecting violences of racism, colonialism, heteronormativity, and patriarchy. My third chapter takes up comics’ potential as a spatial form through two comics about access to space, Ting Chak’s graphic essay Undocumented: The Architecture of Migrant Detention and Eric Kostiuk Williams’s graphic novel Condo Heartbreak Disco. Both comics use the spatial dynamics of comics to trace oppression and resistance across what David Harvey conceptualizes as broad spatiotemporal scales. My fourth chapter argues that artist-activist Gord Hill produces comics that are pedagogical in content and form. I build on Dale Jacobson’s concept of multimodal literacy to argue for Hill’s attention to the imagery, rhetoric, and style of fascism and colonialism.
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