students work and about course

 n d i a n C i n f I e m o a s H n o Trained in -from i o a t r d English and Com- signboard paint- o i ers to tribal and textile m n parative Literature, Gita

E g artists. Tara is specially known Wolf left her academic profession s G i t a 9 to start Tara Publishing in 1994 and ex- for its visual arts list, offering art and ‘

e plore her interest in visual and literary com- argument across a variety of sites: from W o l f h children’s books to tribal art, photography, munication. She is now the director. Over T –

the years, Gita was joined by other writers and cinema and popular culture. Varied in form, ‘ T a r a P u b l i s h i n g creative professionals who were drawn by Tara’s these books are united by the central vision of

– vision of bringing a variety of marginalised voices combining experimentation with communication, and perspectives to the reader, while continually content and politics. Tara is especially known for C h e n n a i , I n d i a playing with the form of the book. The publish- pioneering the book made entirely by hand for ing house is now run as a collective, creating the general reader. – its own books, as well as collaborating with a www.tarabooks.com range of unusual talents - In her presentation, Gita will be speaking on visual dialects, focusing on Tara’s experiments in changing the form of the book.

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M A Fremok Editions ‘ – Paris France – www.fremok.org – www.lambiek.net

i n W o n d e e r l a i c n l d ‘ A ‘ ‘ es D Yvan For i w l lo C l c el e Alagbé met Amok, he then ni c a p o D - i d Olivier Marboeuf in 1990. published ‘Dyaa’ in the r rl o o r W R t s t They ventured into the alter- collection Feu in 1997, fol- o a h G

o N native comics scene, and created lowed by ‘Personne ne Connait C

n o the Dissidence Art Work associa- mon Nom’ in the collection Espèces.

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i i tion and L’Oeil Carnivore, a fanzine Editorial director of Amok, which

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about comics, literature, music, cinema became FRMK or Frémok after the fusion w e

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e and painting. Their first big project, ‘Ville with Fréon. “Frémok is the antique form

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Prostituée’, drawn by Alagbé and written by that existed long ago before Amok and

Marboeuf, was published by Vents d’Ouest Fréon and is the genuine name for ‘graphic

in 1993. Afterwards, they founded their own litteratures’” suggests Professeur A (Alagbé

publishing house, Amok, and began the alter- himself?). Yvan currently lives in Brussels and

native comics review Le Cheval sans Tête. Paris. Since 2002 he has been the head of For this publication, Alagbé made ‘Nadir’ Litteratures Pirates, a network of indepen- (with Marboeuf), ‘Nègres Jaunes’ and a dent creative publishers, and has produced comics adaptation of Büchner’s play Ecole de la Misère, a new book with some ‘Woyzeck’ (with Éléonore Stein). He also of Negres Jaunes characters. One of participated in ‘Le Réveil des Na- Fremok’s most recent publications is a tions’, for which he drew the story French translation of Lewis Carroll’s ‘Courroux’ about the Rwanda ‘Alice Under Ground’, working massacres. with Atlantic Press, based at University College Falmouth.

  e l a n d E a e ‘ T h e t h r n a r A c ‘ E e s W m e t s s ‘ r i N g h o g v i C r e B l t y

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‘ G s Educated Dan started d e at the University of the Cape graphic n m o m East Anglia. Dan Franklin novel list in 1998 with m a started in publishing in 1970 Raymond Briggs’ ‘Ethel and m i B with Peter Owen Ltd. He worked Ernest’, and has subsequently S o

as an editor at the Harvill Press, published such classics as ‘Jimmy v y Collins and Heinemann before be- Corrigan’ by Chris Ware, ‘Ghost e s ing appointed Publishing Director of World’ by Dan Clowes, ‘Persepolis’ by r

o y Secker & Warburg. In 1993 he moved to Marjane Satrapi ( soon to be made into

P Jonathan Cape as Publishing Director, an animated feature film ), ‘Gemma ‘ where his authors include Ian McEwan, Bovery’ by Posy Simmonds, ‘Epileptic’ by Julian Barnes, Salman Rushdie, Mar- David B., ‘Fun Home’ by Alison Bechdel tin Amis, Thomas Pynchon, Mark Had- and ‘Palestine’ by Joe Sacco. don, Roddy Doyle, Tom Wolfe, Audrey Niffenegger and Philip Roth. As well as running the Cape list, Dan also heads up Chatto & Windus, Harvill, Secker, The Bodley Head, Yellow Jersey Press, Vintage and Pimlico.

  o k p b o - U n o u r a c o i f Y D o n S c l ife ‘ t ‘ l e L W c d e t Fourteen o e n e o a i d years and 100 G k e m books ago, Chris a o W n Oliveros went in search of s ‘ T o ‘ artists to contribute to his yet-to-

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r n be-published magazine anthology I C h r i s k

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a honed aesthetic, Oliveros advertised r O l i v e r o s h

in different venues and approached prom- t d

e ising artists. As a result, Oliveros assembled

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S the most esteemed and distinct coterie of

D r a w n & Q u a r t e r l y cartoonists since the days of Art Spiegelman’s

RAW. Oliveros’s visual acumen and astute

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production values coupled with the complete

M o n t r e a l C a n a d a

editorial and creative freedom offered to - the cartoonists enabled D+Q to make an immediate mark in the world of comics. www.drawnandquarterly.com After several anthologies, comic books and graphic novels, an elite and varied roster of cartoonists that includes Adrian Tomine, Seth, Chester Brown, Joe Matt, Julie Doucet, James Sturm and Debbie Drechsler, considered to be among the medium’s best, is now -

‘ M t y e a c S g ‘ 2 u e - synonymous n 8 c o e th r with Drawn & Quar- z D e i terly. Optic Nerve, Berlin and S t u e t Atlas have joined Peepshow and r i D H

l Palookaville as D+Q’s current ongo- e

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ing comic book series. Sketchbooks n

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i by iconic luminaries R. Crumb and Chris

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Ware joined sketchbooks by Julie Doucet

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and Seth. Graphic novels include war com-

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ics/journalism from Joe Sacco, a charming

teenage memoir by Michel Rabagliatti and

translations of European masters Igort and

Baru. The original magazine anthology is now a lavish, oversized, coffee table annual. D+Q has grown from being a periodical company to a book publisher with over 20 titles a year and an extraordinary backlist of perennial best-selling titles that are regarded as classics of graphic literature.

  P a u l G r a v e t t - L o n d o n U . K . - www.paulgravett.com

Some- times know as ‘The Man at the Crossroads’, Paul Gravett co-edited and co-published the influential British comics culture magazine ‘Escape’ and its line of graphic novels in the 1980s and directed the Cartoon Art Trust’s project in the 1990s to found a cartoon art museum. Since 2001 he has continued to curate and consult on comic art exhibitions and TV series, including Cult Fiction, a Hayward Gallery touring exhibition, and Comics Britannia for BBC4. He started the ComICA festival in 2003 at London’s ICA, has written authoritative books on manga, graphic novels and British comics, and writes for The Independent, Daily Telegraph, Dazed & Confused, Comics International, The Book- seller and other periodicals. The depth and breadth of Paul’s knowledge of graphic literature is quite stunning and we are very pleased that he has agreed to guide us through what promises to be an inspiring day of talks and panel dis- cussion.

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