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Joe Sacco: Panels, Journalism and the Israeli-Palestinian Conflict

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Joe Sacco: Panels, Journalism and the Israeli-Palestinian Conflict TRANSLATED ARTICLES 122 Mónica Yoldi · Eme nº 5 · 2017 ISSN 2253-6337 JOE SACCO: PANELS, JOURNALISM AND THE ISRAELI-PALESTINIAN CONFLICT Mónica Yoldi BA and PhD in Fine Arts by the Universitat de Barcelona (University of Barcelona) The article focuses on the work on Palestine The Novel of Nonel and Vovel by Oreet Ashery by journalist and cartoonist Joe Sacco. Mem- and Larissa Sansour that tells the story of two art- ber of the current denominated journalistic ists that have superpowers (alter egos of the two comic, Joe Sacco, through his direct, commit- authors of the comic) and fifty female ninjas who ted drawings, offers his particular view of the have the mission of saving Palestine. But in this Israeli-Palestinian conflict. He tries to avoid realm, the work of the comic artist and journalist preconceptions and common places. In this Joe Sacco (Malta, 1960) leads the trend of comic- text we analyse his main comic books, such as journalism that approaches reality to narrate, as a Palestine or Footnotes in Gaza. journalistic report, armed conflicts such as the one that is taking place between Palestine and Israel. Key words: Joe Sacco spent two months in Palestine be- Joe Sacco, journalistic comic, cartoons, Israeli- tween 1991 and 1992 “My interests in the Near Palestinian conflict, Palestine. East,” he remarks, “did not begin as a consequence of the war itself, but rather as a matter of social For some time now, contemporary comic has ap- justice. I grew up thinking the Palestinians were proached current events and narrates stories of terrorists and for many reasons. I mean, it is true, social and political interest. The so-called graphic they have committed terrorist acts but, what is the novel tackles aspects of real life that have little to context? What has led them to this? Then, in a giv- do with the fantasy and escape topics attributed en moment, I felt the need of understanding the to traditional comics. Art Spiegelman with his origin or the nature of the injustices that happen work Maus established a way of working graphic there. I felt I needed to see them with my own eyes narrative so that it told of personal, social and po- and do something about them”1. So in the middle litical difficulties through the panels of the story. of 1992 Joe Sacco began to write and draw Pales- Such direct and clear manner of narration cap- tine: in the Gaza Strip, work with which he won tures the reader’s interest with text and images. the American Book Award in 1996. In 2002, when An example of this are works such as Birmanian the Palestine conflict flares again, he receives the Chronicles by Guy Delisle, Fax from Sarajevo by prize to the best graphic novel in the Book Expo Joe Kubert; Persepolis by Marjane Satrapi, Fun America. Palestine: in the Gaza Strip, initially seri- Home by Alison Bechdel, Waltz with Bashir by alised in nine comic books between 1993 and 1995 Ari Folman and David Polonsky or Poppies from and later gathered in a single volume, relates the Irak by Brigitte Findakly and Lewis Trondheim. In violent oppression Israel exerts on the Palestin- this context comics and graphic novels on Israel ian territories, centering on the first Intifada. Joe and Palestine are ever more frequent. Shrapnel Sacco says, “I do journalistic comics because it is by Rutu Modan, An American Jew lost in Israel the best manner of uniting my two passions: com- 1 by Sarah Glidden, Jumping the Wall by Maximi- ics and journalism. I don’t have a theory to explain BARROS, DIEGO E.: Joe Sacco: “Yo en- lien Le Roy, A Boy in Palestine by Naji al-Ali or this. I just have always been interested in current tiendo el periodismo como el primer es- Jerusalem, A Portrait of the Boaz Yakin Family by affairs and sometimes, things happen around calón de la historia”, <http://www.jotdown. es/2014/06/joe-sacco-yo-entiendo-el- Nick Bertozzi are examples of the interest the con- the world, that make me want to do something periodismo-como-el-primer-escalon-de-la- vulsed and agitated history of the area awakens. about them. And what I think is most useful is to historia/> [10/10/2016]. One of the most curious cases is the comic called go there and inform of exactly what it is that is Mónica Yoldi · http://dx.doi.org/10.4995/eme.2017.6871 123 TRANSLATED ARTICLES happening. I think comics are a great means to material. I am not objective, but I do try to be hon- present complex information2. Joe Sacco’s draw- est. That is why I enter the scene, it is my way of ings devoted to the Palestine-Israel conflict reveal stating clearly that I am a filter and a magnifying a desolating panorama. Even though the realism glass in the story4.” Joe Sacco takes between two of his illustrations sometimes make very hard im- and three years to complete a comic, and uses his ages, his stories are highly suggestive narrations appearances in the panels to do self-parody and in- to which we cannot be indifferent. troduce a lighter note and certain dose of humour The fact is that the work of this specific journal- in the story, such as when he draws himself tired of ist on the Palestine-Israel conflict is a testimony drinking so much tea. of the condition of those people dispossessed by It should be pointed out that Joe Sacco’s pan- colonial violence. His images, close to photo-jour- els refer so adequately to the complex situation nalism show difficult and dangerous situations, the Palestinians and Israelis are going through very hard lives, ridden by hidden conflicts of com- that they have captured the attention of person- plex solution. His work speaks of those excluded alities such as Edward Said, an American of Pal- and displaced, on how transitory and fragile is the estinian origin and author of relevant texts such life that, in this case, is forced upon the Palestin- as Orientalism, Gaza-Jerico, Pax Americana or ians. Joe Sacco’s drawings speak of the uprooting, Palestinian Chronicles, who defends Palestinian the difficulty of surviving day to day, the disori- self-government and human rights. Edward Said entation, the no-place, the absence of home, the tells that he discovered Joe Sacco’s work because displacement and how life is faced when living his younger son brought home the first number under occupation. His images bring to light what of Palestine. “I had before my eyes,” commented we nearly never see in communications media, Edward Said, “a comic of political and aesthetic since they picture and relate personal and specific content which was extraordinarily original, very stories. The detailed interviews Joe Sacco carries different from any of the other, many, and often out and documents introduce us to the problems dense and twisted debates that occupy the Pal- and experiences, in principle, unique, but that can estinians, Israelis and their sympathizers.”5. He actually be extrapolated to a great part of the Pal- was so interested in the story Sacco drew and told estinian population. that he wrote the introduction to Palestine: on Joe Sacco studied journalism at the University the Gaza Strip. Joe Sacco included an additional of Oregon and defines himself as an illustrator page in Palestine: on the Gaza Strip, telling how who does journalism, showing the most politi- the scholar influenced his work. In it we see that cal facet of the Palestine-Israel conflict. He calls Joe stayed in the apartment of Larry, an American himself a comic artist and considers himself to who teaches English in Gaza and that he found, be a very political person. For Sacco drawing is among the books in his host’s house Edward a subjective act, but he tries to be truthful and Said’s Orientalism which the artist began to read. rigorous in panels when he is telling the stories “I like Edward Said”, wrote Sacco in Palestine6. 2 BARROS, DIEGO E.: La paz no va a pa- of other people, always aware of journalistic eth- Sacco’s images reflect direct contact with the garme el alquiler: Joe Sacco <http://www. ics. His work is an example that, in this case, situations of conflict and colonialism. Sacco’s jotdown.es/2012/11/la-paz-no-va-a-pa- politics cannot be separated from everyday life. drawings are evident, direct, and occasionally over- garme-el-alquiler-joe-sacco> [11/10/2016]. In Joe Sacco’s drawings we see the day-to-day of whelming. Technically his line is close to engrav- 3 BARROS, DIEGO E.: Joe Sacco: “Yo en- the Palestinians and how the conflict affects eve- ing due to the great amount of details shown and tiendo el periodismo como el primer es- ryday affairs. “Journalism” says Joe Sacco, “is a because of the rigorous black and white that make calón de la historia”, <http://www.jotdown. privilege. It is the best way to get to know lots of his illustrations even more dramatic. Joe Sacco es/2014/06/joe-sacco-yo-entiendo-el- people, of many different types. It is a privilege includes colour in short stories such as Hebron: periodismo-como-el-primer-escalon-de-la- historia/> [10/10/2016]. because they open their lives to you because you A Look Inside, coloured by Rhea Patton or in Un- 4 3 are a journalist.” . Joe Sacco, who admires Goya, derground War in Gaza which appear in the book MAGÍ, LUCIA: “No soy objetivo pero sí Bruegel and especially, Robert Crumb, tells us Journalism.
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