Sarah Hildebrand
- Published in print:
- 2018
- Published Online:
- January 2020
- ISBN:
- 9781496820570
- eISBN:
- 9781496820617
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496820570.003.0004
- Subject:
- Literature, Comics Studies
This chapter uses trauma as a point of access into Gabrielle Bell’s three most recent works—The Voyeurs (2012), Truth is Fragmentary (2014), and Everything is Flammable (2017). Highlighting how Bell ...
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This chapter uses trauma as a point of access into Gabrielle Bell’s three most recent works—The Voyeurs (2012), Truth is Fragmentary (2014), and Everything is Flammable (2017). Highlighting how Bell develops a traumatic narrative by fragmenting it across these three texts, it analyzes the role speed plays in the ways we tell and receive traumatic accounts. By slowing down her own telling to the point of decentralizing trauma, Bell posits suffering not as spectacle, but as part of everyday living. While trauma consistently resurfaces throughout her oeuvre, its fractured and non linear format makes it easy to overlook. Building on Lee Gilmore's recent theorizing of female testimony and witness, this chapter traces the network of trauma that threads these books to suggest that ethically bearing witness often means slowing down.Less
This chapter uses trauma as a point of access into Gabrielle Bell’s three most recent works—The Voyeurs (2012), Truth is Fragmentary (2014), and Everything is Flammable (2017). Highlighting how Bell develops a traumatic narrative by fragmenting it across these three texts, it analyzes the role speed plays in the ways we tell and receive traumatic accounts. By slowing down her own telling to the point of decentralizing trauma, Bell posits suffering not as spectacle, but as part of everyday living. While trauma consistently resurfaces throughout her oeuvre, its fractured and non linear format makes it easy to overlook. Building on Lee Gilmore's recent theorizing of female testimony and witness, this chapter traces the network of trauma that threads these books to suggest that ethically bearing witness often means slowing down.
Tahneer Oksman and Seamus O'Malley (eds)
- Published in print:
- 2018
- Published Online:
- January 2020
- ISBN:
- 9781496820570
- eISBN:
- 9781496820617
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496820570.001.0001
- Subject:
- Literature, Comics Studies
Julie Doucet, who started publishing in the late 1980s, is a cartoonist and artist best known for her semi-auto biographical works, as depicted in her Dirty Plotte series as well as My New York ...
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Julie Doucet, who started publishing in the late 1980s, is a cartoonist and artist best known for her semi-auto biographical works, as depicted in her Dirty Plotte series as well as My New York Diary. Coming into her own in the late 1990s, when she first started self-publishing her comics, Gabrielle Bell rose to prominence with her 2009 book of short story comics, Cecil and Jordan in New York, as well as her diary comics, which have been recurrently collected in full-length books. While each artist has a unique perspective, style, and world view, the essays in this book investigate these artists' shared investments informal innovation and experimentation and in playing with question soft he auto biographical, the fantastic, and the spaces in between. This volume brings to gether eight original essays, including an extensive introduction, in addition to five republished interviews with the artists. Utilizing a variety of methodologies (archival work, gender theory, genre theory, etc.), the engagements in this book reflect how, despite the importance of finding “a place in side yourself” in order to create, this space is always, for better or worse, also as hared space, culled from, and subject to, surrounding lives, experiences, and subjectivities. Both the world of comics and its critics have been male-dominated for too long. The essays in this volume allow us to think about women’s place in the comics canon, while also appreciating Doucet and Bell as unique artists with powerful personal visions.Less
Julie Doucet, who started publishing in the late 1980s, is a cartoonist and artist best known for her semi-auto biographical works, as depicted in her Dirty Plotte series as well as My New York Diary. Coming into her own in the late 1990s, when she first started self-publishing her comics, Gabrielle Bell rose to prominence with her 2009 book of short story comics, Cecil and Jordan in New York, as well as her diary comics, which have been recurrently collected in full-length books. While each artist has a unique perspective, style, and world view, the essays in this book investigate these artists' shared investments informal innovation and experimentation and in playing with question soft he auto biographical, the fantastic, and the spaces in between. This volume brings to gether eight original essays, including an extensive introduction, in addition to five republished interviews with the artists. Utilizing a variety of methodologies (archival work, gender theory, genre theory, etc.), the engagements in this book reflect how, despite the importance of finding “a place in side yourself” in order to create, this space is always, for better or worse, also as hared space, culled from, and subject to, surrounding lives, experiences, and subjectivities. Both the world of comics and its critics have been male-dominated for too long. The essays in this volume allow us to think about women’s place in the comics canon, while also appreciating Doucet and Bell as unique artists with powerful personal visions.
Seamus O'Malley
- Published in print:
- 2018
- Published Online:
- January 2020
- ISBN:
- 9781496820570
- eISBN:
- 9781496820617
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496820570.003.0008
- Subject:
- Literature, Comics Studies
Gabrielle Bell's The Voyeurs stages voyeurism in multiple ways. Bell's avatar of ten acts as a voyeur, peering at neighbors or passers by. Some times she is the object, not subject, of a gaze: both ...
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Gabrielle Bell's The Voyeurs stages voyeurism in multiple ways. Bell's avatar of ten acts as a voyeur, peering at neighbors or passers by. Some times she is the object, not subject, of a gaze: both other characters, as well as the reader, often observe her as she goes about her daily routines. But sometimes readers are presented with a third aspect of voyeurism, which is what she sees. Instead of just watching her watch, sometimes the reader sees what she sees. Thus Bell presents us with her vision, as well as offering herself to our gaze. While we generally associate voyeurism with radical subjectivity, loneliness, and alienation, Bell offers her vision as an invitation to join in a community of watchers, as we become more a ware of what and how we see.Less
Gabrielle Bell's The Voyeurs stages voyeurism in multiple ways. Bell's avatar of ten acts as a voyeur, peering at neighbors or passers by. Some times she is the object, not subject, of a gaze: both other characters, as well as the reader, often observe her as she goes about her daily routines. But sometimes readers are presented with a third aspect of voyeurism, which is what she sees. Instead of just watching her watch, sometimes the reader sees what she sees. Thus Bell presents us with her vision, as well as offering herself to our gaze. While we generally associate voyeurism with radical subjectivity, loneliness, and alienation, Bell offers her vision as an invitation to join in a community of watchers, as we become more a ware of what and how we see.
Kylie Cardell
- Published in print:
- 2018
- Published Online:
- January 2020
- ISBN:
- 9781496820570
- eISBN:
- 9781496820617
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496820570.003.0006
- Subject:
- Literature, Comics Studies
As forms of auto biography, diaries are of ten framed as secret, private, and confessional genres–they are presumed to be (desired as) an unfiltered and uncensored mode. In popular culture, diaries ...
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As forms of auto biography, diaries are of ten framed as secret, private, and confessional genres–they are presumed to be (desired as) an unfiltered and uncensored mode. In popular culture, diaries are frequently used to connote the image or experience of a teenage girl and are connected to expectations for emotionally heightened and subjective or unfiltered narration. This chapter explore show the contemporary comics artists Gabrielle Bell and Julie Doucet use diary as a both a methodology (a structural device) and a symbolic mode: in a body of diary comics, these artists respectively narrate autobiographical stories that center on the mundane, banal, and ephemeral, in away that both heightens and contests the voyeuristic frame of diary point of view.Less
As forms of auto biography, diaries are of ten framed as secret, private, and confessional genres–they are presumed to be (desired as) an unfiltered and uncensored mode. In popular culture, diaries are frequently used to connote the image or experience of a teenage girl and are connected to expectations for emotionally heightened and subjective or unfiltered narration. This chapter explore show the contemporary comics artists Gabrielle Bell and Julie Doucet use diary as a both a methodology (a structural device) and a symbolic mode: in a body of diary comics, these artists respectively narrate autobiographical stories that center on the mundane, banal, and ephemeral, in away that both heightens and contests the voyeuristic frame of diary point of view.
Margaret Galvan
- Published in print:
- 2018
- Published Online:
- January 2020
- ISBN:
- 9781496820570
- eISBN:
- 9781496820617
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496820570.003.0001
- Subject:
- Literature, Comics Studies
This chapter examine show the histories of women's comics have failed to capture and contextualize the full range of women's work. Assessing the recuperative scholarship of Hillary Chute and Trina ...
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This chapter examine show the histories of women's comics have failed to capture and contextualize the full range of women's work. Assessing the recuperative scholarship of Hillary Chute and Trina Robbins sets the stage for understanding the various reasons why women's work is overlooked. This frame then turns to cartoonists Julie Doucet and Gabrielle Bell and situates them in abroad er genealogy of histories of women's comics. This chapter engages both artists' work in anthologies comics and trace show second-wave, under ground feminist cartoonists have influenced and connect these artists together.Less
This chapter examine show the histories of women's comics have failed to capture and contextualize the full range of women's work. Assessing the recuperative scholarship of Hillary Chute and Trina Robbins sets the stage for understanding the various reasons why women's work is overlooked. This frame then turns to cartoonists Julie Doucet and Gabrielle Bell and situates them in abroad er genealogy of histories of women's comics. This chapter engages both artists' work in anthologies comics and trace show second-wave, under ground feminist cartoonists have influenced and connect these artists together.