Drawing from Life Memory and Subjectivity in Comic Art

Drawing from Life: Memory and Subjectivity in Comic Art by Jane Tolmie, published by Univ. Press of Mississippi on October 17, 2013, is a thought-provoking collection of essays that explores the intricate relationship between autobiography and comics. This edition, comprising 300 pages, delves into the roles of trust, truth, and family memoirs within the realm of autobiographical comics, challenging traditional notions of authorship and subjectivity. The contributors, hailing from diverse academic backgrounds, engage with both well-known and lesser-known figures in the comic art world, offering a multifaceted perspective on the genre.
Readers will find a rich examination of how comics construct identity through memory and self-narration, with discussions surrounding the embodiment of experiences in sequential art. The essays raise critical questions about the perception and interpretation of comics, emphasizing the importance of physicality and context in storytelling. By addressing themes such as autobiography, semi-autobiography, and the viewer’s role, this collection invites a deeper understanding of the complexities involved in comic memoirs and the artistic process behind them.
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Essays that query the roles of trust, truth, and family memoirs in autobiographical comics Essays by Jan Baetens, David M. Ball, Lopamudra Basu, Christopher Bush, Isaac Cates, Michael A. Chaney, Alisia Chase, Sharon O’Brien, Davida Pines, Yaël Schlick, Rachel Trousdale, and Benjamin Widiss Autobiography has seen enormous expansions and challenges over the past decades. One of these expansions has been in comics, and it is an expansion that pushes back against any postmodern notion of the death of the author/subject, while also demanding new approaches from critics. Drawing from Life: Memory and Subjectivity in Comic Art is a collection of essays about autobiography, semiautobiography, fictionalized autobiography, memory, and self-narration in sequential art, or comics. Contributors come from a range of academic backgrounds including English, American studies, comparative literature, gender studies, art history, and cultural studies. The book engages with wellknown figures such as Art Spiegelman, Marjane Satrapi, and Alison Bechdel; with cult-status figures such as Martin Vaughn James; and with lesser-known works by artists such as Frédéric Boilet. Negotiations between artist/writer/ body and drawn/written/text raise questions of how comics construct identity, and are read and perceived, requiring a critical turn towards theorizing the comics’ viewer. At stake in comic memoir and semi-autobiography is embodiment. Remembering a scene with the intent of rendering it in sequential art requires nonlinear thinking and engagement with physicality. Who was in the room and where? What was worn? Who spoke first? What images dominated the encounter? Did anybody smile? Man or mouse? Unhinged from the summary paragraph, the comics artist must confront the fact of the flesh, or the corporeal world, and they do so with fascinating results. Jane Tolmie, Kingston, Ontario, Canada, is associate professor of gender studies and cultural studies, cross-appointed to English at Queen’s University. Find her at http: //www.queensu.ca/gnds/tolmie.php
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