A troubled childhood in Iran. Living with a disability. Grieving for a dead child. Over the last forty years the comic book has become an increasingly popular way of telling personal stories of considerable complexity and depth. In Autobiographical Comics: Life Writing in Pictures, Elisabeth El Refaie offers a long overdue assessment of the key conventions, formal properties, and narrative patterns of this fascinating genre. The book considers eighty-five works of North American and European provenance, works that cover a broad range of subject matters and employ many different artistic styles. Drawing on concepts from several disciplinary fields--including semiotics, literary and narrative theory, art history, and psychology--El Refaie shows that the traditions and formal features of comics provide new possibilities for autobiographical storytelling. For example, the requirement to produce multiple drawn versions of one's self necessarily involves an intense engagement with physical aspects of identity, as well as with the cultural models that underpin body image. The comics medium also offers memoirists unique ways of representing their experience of time, their memories of past events, and their hopes and dreams for the future. Furthermore, autobiographical comics creators are able to draw on the close association in contemporary Western culture between seeing and believing in order to persuade readers of the authentic nature of their stories.

A complete guide to the history, form and contexts of the genre, Autobiographical Comics helps readers explore the increasingly popular genre of graphic life writing. In an accessible and easy-to-navigate format, the book covers such topics as: · The history and rise of autobiographical comics · Cultural contexts · Key texts – including Maus, Robert Crumb, Persepolis, Fun Home, and American Splendor · Important theoretical and critical approaches to autobiographical comics Autobiographical Comics includes a glossary of crucial critical terms, annotated guides to further reading and online resources and discussion questions to help students and readers develop their understanding of the genre and pursue independent study.

Claudia Jones is missing. Her classmates are thinking the worst . . . or at least the weirdest. It couldn't be an alien abduction, right? None of Claudia's classmates at Blithedale High know why she vanished—and they're dealing with their own issues. Emily's trying to handle a life-changing surprise. Paula's hoping to step out of Emily's shadow. Nigel just wants to meet a girl who will laugh at his jokes. And Brett hardly lets himself get close to anybody. In Losing the Girl, the first book in the Life on Earth trilogy, Eisner-nominated cartoonist MariNaomi looks at life through the eyes of four suburban teenagers: early romance, fraying friendships, and the traces of a mysterious—maybe otherworldly—disappearance. Different chapters focus on different characters, each with a unique visual approach.

A poignant, heart-lifting graphic memoir about anorexia, eating disorders and the journey to recovery Like most kids, Katie was a picky eater. She’d sit at the table in silent protest, hide uneaten toast in her bedroom, listen to parental threats that she’d have to eat it for breakfast. But in any life a set of circumstance can collide, and normal behaviour might soon shade into something sinister, something deadly. Lighter Than My Shadow is a hand-drawn story of struggle and recovery, a trip into the black heart of a taboo illness, an exposure of those who are so weak as to prey on the vulnerable, and an inspiration to anybody who believes in the human power to endure towards happiness. ‘Even at its most heartbreaking it never feels sombre ... Inspiring, plucky and, in the end, consoling, it’s hard to put down’ Observer

Some of the most acclaimed books of the twenty-first century are autobiographical comics by women. Aline Kominsky-Crumb is a pioneer of the autobiographical form, showing women's everyday lives, especially through the lens of the body. Phoebe Gloeckner places teenage sexuality at the center of her work, while Lynda Barry uses collage and the empty spaces between frames to capture the process of memory. Marjane Satrapi's Persepolis experiments with visual witness to frame her personal and historical narrative, and Alison Bechdel's Fun Home meticulously incorporates family documents by hand to re-present the author's past. These five cartoonists move the art of autobiography and graphic storytelling in new directions, particularly through the depiction of sex, gender, and lived experience. Hillary L. Chute explores their verbal and visual techniques, which have transformed autobiographical narrative and contemporary comics. Through the interplay of words and images, and the counterpoint of presence and absence, they express difficult, even traumatic stories while engaging with the workings of memory. Intertwining aesthetics and politics, these women both rewrite and redesign the parameters of acceptable discourse.

This book explores the representation of fatherhood in contemporary North American autobiographical comics that depict paternal conduct from the post-war period up to the present. It offers equal space to autobiographical comics penned by daughters who represent their fathers’ complicated and often disappointing behavior, and to works by male cartoonists who depict and usually celebrate their own experiences as fathers. This book asks questions about how the desire to forgive or be forgiven can compromise the authors’ ethics or dictate style, considers the ownership of life stories whose subjects cannot or do not agree to be represented, and investigates the pervasive and complicated effects of dominant masculinities. By close reading these cartoonists’ complex strategies of (self-)representation, this volume also places photography and archival work alongside the problematic legacy of self-deprecation carried on from underground comics, and shows how the vocabulary of graphic narration can work with other media and at the intersection of various genres and modes to produce a valuable scrutiny of contemporary norms of fatherhood.

A troubled childhood in Iran. Living with a disability. Grieving for a dead child. Over the last forty years the comic book has become an increasingly popular way of telling personal stories of considerable complexity and depth. In Autobiographical Comics: Life Writing in Pictures, Elisabeth El Refaie offers a long overdue assessment of the key conventions, formal properties, and narrative patterns of this fascinating genre. The book considers eighty-five works of North American and European provenance, works that cover a broad range of subject matters and employ many different artistic styles. Drawing on concepts from several disciplinary fields—including semiotics, literary and narrative theory, art history, and psychology—El Refaie shows that the traditions and formal features of comics provide new possibilities for autobiographical storytelling. For example, the requirement to produce multiple drawn versions of one's self necessarily involves an intense engagement with physical aspects of identity, as well as with the cultural models that underpin body image. The comics medium also offers memoirists unique ways of representing their experience of time, their memories of past events, and their hopes and dreams for the future. Furthermore, autobiographical comics creators are able to draw on the close association in contemporary Western culture between seeing and believing in order to persuade readers of the authentic nature of their stories.