These literatures include prose memoir, Holocaust memoir, journalism, film, and-for lack of a better term-the &"classics. amp;" Each richly-illustrated chapter outlines the key issues of one of these forms and then explores how comic books have been able to reflect and expand upon those issues in unique ways.
This is a decent if unspectacular apologia for comics.
These literatures include prose memoir, Holocaust memoir, journalism, film, and-for lack of a better term-the "classics. This is a decent if unspectacular apologia for comics. The title makes Versaci's thesis clear, but for anyone who missed it, he's careful to repeat rather more than necessary that "comics can do x and medium y can't, therefore comics have literary merit.
Includes bibliographical references (p. 217-231) and index.
The book has been read but remains in clean condition. All pages are intact and the cover is intact.
Chapter One: Why Comics? Chapter Two: Creating a 'Special Reality Chapter Three: ReMaustering the Past Chapter Four: The 'New Journalism' Revisited Chapter Five: Guerilla Warfare and Sneak Attack. More).
Part of Versaci’s endeavor in this book is to defend comics from their critics and detractors by introducing readers to a selection of powerful, narrative- and character-driven, self-reflective works, including Art Spiegelman’s Maus, Harvey Pekar’s American Splendor, Joe Sacco’s Palestine, and Daniel Clowes’s Eightball, all of which, Versaci demonstrates, have earned the right to be taken.
7. See McChesney and Nichols for a lengthy discussion on why investigative journalism is an endangered species. Please don’t look away. URGENT: Time is running out to make your end-of-year donation to support independent journalism. Truthout is a nonprofit and we depend on readers just like you to survive.
However, the visual dimension of comics allows comic book memoirists to overcome this potential paradox.