Book Review: Graphic Novels and Comics as World Literature

 
reviewed by John A. Lent

James Hodapp, ed. Graphic Novels and Comics as World Literature. New York:  Bloomsbury Academic, 2022. 285 pp. US $130.00. ISBN:  978-1-5013-7341-1. https://www.bloomsbury.com/us/graphic-novels-and-comics-as-world-literature-9781501373428/

James Hodapp’s introduction, “Global South on Their Own Terms,” plays on needs this reviewer has called for in writings and teachings in the U.S. and abroad since the 1960s--that South mass communications (and, in this case, comics art) should be looked at from their own cultures, not those of the West; that Western-oriented theories, notions, and research methodologies are not appropriate in the South with these countries’ wide-ranging linguistic forms, reading patterns, and visual literacy levels.

Hodapp gets at these points, stating, that comics studies have “lagged considerably in coming to terms with its Eurocentrism and in offering alternative and better paradigms that place non-Western comics on equal footing with their Western peers.” Much of what he finds lacking harkens to the 1960s-1970s’ debates concerning a need for a new world information order, consisting of a free and two-way flow of information, the ending of cultural imperialism, and media that are accessible and affordable to the masses. Hodapp provides as main tasks of his book, to “conceptualize non-reductive ways of reading and understanding Global South comics in and of themselves without prioritizing Western legibility” and to avoid a “Global South one-size-fits-all singularity of theory and method.” These are worthy goals, but, as mass communications studies have shown, they may be a long time in coming.

Graphic Novels and Comics as World Literature itself, an excellent compendium of comics research dealing with 13 countries and the Francophone Africa region, nearly all in the South, makes a start in satisfying what Hodapp seeks, putting comics in frameworks of “south to south exchange, transculturalism, and translocality.” For example, Jasmin Wrobel, while highlighting women as important to South American comics, focuses on the work of Colombian-Ecuadorian Powerpaola (Paola Gaviria), showing how her comics coincide with some Western successes, at the same time, how they differ; Dima Nasser, describing Egypt’s The Apartment in Bab El-Louk as a series of “visual poems,” points out how the book rebukes the graphic novel form, and Jana Fedke analyzes the Western comic Black Panther and its pretensions to represent African cultures.

Other chapters deal with the acceptance of Japanese “boys love manga” in Chile; the statelessness of Palestinian comics; an overview of the comics scene of Francophone Africa; a rundown of the contained-in-Malaysia Reach for the Stars comic; an allegorical study of the South Korean graphic novel, Grass (dealing with comfort women of World War II) and grass vegetation; graphic reportage overwhelmingly about refugee camps, including in Mexico; Indian graphic novels; the Ramayana epic and its comics adaptation, Sita’s Ramayana; an argument for using the storytelling traditions of Yawuru people of Australia to give an indigenous Global South perspective, and a split narration in a graphic memoir about a perplexed Korean-born boy existing in a Belgian adoption setting.

Though a noble effort to look at the non-Western comics through Global South perspectives, Graphic Novels and Comics as World Literature and its contributors cannot resist depending on Eurocentric comics theories (actually, notions that have not even made it to the hypotheses stage) and research techniques, and mostly taking the word of Western writers (e.g., Hillary Chute is cited on at least 17 occasions).

However, delineating the challenges awaiting Global South comics researchers, which this book does, is the first step towards action. For that, and providing fascinating case studies of comics in every region of the world, James Hodapp must be commended as a pioneering voice.

Book Review - The Waiting by Keum Suk Gendry-Kim

Keum Suk Gendry-Kim. The Waiting. Montreal:  Drawn & Quarterly, 2021. 246 pp. 978-1-77046-457-5. US $24.95. https://drawnandquarterly.com/waiting

  reviewed by John A. Lent

South Korean graphic novelist Keum Suk Gendry-Kim has a knack for digging up personal stories related to historical tragedies of her country. She is truly what I call an “investigative cartoonist.” Gendry-Kim has used these reportorial skills over and over during the past decade. They are evident in her many awards-winning graphic novel, Grass (2019), the story of the “comfort women,” enslaved East Asian girls used to sexually service Japanese soldiers during World War II, as told to her by one surviving Korean comfort woman and backed up by nine other victims. Gendry-Kim found an elderly Korean man still living in Japan who experienced one of the atomic bombings while working in Japan in the 1940s, willing to explain how he and fellow Korean laborers were passed over and denied reparation funds by the Japanese government, in her A Day with Grandfather (2017).

Mixing fiction and fact, Gendry-Kim continues to bring attention to Korean national tragedies through the personal experiences of those who endured them. Among her 20 or so books, all completed since 2012, are Jiseul (2015), an account of the massacre of civilians by the South Korean army during the Korean War, and her latest title, The Waiting (2021).

The marginal status of women in a patriarchal society such as Korea is a common theme in Gendry-Kim’s books, as it is in The Waiting. In fact, very few men appear in this story inspired by her mother’s personal experiences at the end of the Korean War, and a few men who do show up are not desirable characters--the neighbor who steals a child’s dog and cooks it; a slothful male who abandons his sister-in-law and her child under terrible conditions.

During and after the Korean War, many families were separated, as were Gendry-Kim’s mother and her mother’s sister (Gendry-Kim’s aunt), who never made it out of North Korea. The Waiting weaves between Gendry-Kim’s present feelings of sorrow and guilt for having to leave her mother in Seoul and moving to Ganghwa Island; her mother’s anxiety about her sister’s fate in North Korea and her disappointment at continually not being chosen for the regularly-arranged separated family reunions, and the fictional character Gwila’s sorrowful tale of being separated from her husband and son during the war.

Gendry-Kim based her story on her own feelings, her mother’s testimonies, the tales of two elderly people she interviewed who had been able to meet their North Korean family members, and her further research. In a two-page textual afterword, “A Lifetime of Waiting,” the author begins with, “This is my mother’s story,” and ends it by dedicating the book to her mother. In between, she shares a bit about her own career and the fears and wishes of her two interviewees and asks questions others have asked for millennia--“How many people in this world have been wounded by war?” and “How many have had their loved ones torn from them because of war?” As the song says, “the answer, my friend, is blowing in the wind.”

The Waiting is a full package of emotions:  hope and despair, love and hate, joy and sorrow, kindness and cruelty, guilt and relief, and the terribleness of war without a positive corollary. The book is true to Gendry-Kim’s standard--a great read, first-hand researched, and filled with penetrating thoughts relatable to the many who have experienced war firsthand, and sobering to those who have romanticized, sanitized, and glamorized notions of war.