Autobiography has seen ermous 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 tion 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 well-kwn figures such as Art Spiegelman, Marjane Satrapi, and Alison Bechdel; with cult-status figures such as Martin Vaughn-James; and with lesser-kwn works by artists such as Frederic 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 nlinear 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.