Call for Submissions from Queer, Male Artists

Project Title: Queer Bodies in Confidence

What Is this Project and Who Can Participate?  

This project is a comic anthology that is focused on body positivity for queer men. Using health literature and personal experiences, artists that identify within the LGBTQ community are asked to create a comic strip regarding how society and culture influences body image and the impacts this has on the mental and sexual health of queer men, including gay, bisexual, queer, trans, two-spirited, and other men who have sex with men.  It is our goal to capture as much diversity and as many stories as possible in the pages of this work.

Who We Are?

Our team consists of students from Dalhousie University and Queens University working within queer healthcare. The team consists of Phillip Joy, Matthew Lee, and Stephanie Gauvin.

wallman
All art by Sam Wallman ( @wallmansam )

Why Are We Doing This?

This project aims to:

  1. Start conversations about the cultural influences of body image for queer men
  2. Work towards improving the overall health and well-being of queer men
  3. Challenge stereotypes about the bodies of queer men
  4. Showcase the diversity within our communities

What Will Be Done with the Comic?

The comic will be published in print copy and may be posted online through our website and social media accounts. Printed copies will be sent to various LGBTQ health, resource, and community centres across Canada. The comic book may also be presented at academic conferences or within university classroom settings.

What’s in It for Me?

Your contribution will make a positive impact on the health of queer men across Canada. In addition, artists will be paid a standard one-time fee of $200/page. You will also receive a copy of the published book.

Funding

This project is funding by Canadian Institutes of Health Research.

How Do I Participate?

Submit an electric/digital portfolio that includes your contact information, website information, and a brief bio (max 250 words) that details on why you would be an excellent artist for this collaboration. Also include a short proposal (max 250 words or a few illustrations) that outlines your comic submission and details how it aligns with the overall project and its goals. This proposal may include concept artwork for the comic. Submission of a proposal does not guarantee inclusion in the anthology or payment. Selected artists will be contacted and asked to sign an artist contract detailing their rights and responsibilities. For those artists whose work is not selected, the rights to their proposal remain with them.

Please email your electric submission package as a single pdf to: queerbodiescomics@gmail.com

Deadlines:

Proposal Deadline: Oct 10, 2018

Please note that we will attempt to notify all artists within 3 weeks of the proposal deadline regarding their submission.

Storyboard Deadline: Dec 8, 2018

Final Comic Deadline: Jan 25, 2019

Comic Format Requirements

Comic Book Dimensions: 17.8 x 22.9 cm | 7″ x 9″ (It is critical for layouts and final product to format your comics to these dimensions.)

Colouring: Black and white is acceptable but coloured comics are preferred

Text Language: English text only

Comic Length: 4 pages maximum

PLEASE NOTE: It is up to the artist to complete and submit their comic with text on the date of above deadline to ensure publication within the anthology. Payments to the artists will only be made upon successful submission at the deadline.

What Should My Comic Be About?

Although there are many aspects to body image, we are focusing this work on two aspects that have been identified within health research to contribute to body dissatisfaction and health issues in queer men – weight and muscularity.

Your work should feature a story focused on how social and cultural influences in the queer community influences the body image of men and how body image may, in turn, affect their mental or sexual health.

The comic can be within any genre (realistic/fantasy/superhero/Manga).

The comic may contain your own real experiences with the topic or be drawn from the research. Below are some potential topics, identified from health research, your comic may address. You are not limited to these topics but should contact us if you have other topics to ensure it fits within the scope of the project.

What Are Some Possible Social/Cultural Issues to Address

  • Social media use, websites
  • Dating apps – Grindr, Trinder, Scruff
  • Pornography
  • Anxiety during sexual intimacy with partner(s)
  • How talking with a partner can help with body image concerns
  • HIV-related concerns about body image
  • Media – advertisements, TV, magazines
  • Fitness and beauty industries
  • Ideas surrounding masculinities
  • Intersections with ethnicities, race, aging
  • Heteronormativity and gender norms within Canadian society
  • Social stigma and marginalization

The research shows that all of the above issues can shape the health experiences of queer men. These issues may also contribute to the exclusion of bodies on basis of weight or ethnicity through the images and language used in them.

What Are Some of the Health Issues Related to Body Dissatisfaction?

Body dissatisfaction is “never benign” (Jankowski, 2015, p. 34).

  • depression
  • eating concerns, eating restraints, eating disorders, purging and binging of foods
  • body and muscle dysmorphia, steroid use
  • isolation, feelings of being inadequacy
  • avoiding social situations
  • issues with sexual intimacy
  • stress and tension
  • social exclusion
  • risks of STIs

What to Avoid in your Comic

Avoid stories that could potentially stereotype queer men.

Questions

Please check out our “Frequently Asked Questions” document [ https://tinyurl.com/y7c6n9j7 ] and if you have further questions, please contact us at queerbodiescomics@gmail.com

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New Release: “The Beast: Making A Living On A Dying Planet”

FOR IMMEDIATE RELEASE
April 11, 2018
Canadian Publisher Ad Astra Comix Launches Original Graphic Novel “The Beast” Exploring Alberta’s Oil Sands & Corporate Advertising

Ad Astra Comix is pleased to announce the release of ‘The Beast: Making a Living on a Dying Planet’, its fifth publication and first original title. Produced in partnership with Dr. Patrick McCurdy at the University of Ottawa, ‘The Beast’ explores the way advertising shapes our perceptions of the Alberta oil sands, the climate and the Canadian economy.

From environmentalists to oil sands workers, this book has something for everyone to chew on. Driven by economic uncertainty to work in Alberta, protagonists Callum and Mary struggle with doing good while making a living. While Mary flourishes doing oil sands advertising, Callum is dying of the exposure he’s paid in. Their crossed paths to success push them into conflict with each other and ultimately with themselves. Along the way, the book explores the advertising cliches that define oil sands discourse in Canada, from ‘Fort MacMurray is Mordor’ to ‘Diluted bitumen is good for the planet, actually.”

‘The Beast’ is a 112 page black and white graphic novel with six full colour ads that satirize real images produced by environmental NGOs, energy companies and grassroots oil sands supporters – yes, they’re real! Written by Hugh Goldring and illustrated by Nicole Marie Burton, ‘The Beast’ was released in February, 2018 and will launch on Earth Day – April 22nd, 2018.

‘The Beast’ is available through Ad Astra Comix’s online store, on Amazon and through AK Press in the US. Review copies available upon request.

MEDIA CONTACT: Please send correspondence to adastracomix at gmail dot com, addressed to either
Nicole Marie Burton, Illustrator
Hugh Goldring, Writer
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Satirical ads included in the print edition of the book

From ‘It’s All Over’ to ‘Your Black Friend’: the anarcho-comix of Ben Passmore

dayglo ahole its all over

Hours before I met Ben Passmore for the first time, I’d been informed that it was the first night of Mardis Gras in New Orleans. My partner and I were on tour in the American South and had not made any definitive plans for the space on the map between Atlanta and Houston.  A friend of a friend put us in touch, and we gathered in a small group waiting for the Krewe du Vieux parade to start. The night’s theme: “politically incorrect”.

I could hear wooden chips and beads crunching under my shoes as I struggled to distribute the seven jell-o shots I’d just purchased from a nice old lady pushing a cooler through the crowd along the sidewalk. We stood, drinking, smoking, and watched the floats pass: a pair of queens with enormous falsies, an old white man from the ‘NOLA for Bernie Sanders campaign’ wearing a fake indigenous headdress and throwing candy. It was somewhat surreal, somewhat entirely foreseeable.

Mardis Gras continues like clockwork every year, but a lot of New Orleans has changed since Hurricane Katrina. The largest residential building in the city is abandoned. Entire neighbourhoods are boarded up, next to other neighborhoods peppered with colourful and chic low-income housing built with donations from celebrities like Brad Pitt and Sean Penn. In many ways, post-Katrina NOLA became the poster city for explaining concepts like disaster capitalism, neo-liberalism, and gentrification.

dayglo landscape

It’s hard not to notice elements of this un-done landscape in Passmore’s online comic, D A Y G L O A H O L E, which he worked on for years while living in the city. Characters wander around a mysterious post-civilization wasteland. There are semi-familiar objects everywhere, but ‘civil society’ and all that phrase entails is gone. Washed away. Each new comic extends further into this post-apocalyptic future, and deeper into Passmore’s mind we go.bens mind

“Daygloayhole has consistently been too ambitious for my level of talent, but I think that’s what makes it fun. I’m not a huge sci-fi nerd, but what little of it I’ve consumed and enjoyed consistently pairs the recognizable with the fantastically alien.”

Passmore spent several years working on daygloahole, living in New Orleans. Life was a mix of work, going to shows, and fostering a burgeoning indie comics scene through the NOLA zine and comics fair. Of course a city known for its history of parades and grassroots activism will attract its share of artists, hippies, road punks, and anarchists. When I suggested that New Orleans appeared to solve the age-old mystery of where crust punks go to die, he said it was “more to become undead… There’s a lot of lumbering soulessness [here].”

dayglo portland douche

And the anarchists were having a moment. Abandoned buildings were being squatted and used for political organizing or art projects.

The phrase ‘It’s all over’ appears again and again in daygloahole, which was funny because that’s all I could think when I was in New Orleans. And then, it doesn’t seem quite as funny anymore.

dayglo nightclub

“I think that’s something that I enjoyed at first, the culture of collapse in New Orleans, until I really realized the toll Katrina took on people’s minds and lives, and the disparity it underlined.”

food trucks for antigravity
“Food Truck” illustration for Antigravity Magazine

That disparity is one drawn clearly around race in New Orleans and Louisiana as a whole, whether we’re talking about segregation of schools and neighborhoods, police violence, or the state prison system. It was only in the last year that New Orleans removed several Confederate Monuments, which Passmore documented for the comics journalism website, The Nib.

The Confederate Monument fights became a flashpoint in the South for confronting fascist and white supremacist forces, who were being emboldened by Trump’s campaign to “Make America Great Again” (a perfect dog-whistle for the South’s “Lost Cause” sentiment, which sticks around like 100% humidity). From inside a jail cell for confronting the KKK at Stone Mountain, to the streets of New Orleans where a masked Mardis Gras parade took to a Confederate statue with paint and sledgehammers, Ben took names, covered it, drew it, and showed the rest of us what was going on.

ben passmore taken em down
“I’ve been really excited about doing pieces for the NIB,” Ben says. “It’s good to have to explain your ideas with pictures and words if you’re politically wing-nutty. I assume the majority of the NIB readership is liberal and prolly not very into most of my Anarchist politics.”

“New Orleans created a feeling of urgency about white supremacy as a societal poison that I didn’t feel as much before I moved there.”

“And it for sure burned me out on white people.”

your black friend

In 2017, Ben Passmore made international news for having his work, a short 16-page comic called “Your Black Friend,” nominated for an Eisner Award. For those of you not in the comics industry: that’s kind of like being nominated for an Academy Award. Needless to say, as an anarchist, but more as a political comic enthusiast, I was pretty stoked about the news.

‘Your Black Friend’ is a comic for that person who wants you to know they’re not a racist. It’s a comic about micro-aggressions, cultural appropriation, and lefty-progressive virtue-signalling. It is a short but poetically full-circle sampling of how annoying, depressing, terrifying, and frustrating it is to share space and community with white people (even those nice ones) in a white supremacist world.

page break

Passmore’s first 20 years were in and around Great Barrington, Massachusetts. “My mom was/is an artist and she encouraged me to draw a lot. I think she would’ve liked me to draw trees… I drew a lot of muscle guys in spandex covered in spikes.”

Ben would eventually go on to art school and major in comics with a minor in illustration.

Passmore seems somewhat surprised that younger people are inspired by his work.

“I get messages from other weird black cartoonists and people that get stuff out of my comics. A couple times people have told me that they’ve been “reading my comics for years” and they’re in their early twenties which is such a crazy thing to be a part of someone’s cultural scenery when they’re turning into an adult.”

There’s a lot being processed in Passmore’s comics, from the low-key racism of his friends, to his Mom voting for Trump, to his own relationships with addiction, depression and impulses to self-harm. Ben has made space for it all, while never taking himself too seriously.

dayglo whatever hippie

A current project of Passmore’s –not yet released– deals with identity, inspired by the pronounced dysphoria he experienced during the last two years’ living in NOLA. I’m looking forward to seeing that, given the nuance he gives to subjects like blackness and queerness. “I’ve never subscribed to the ‘destroy everything/destroy my body’ that characterizes some queer nihilism. Not because I don’t think that strain has validity, it’s just it feels complicated to be black and to desire physical deconstruction.”

black people have been gaslighted
From “Fighting For a Better History” about the call to remove Confederate monuments in New Orleans

Leftist comics – much like “the Left” in general– have a tendency to forget the nuance in their attempt to promote a cause. And that’s a fine strategy, if you’re designing lawn signs for an election.

Passmore’s work shows us that a comic is capable of something infinitely more sophisticated.

His advice to folks who want to make political comics: “Don’t be preachy… if peeps don’t at least recognize your point of view, it’s cause you didn’t make your case well enough.”

Your Black Friend‘ is available now from Silver Sprocket. Follow Ben’s adventures on Twitter and Tumblr, and if you want to show Ben some support, throw some pocket change at his patreon page.

antifa chasing richard spencer

 

 

THE BEAST: Making a Living on a Dying Planet

Beast book preview no white trim

Title: The Beast: Making a Living on a Dying Planet
Publisher: Ad Astra Comix, 2018
ISBN: 978-0-9940507-8-6
Additional Specs: 118 pages, black and white (with full-colour satirical ads at the front and back of the book).
Meta tags: environmentalism, media literacy, advertising, communications

This graphic novel is based on the research of Dr. Patrick McCurdy, Dept of Communications (Ottawa University)

Purchase this book here
Canadian customers only at this time.
International buyers, please e-mail us for payment instructions.

03 u got a better idea

From environmentalists to oil sands workers, this book has something for everyone to chew on. Full of difficult questions and imperfect answers, ‘The Beast’ offers the kind of uncomfortable chuckle that comes from the creeping tendrils of existential dread tickling our sense of uncertainty. Join Callum and Mary as they drift through bars, strip clubs and vegan wing joints not so much struggling to answer life’s difficult questions as doing their best to avoid having to ask those questions in the first place. Peppered throughout the narrative is a dismantling of the glib cliches that make up our current, intractable discussion of energy policy.

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Additional Info

Author: Hugh Goldring
Illustrator: Nicole Marie Burton
Production Assistance: Patrick McCurdy
Recommended reading level: 16 and up (depictions of drinking, smoking, and sexual harassment in the workplace)

Political Comix Review: The Outside Circle

If you like beautifully written and impactful graphic novels, if you care at all about social issues, and you have the tiniest spec of curiosity about the impacts of Canadian colonialism and its lasting impact through generational wounds, YOU NEED TO READ THIS BOOK. Yes, I just went all caps. And yes, I genuinely think that ‘The Outside Circle’ deserves it. It is complicated, powerful, and undeniably insightful in ways that linger long after you have turned the final page.

outside circle


 

Title: This Outside Circle
Author: Patti LaBoucane-Benson
Illustrator: Kelly Mellings
Publisher: Anansi
Publication Date: May 2, 2015
Genre: Graphic Novel, YA Fiction, Fiction


 

But let me start with a disclaimer. This graphic novel is not for the faint of heart, and likely not altogether suitable for young children. The social issues touched upon include gang violence, drug use, poverty, incarceration, abuse, and the systematic destruction of families and cultures. It needs to be read, it needs to be discussed, but it is best suited to older teens and adults. And while the subject matter isn’t the lightest, the presentation is such that it is easily approachable by students, scholars, and independent readers alike.

the-outside-circle-anansi-pressThe style and colours in this book made a tremendous impact on me, and I had to read it through several times in order to appreciate the depth of the details and nuance. I enjoyed the ongoing transformation of masks throughout, the tattoo motif, the circle series, and the repetitive use of smoke and fragmentation. I also found the variety of panels and page layouts to be engaging, and I really appreciated the break from tradition western aspects and transitions. The layering of Aboriginal and pop-culture iconography was beautifully done, and the balance created through the imagery made it easily understandable despite my limited understanding certain cultural motifs. The result is a fast paced, engaging, and visually appealing experience.

I was instantly, and irrevocably, wrapped up in Pete’s journey from the very first page. The very meta nature of the opening page of story, showcasing a storyteller, expounded further by the narrator stating ‘let me tell you a story’ had me going daaaamn. I know it doesn’t sound super amazing in a review, but the layers in the book are so very meta, and I like meta – especially when it comes across without feeling at all pretentious! Now add in the integration of key documents on residential schools, the Bagot Commission, the 1867 Indian Act, and some painful and startling statistics;  I couldn’t look away. I cried during the family mapping exercise (if you haven’t figured out by now that I am a crier, where the heck have you been?), and cried even more at Bernice’s funeral and when Ray came to visit Pete in prison.

I am in love with how everything came full circle in the end, and I know that this isn’t always the case in the real world. But it was really was a touching and uplifting way in which to end this story. But more than anything, I am in love with how LaBoucane-Benson actively invites readers to become part of the narrative and to become part of the healing process.

Would I recommend this book? HELL YAAAASSSS! Especially to Canadian junior and senior high school teachers and librarians. ‘The Outside Circle’ is impressive, empowering, massively educational, and yet ultimately a story of hope. It is incredibly efficient in breaking down stereotypes, helps readers to understand and identify injustices present in Canadian society, and humanizes issues that too often reduced to statistics. This is an absolute must read!

 

This is a guest post by Jessica Macaulay, a censorship-fighting school librarian that continually advocates for diversity and equality in collection representation. She is an unashamed comics geek and advocates for their inclusion for readers of all ages and levels, and is dedicated to changing the student and parent perception of what school libraries are and should be. Hop on over to Minimac Reviews for more reviews of books and comics like this one.

Cartooning History – An Interview With Larry Gonick

While we were traveling America last year, we came across Vol 3 of Larry Gonick’s fantastic ‘Cartoon History of the Universe’ series. Endorsed by everyone from Doonesbury’s Garry Trudeau to the late Carl Sagan, the series more than lived up to the hype. This led us to his website whose work spans topics ranging from history to physics to pure math.

books 4

That’s how we found out that since the very beginning, Larry has seen comics as a way not only to entertain and inform, but to change the world we live in. Once we’d seen that, we knew we had to interview him. Thankfully, he obliged.

larry gonick
Larry Gonick

1) How did you get into reading comics? What was the first comic you ever owned?

My father used to read me the comic strips from the Sunday Denver Post when I was four years old. I’ve been reading comics ever since. I couldn’t possibly remember my first. I’m pretty sure I Go Pogo entered the house by the time I was six. Kelly was surely my strongest stylistic influence.

2) On your website, it says you dropped out of math in 1972. What’s the story there?

Five years earlier, when I was applying to grad school, I had a sort of existential crisis. I suddenly realized that I was marching along a path leading to a career in a math department, without ever consciously having decided to walk that path. It was a chilling sensation, a sort of claustrophobic response to an intellectual realization about how futures are made. At that point, though, I saw no alternative, so grad school it was. Later, with social change erupting all around, a friend brought me a proposal to do a comic book on tax reform, inspired by the political-education/propaganda comics of Rius in Mexico. Rius (Los Agachados, Cuba for Beginners) was an eye-opener. He may not be the first, but he’s by far the greatest cartoonist to use comics to inform rather than simply to satirize. A soon as we started working, I was hooked.
gonick prof
 The key for me was this: although I drew a lot, I had zero confidence that my brain alone could generate enough comic inspiration to last a lifetime—until I saw this use of the medium. Here, I realized, was an endless source of material, and that’s how it’s turned out. When I got my first weekly comic strip, pathetically paid though it was, I dropped out of grad school.

3) You also say that “My crazy hope is that this crazy medium will somehow improve this crazy world.” That describes our work pretty well, too. But you’ve been doing this since the 70s. What made you think comics were a good medium for social change?
It’s hard to say. In the absence of a movement, not much. In the presence of a movement, plenty. I once (around 1975) had this argument with Jules Feiffer. I maintained that cartooning could work in support of a social movement (or even a political party). He insisted that the artist has to maintain independent judgment. At this point, I’d like to think that both are true, to some extent. It’s a rare social movement that doesn’t develop its own load of cant and shibboleths, and though the artist may support the movement’s goals and principles, she or he will have an overwhelming internal urge to make fun of the bullshit. It’s complicated!
challenge 2 religion

4) Your background is in math, but your bibliography covers an incredible diversity of topics from history to chemistry to sex! Did you have co-authors for some of those titles, or did you research it all as you went along?
 cooperationI had co-authors for all the science titles but one. I did the math books myself and found them tough going, because I’m so far removed from the classroom. My collaborators, being teachers, all had a good sense of what students find easy and hard, whereas I felt myself groping straight through. And the collaborations, despite occasional struggles, have always been a great experience for me. I learn a lot, and I like to think that my relentless cross-examination can lead the scientists to a little rethinking, too.
History I did all myself. For 35 years, I read almost nothing but history and biography. I love the stuff.

 5) Something that really stood out to me when I was reading the first three volumes of ‘Cartoon History of the Universe’ was how deliberately you avoided falling into a Eurocentric narrative of history. The Islamic world, the Indian subcontinent and China all feature prominently in your account of world history, with attention paid to the Eurasian steppe and sub-Saharan Africa as well.
 This was a conscious decision, obviously. My original political impulses made me mistrust traditional approaches and seek new narratives and connections, and believe me, they were easy to find.
manifest destiny
But in Vol 4 (rebranded by the publisher as Cartoon History of the Modern World, Vol 1) the focus shifts dramatically to Europeans, apart from a good account of Meso-American civilization and some coverage of the Inca. There’s still some coverage, but it isn’t at the level of the previous books. Why was that?
That’s where the narrative leads. The European conquests in America, Africa, and Asia led to European domination of world politics. In retrospect, I may have included too much European dynastic stuff, but the religious wars certainly mattered, and the story of the United Provinces of the Netherlands has been too little told.

6) I know you’ve just finished a book, and there’s a question about that coming up. But do you have plans for any future ‘Cartoon History’ or ‘Cartoon Guide’ titles, or anything else?

I’m in the middle of The Cartoon Guide to Biology with Dave Wessner, a biology professor at Davidson College (Steph Curry’s alma mater. Go Warriors!). It will surely be the longest of all the science books. I’m also working on my first project explicitly meant for the classroom: a large series of quiz questions for beginning physics.

 7) Looking at your website led me to the ‘Commoners’ series, which I read as short comics about the enclosure of different commons by transnational corporations. What led you to produce those?

 An old friend and associate, the late Jonathan Rowe, who spent his life in activist writing, put me on to the idea and found some funding to support the strip.

8) Do you still make time to read comics? Have you read anything good lately?

 I have the time to do it but little inclination. I mostly read novels, with a little non-fiction on the side. My problem with graphic novels is that they’re quick to read and you rarely want to go back. In this, they’re different from the great comic tradition of work like Pogo, which I re-read until all the pages fell out. I’m proud to say that the Cartoon Histories are books that people return to again and again. I realize this sounds dismissive, and in fact I still read comics. I love Kate Beaton’s Hark! A Vagrant  and check in with Randy Monroe’s xkcd pretty often. Of more-or-less recent book-length pieces, my favorite by was Roz Chast’s Can’t We Talk About Something More Pleasant?

9) You’ve got a new book coming out in the winter: “Hypercapitalism?” Can you tell us a little bit about it? What moved you to write it?

Tim Kasser, a psychology professor at Knox College, approached me about doing a book on capitalism and responses to it. I thought, Hm, why not go back to my political roots? The time was right. I especially liked approaching the subject from an unconventional direction: the psychology of money-chasing and material gain and what it does to more humane values and pursuits like community feeling and care for the planet’s future. Tim insisted that we finish the book with a long section on what people are actually doing to address our out-of-whack values, and I’m hoping that the book will stimulate some productive discussion out there in the discussion-sphere.

10) Inevitably, interviewers miss an important question. If there’s a question you wish I’d asked but didn’t, feel free to pose it yourself and answer it here.
Q. What’s your Social Security Number, Larry?
A. I prefer to remain a man of mystery.

Coming Soon: “Free Inside” by Peter Collins

Pete_pigeonsonshoulderOn August 13, 2015, Peter Collins died in prison. The headline in his hometown newspaper read ‘Police Killer Peter Collins dies in prison‘. It’s remarkable how many lies can fit in a headline.

No one contests that in October, 1983, Pete shot and killed Constable David Utman. But for the headline to say only that Pete was a ‘police killer’ is to tell an unforgivable lie. It might have read ‘Award-winning AIDS activist Peter Collins’ or ‘Fearless champion of animal rights Peter Collins’. A more honest headline could have said ‘survivor of child abuse Peter Collins’, in recognition of a portion of his trauma.

There is another unforgivable lie in that headline. ‘Peter Collins dies in prison’. They use the neutral word, dies, as though there’s nothing else to say about it. But here’s something that needs to be said: the prison system murdered Pete. When he found blood in his urine he asked to see a doctor. It took them months to fulfill his request. Bladder cancer can be treated if you catch it early. But for Pete it was too late.

To tell Pete’s story the headline might well have added another word at the end. That word is ‘alone’. Though his cancer was known to be incurable he was denied compassionate release. He might have spent the last weeks of his life reunited with his family. With his friends. With freedom.

But whether it’s for love of the police or the profitability of sensationalism, no headline is going to tell that story. For that you’ll have to read his book, ‘Free Inside’, published by Ad Astra Comix. Featuring comics, original art and writing by Pete and those who knew him, ‘Free Inside’ is no fit tribute to a man whose indomitable spirit cannot be captured by mere print.

But at least it tells the truth.

 

Preview of Art in “Free Inside”

 

Things you can do to help:

Pre-order copies of “Free Inside” for yourself, your classroom, your church library, or your social justice organization by e-mailing us at adastracomix@gmail.com

Share the following press release about the book:

FOR IMMEDIATE RELEASE
'Free Inside' Documents the Life of Prisoner and Activist Peter Collins

Ad Astra Comix is pleased to announce the publication of its latest title, 'Free Inside: The World of Peter Collins'. A mixture of comics, art and writing by Pete Collins and those who knew him, 'Free Inside' is a record of Pete's courage and tenacity.

After a troubled childhood, Pete was imprisoned in 1983, convicted of killing Ottawa Police constable Robert Utman. Left alone with his thoughts in prison, Pete felt a terrible remorse for what he had done that would remain with him for his entire life. He spent the next several decades of his life working to heal himself and help those around him. He died of bladder cancer in 2015 after being denied compassionate release so that he might spend his last moments with his family. Prison confined Pete but could not contain him. He was an advocate for the rights of animals, prisoners and people with HIV / AIDS. In 2008, he was awarded the Canadian Award for Action from the Canadian HIV/AIDS Legal Network and Human Rights Watch. He helped prepare fellow prisoners for parole hearings and fought tirelessly for justice. 

Although the prison authorities repeatedly obstructed his work as an artist, Pete persisted. His acerbic cartoons about prison life speak to the frustrations therein. His political cartoons skewer the hypocrisy of powerful people. His sketches of birds and other wildlife show his sensitivity and patience. 

'Free Inside' is a kind of memorial to Pete - full of his work, his thoughts and the thoughts of those who loved him. It speaks to the failures of the Canadian prison system and the triumph of the human spirit in the face of misery. We are proud to publish this first full length collection of Pete's work and hope that it will encourage people to judge prisoners not in terms of their one mistake, but the whole of their lives and experiences.

 

the panel is political.