Category Archives: Comics Journalism

Matt Bors Event Press Release

AA leaflet image

FOR IMMEDIATE RELEASE
Political Cartoonist Matt Bors in Toronto to Talk Up New Book,  Afghanistan Trip,
Comics Journalism & Activism

Event Spokesperson: Nicole M. Guiniling (Ad Astra Comix)
Phone(647) 863-4994
E-mailnicolemarieguiniling@gmail.com
URLwww.AdAstraComix.com

Between May 9 – 11, political cartoonist Matt Bors will be in Toronto showcasing his new book, Life Begins At Incorporation: Cartoons and Essays. In addition to exhibiting his work at the Toronto Comic Arts Festival (TCAF) May 10 – 11 at the Toronto Reference Library, Bors will be presenting his work on Friday evening, May 10 at 7:30PM at the Toronto Comic Book Lounge.

Matt Bors is a nationally-syndicated political cartoonist, editor, and writer based in Portland, Oregon. In 2007 at the age of 23, he was the youngest nationally-syndicated cartoonist in the United States. Since then his work has graced the pages of WIRED Magazine, The Los Angeles TimesVillage Voice, and The Nation.

Life Begins at Incorporation is Matt Bors’ second book. It received 170% funding on the website Kickstarter in 2012, and was released to funding backers and pre-orders in April 2013. It features cartoons and essays on a variety of topics, from gun control, women’s rights, and the environment to the Global War on Terror (a segment of Bors’ talk is devoted to his trip as a comics journalist to Afghanistan in 2010).

In 2012, Bors was both a Pulitzer Prize Finalist for Editorial Cartooning and the first alternative-weekly cartoonist to win the Herblock Prize for Excellence in Cartooning. At a time when political cartooning is widely considered to be a ‘dying art’ by the journalism industry, Bors’ cartoons have received significant mainstream political traction. In 2012, one of his works was presented by U.S. Congressman John Larson during a house floor debate on the Affordable Care Act, while another piece about Osama Bin Laden’s driver, Salim Hamden, was smuggled to him while he served as a detainee of the Guantanamo Bay Detention Camp.

Bors is available to interview in-person during his stay in Toronto May 9-11, or by phone at the interviewer’s convenience.

Interested parties can find examples of his work and more information on his website, www.MattBors.com. A .PDF copy of Life Begins At Incorporation is available for review upon request.

“The Political Comics of Matt Bors,” is organized by the website Ad Astra Comix, which reviews, researches, promotes and distributes political and historical comic art.

What People Have Said of Bors’ Work
(Quotes From the Back Cover of Life Begins):

Life Begins at Incorporation is equal parts maddening and hilarious. Matt Bors reminds us that in an unjust world, laughter is an absolute necessity. The only disappointment in this book is that despite my wishes to the contrary, ‘The Avenging Uterus’ is not in fact real.” – Jessica Valenti, founder of Feministing.com & author of The Purity Myth

Bors embodies the highest virtues of political cartoonists: fearless, provocative satire and cutting, acerbic insights. He’s also unfailingly funny.” – Glenn Greenwald, columnist for The Guardian

Able to eviscerate a target with a single panel. You never want to end up on the wrong side of his pen 
and ink!” – Markos Moulitsas, Publisher, Daily Kos

Bors has the right stuff and then some.” – Christopher Hitchens, author of God Is Not Great

A bunch of cunty liberal garbage.” – Person on the Internet

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Days of Destruction Days of Revolt – By Chris Hedges and Joe Sacco

cover DDDRTitle: Days of Destruction, Days of Revolt
Written by: Chris Hedges, Joe Sacco
Illustrations by: Joe Sacco
Published: 2012 through Knopf Canada (a division of Random House Canada)
List price: $29.95 CAD

Chris Hedges was trained to be a minister, and Joe Sacco is known to draw comics. Both, however, have made their strongest marks within the realm of journalism: Hedges as a foreign correspondent reporting from Central America, the Balkans, the Middle East, and Africa. Joe Sacco made comics journalism a concrete category with works like Palestine, Safe Area Gorazde, The Fixer, and others.

It seems only natural that the two would work together. They have overlapped each other’s geographical locations of coverage on a few occasions, particularly with Israel/Palestine and areas in the Balkans. Both understand the complexity of what they investigate and the need for empirical as well as historical inquiry.

immokaleeBut what I find intriguing about Days of Destruction, Days of Revolt is the way I see their previous work illuminate these pages to reveal a truly devastating picture of the state of America. Hedges draws on a treasure trove of historical events he has personally witnessed or painstakingly researched to show how the elite of the U.S.A. may not be as invincible as they think; Sacco’s trademark illustrations immediately recollect visions of a street in Gaza—and yet, I’m not looking at a street in Gaza here; I’m looking at a street in Camden New Jersey or Immokalee, Florida.

To be clear, the book is about a little more than destruction and revolt. Those two points are the focus of two separate chapters. Others include:

Days of Theft:  Pine Ridge, South Dakota

Days of Seige: Camden, New Jersey

Days of Devastation: Welch, West Virginia

Days of Slavery: Immokalee, Florida

Days of Revolt: Liberty Square, New York

What is recounted in these pages isn’t sensationalism. Sensationalism would imply that truths were stretched, or quotes taken out of context. What it amounts to is a gallery of some of the worst places to live in the United States today—regions termed by Hedges to be “the sacrifice zones” of unfettered capitalist exploitation. And therein lies the fundamental trouble with DDDR which digs at you through your read of it: that is, from cover to cover, it’s all true.

west virginiaEach chapter is an article written by Hedges, documenting their travels to a particular site. Locals are interviewed and are the subjects of most of Sacco’s illustrations in the book (his work is typically either a landscape for an area, or a person talking of their experiences.) Within this format, Hedges makes invaluable use of his time as a foreign correspondent, drawing on that experience to show how these regions are being treated much the same as third-world countries under foreign occupations, domestic dictatorships, or the suffocating yoke of international debt. This is contrasted with his written descriptions (and Sacco’s visuals) of the people who inhabit these areas: most are simple people whose definitions are blurred, sometimes completely overtaken by the hardship around them. Hedges and Sacco point out strength and sacrifice in those they interview, as much as they profile individuals who, understandably, in the words of Hedges, are “living lives in which tenderness and security are grabbed in desperate snatches.”

This work is truly a testament to those most voiceless in America today—from West Virginians dying of the coal industry’s carcinogenic air, to the millions of Latin Americans living a modern-day slavery Hell in the American South. Their stories are illuminated with Sacco’s artwork, and their finds profound historical, philosophical, even moral depth with Hedges’ words.

It will disgust and anger you, but it is a must-read.

“EXTRACTION! Comix Reportage”: A Gallery of Radical Canadian Comics Journalism

Title: EXTRACTION! Comix Reportage
Authors & Illustrators: Listed below
Additional Artwork: Jeff Lemire, Alain Reno, Carlos Santos
Got this copy: from The Beguiling, Toronto (You can download a free copy here, too)
Published: 2007 – One of 500 copies in a limited printing by Cumulus Press (2007)

My initial purpose for creating this blog was to write about political comics. What makes the project challenging (and fun) is the following, among other things:

A) Political comics don’t present themselves as a huge swath of the graphic novel market–you have to hunt for them!
B) Despite my great love for the category, making a good political comic book is very hard.

Here we have a a 4-piece showcase of comic book journalism intent on unearthing the dirty side of mineral extraction around the world. All focus on Canadian companies–with two of the four stories focusing on sites in Canada. The book was put together relatively quickly (in about a year–wow, they got to work!), and the credits listed show you what a collaborative effort it was.

The chapters highlight four key players in the world of non-renewable resources: Gold, Uranium, Bauxite, and Tar Sands Oil. The stories are loosely confederated, serving a common purpose but wholely autonomous in style and approach. Hence, an independent mini-review of each… These are my thoughts…

1) GOLD: Taking the Heart of the Land
(Story by Dawn Paley | Illustrations by Joe Ollmann)

We follow the author, Dawn Paley of Vancouver, B.C., down to Guatamala where she interviews locals about the impact of GoldCorp’s  open-pit mine on people of the region. Dawn feels that if she can get enough information about how the local [mainly Indigenous] population is being coerced and get it back to the Canadian public and shareholders, perhaps she can begin to break down the company’s unjust practices. (Or, at the very least, expose the blatant greed that drives them? It’s difficult for me to prioritize her motives without asking her. Since she is an activist journalist, I’m assuming a bit of both.)

The artwork is straightforward, using a more casual, bubbly style than a lot of serious comics out there. Not a lot of symbolism or figurative illustration happening here. On first glance as a reader, it feels so first-person that it makes me think that maybe this was, along with the story, the work of Dawn over the course of her trip. The style of the quotations is inconsistent, also like a first-person narrative. Some dialogue seems to have been made up on the spot, where other pieces are probably verbatim from a voice recorder (like the history of GoldCorp in the area and other highly detailed information).

Although I don’t like personally this, I think it was probably intentional, right? It highlights some information over other ‘less important’ information. For example, at the end of the story, she is attending a GoldCorp shareholder meeting, and the chairman’s quote is written almost as if he were a robot, repeating over and over what has been good for the company’s profit margins. Surely, as Dawn conveys, this was his intent, but that’s exactly why I want to know precisely what he said. After all, he is the missing puzzle piece to me–as a reader who is against the kind of greed that drives a company like GoldCorp, he’s the one I don’t understand–he’s the one I want to see cross-examined on the page.

Looking at it from this angle, I think that the best parts of Taking the Heart of the Land are unfortunately brief sequences. The last 3 pages really heat up as Dawn and a Guatamalan anti-mine activist enter a GoldCorp AGM in Vancouver to voice their findings. When Dawn gets the AGM speaker to admit that they will not be respecting the democratic process of the Guatamalan Consultas, I can feel the tension in the room just from reading these two panels. I would’ve loved to have seen the entire last page stretched out over 2 or 3 times as much space.

I think the lack of attention to this scene, in fact, reflects a bit of the cynicism of the author: I hear in its curt presentation the opinion of the writer: “Who would expect anything more from a GoldCorp executive?” To be sure, again, she’s probably right… but when you’re in the business of raising awareness and changing opinions, these are the elements that I think should be given the most attention.


2) Uranium: Highway of the Atom
(Story by Sophie Toupin | Illustrations by Ruth Tait)

Journalist Sophie Toupin investigates Uranium extraction in and around the town of Mont-Laurier, Quebec. Together with the artist, Ruth Tait, they explore Uranium’s impact on local communities, the illusion of nuclear energy as “Green” or sustainable energy, the pro-mining culture of Quebec, and the subsequent up-hill battles that critics in the province have in front of them.

Personally, I never knew of Canada’s “secret uranium history”, as it is opened in the chapter. Selling uranium to the U.S. for Project Manhattan in a secret deal with the United States… now that I know, I guess it’s not too surprising. From the history of Indigenous interaction with uranium in North Bay (where the high concentrations in the soil would have toxic effects on native men who went there for their vision quests) to the sketchiness of uraniun surveying teams who are, today, the modern-day equivilants of dirt-poor pioneers with Gold Rush fever, the story has some of the building blocks of a blockbuster Hollywood thriller. With a well-rounded cast of interview sources, Sophie Toupin tells a good story by allowing the sources to tell it in their own words, then arranges all of the details in a coherent order (albeit still a bit of an information overload).

I get more out of the visuals in this one, too. The illustrator is drawing more than what she herself was able to witness (and that was a lot, apparently: of all the writer/artist combos, Ruth Tait was the only one who was able to accompany her co-hort… Not sure, but maybe this gave her some extra imagination when drawing everything up). But to be sure, awesome illustrations. Even though one or two of the graphics are a little amateurish with their Photoshop airbrush techniques, the spirit of what is depicted sets the tone of this story: artistic yet serious, factual yet emotional.

3) Bauxite: The world’s unluckiest people
(Story by Tamara Herman | Illustrations by Stanley Wany)

Tamara Herman goes to Kashipur, India to interview villagers who have stood up against the mining of bauxite on their sacred hill of Baphlimali, where their ancestors fought for and won the land from foreign colonials years ago. Bauxite is mined in the production of aluminum, and the owner of this venture was largely Canadian company Alcan, whose products most of us carry in our kitchen drawers next to seran wrap and freezer bags.

I appreciate the different style of art and writing in this chapter. The drawings look like they were partially traced over photographs, then modified and given textured shading with lots of cross hatches. I think it gives appropriate emphasis to folds of cloth as well as skin texture, giving each person interviewed a look of protraiture.

Despite some nice imagery, ‘Bauxite’ seems a little cut-and-paste, as if the quotes were superimposed on the images with little communication between the two. Everything is very text-heavy, and it gets hard to follow after a bit (I think a map and a little more general history at the beginning would have been really useful). As with all of these stories: with all the information, there is more pressure on both the artist and the writer to orchestrate a synchronized, well-crafted delivery. The details of politics are not easy things to present artistically.

I am also reminded of a bit of a flaw in all of the comics here: With the inclusion of most of the writers visually in the comic panels, I would have liked to know a little more about them. How did they get involved in these issues? What are their backgrounds? If they are included as visuals, they should have a story to tell in the larger story, right?

4) OIL: From the bottom of the pit
(Coverage by Peter Cizek | Illustrations by Phil Angers | Script by Marc Tessier and Phil Angers)

‘Oil’ takes you on a tour, by way of some mind-blowing mathematical gymnastics, of just how much energy must be consumed in order to extract what is hiding down in the Tar Sands.

Peter Cizek reports on the size and scope of the Tar Sands project in Northern Alberta. The story begins with a man on a soap box (the writer or an anonymous voice of opposition?) talking about the history of the Tar Sands, how extraction and processing is being funded, and ultimately how the net worth of the project is in the negative. It wraps up with the speaker amassing a large crowd who are outraged at the information,  the speaker walking away.

The real winner of this story is Phil Angers’ artwork. Some of the pages here are really detailed and impressive (Not all–the characatures of ducks and bears at the end kind of escapes me). It’s hard to depict a project as big as the Tar Sands, but I think you get a better picture with this comic than you would with only text, and that’s a major goal with political comics: through the medium, you bring out a something of a new dimension to the issue.

All of these stories are relavent to Canadian politics. ‘Uranium’ and ‘Oil’ get extra points for establishing a strong historical context at the beginning of the comic–the reader feels less like they’re just being dropped in on a subject that they know nothing about. (In their own ways, both also include the history of the pre-Columbian Indigenous relationship to the resource: their material use or, in the instance of uranium, its toxic effects.)

The book as a whole outlines the social and economic costs of these “extraction” adventures, and ultimately their lack of sustainability. I admit that this review has come a little late in the game to be timely print-wise… (EXTRACTION!  hit store shelves in 2007, and their publisher, Cumulus Press closed their doors shortly after).

But this book is the real deal: a self-proclaimed political comic in approach and cause–and certainly still relavent… all of the companies they highlight are still in business, making record profits. Likewise, many of the authors and illustrators involved here are still in their respective games of art and activism, doing impressive and important work. (Toronto’s own Jeff Lemire, who did beautiful illustrations for the chapter title pages, is doing quite well for himself with the critically-acclaimed Sweet Tooth.)

EXTRACTION! takes us back to an old debate in the question of comics as a category of literature: How factual–how real–can a story told through the comic narrative be? Surely this is nowhere more relavent than in the category of ‘Comix Reportage’.

I love how David Widgington, EXTRACTION! editor frames it in the Introduction:

“The craft of comix journalism does not stem from the combination of text and image, content and structure. It is the added meaning derived from the interaction between the symbolic and the realistic, the literal and the figurative that gives it strength.”

Ultimately, I think this project suffered a bit from an overabundance of content that the form had trouble holding up. Additionally, when the symbolic or figurative could have leant a helping hand, the writers and/or artists often didn’t take it as often as they should have. As I said in the beginning, balancing cause with quality of content is so difficult in political comics.

Political comics in general are faced with many of the same challenges this book took on. How do you put in the time and money to a project like this when you know it only appeals to a small audience? (The limited printing of 500 copies attests to this concern). Does the inclusion of the images assist or hinder the delivery of information? Do symbolic images muddle the “realness” of the story down to art or poetry, or can it elevate the truth and make it easier to understand?

What EXTRACTION! probably needed was a bit more time, money, and experience. And really, what cause can’t relate to that…

NMG