Category Archives: Politics in Canada

My thoughts on various threads of Canadian politics, when I wish to comment on them.

Sneak peak on Indigenous Comic artist Jason Eaglespeaker

Hey Folks,

I’m in the midst of bringing you an interview with the creators of MAYDAY: A Graphic History (The Graphic History Collective), but in the meantime, I want to share a website that I just stumbled upon this morning.

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Residential School Graphic Novel – by Jason Eaglespeaker

This project literally made me do a double-take… Wow. Great cover concept. I came across the project writer Jason Eaglespeaker (Calgary, AB) in an article about grant writing in Broken Pencil. If you look on his website, The Connection, you’ll find a ton of amazing projects available (including an illustrated Bannock recipe- what more could you ask for?).

Not only does this initiative take on a fundamental political/cultural/social issue in Canada (I would even call it “THE” fundamental issue in Canada) of Canada being occupied Indigenous territory- but the approach is immersion–that is, made for people who aren’t familiar with these concepts. As a writer and reader who thinks a fundamental hang-up of the politically conscious is preaching to the choir, I know, at face value, that this is a book that I’m really going to appreciate and learn from.

Anyways, I’m obligated by reality and my 50 hour/week day job to only take one review project at a time, so an actual review (you know, where I’ve read the book first) will have to wait. …But this guy’s work has really got my attention.

Check out more of Eaglespeaker at:

http://eaglespeaker.bigcartel.com/

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Political Comics Review ~ Willow Dawson’s "Hyena in Petticoats"

I first picked up H.I.P. at the 2011 Toronto Comic Arts Festival, but I didn’t buy it. However wrongful it is to judge a book by its cover, I quickly surmised that “Hyena in Petticoats” was A) a comic for kids and therefore not for adults, and B) an ‘historical’ as opposed to ‘political’ comic, and within that, just another entry in the Canadian corner of the fad that is historical graphic novels… All  pop, no substance… ‘meh’ was my initial response….

Title: Hyena in Petticoats: The Story of Suffragette Nellie McClung
Author + Illustrator: Willow Dawson
Published by: Puffin Canada, 2011
Got my copy through: Online Order

…And here I am over a year later, having read the comic and feeling a little humbled, thinking back on that initial assessment. But before any more of that, an introduction:

“It is the writer’s place to bring romance to people, to turn the commonplace into the adventurous and the amusing, to bring out the pathos in a situation … Words are our tools and must be kept bright … I refuse to be carried through the sewers of life just for the ride … I write if I have something to say that will amuse, entertain, instruct, inform, comfort, or guide the reader”.
– Nellie McClung, Canadian Suffragette

Nellie McClung was one of Canada’s foremost women’s rights suffragettes in the 1910’s and 20’s. As a Christian woman who witnessed how naughty Christian men became after getting tanked on whiskey, she first felt mobilized by the campaign for prohibition–which, across the English-speaking world, was the issue that really begat the 20th Century women’s suffrage movement.

The essential logic was that if the ladies shared the vote and elected offices with men, then the benchwarmer issues condemned to women’s church groups could begin to get some much-needed air for discussion—surely, there was the issue of temperance, but also the working conditions of women and children (especially inner-city immigrants), as well as a woman’s right to protection and refuge against abuse and assault (formerly totally OK if that dude was your husband or father.)

hyenainpetticoats

She doesn’t have the iconography dedicated to her like some other women of the time—Emma Goldman comes to mind—but Nellie McClung was a pretty profound woman. She led marches, organized political campaigns in several provinces, and fought with former Manitoba Premier Rodmond Roblin on a few occasions.
The book title, “Hyena in Petticoats” can be attributed to Premier Roblin’s declaration of McClung’s doggedness. It was his insistence that “nice women don’t want the vote.” (How nice of him to speak for them since they don’t want to!)

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She also helped to write, produce, and act in a play called “Women’s Parliament”, which not only showed what women could bring to the table in politics, but took the behavior of male politicians at the time and turned it on its head. According to the comic, it looked like offensive satire at its finest. I would LOVE to see someone re-create this play.

The simple, smooth paint-brush strokes of the pages were what initially gave me the impression that H.I.P. was just for a younger audience. In the past I’ve found comic books with this kind of art to be difficult to dive into, feel submerged by (Chester Brown’s Louis Riel is another [sad]  example for me, despite its incredible narrative). I guess I just have an aversion to minimalism. Comics, to me, is all about conjuring—reaching into the very essence of the creator’s idea, and trying to mimic that headspace on the page. But I was pleasantly surprised at how easily I slipped into the world of Nell. There is a charm in the day-to-day interactions that Dawson chose to include in the storytelling, and the little drawings that decorate the page numbers, that puts one at ease—the same charm that draws us to, say, entries in a young artists’ journal. It was enough to help me reassess my bias… minimalism is, after all, a style that superficially implies effortlessness, and yet there is a perfectionism that is needed for that to be realized.

I also appreciate the political context that Willow Dawson adds to this inherently historical comic. This is, again, where I thought I would have beef with H.I.P.—mainstream histories that are simplified (as a kids’ book, a comic book, an article in a high school history book) generally neglect a movement or individual’s shortcomings, for the betterment of an ‘idealistic’ story. Dawson doesn’t do that. In fact, she goes out of her way to point out a few truths that, to some, may seem like unnecessary details, but to someone like me, give me a better-rounded picture of Nellie McClung: her fight was that of a white, middle-class Christian women’s movement. The gains of this movement did not extend to Asian-Canadians or Native women, who would not get the vote for another staggering four decades.

I am grateful for Willow Dawson including this information, which is provided in a way that is informative and intriguing to me, but would also be totally up the alley of my 8-year-old niece (who will surely inherit this copy, come Winter Solstice.) In fact, I feel more comfortable giving her a book that points out a prejudice that was/is more deeply-seeded in the Canadian power structure than sexism: the question of Indigenous rights.

This obviously isn’t a review that everyone would write about Hyena in Petticoats. But coming from the perspective of a political comic book collector, these are the points that matter to me. And maybe this is a kid’s comic…but not only a kid’s comic, and it is secondary to the fact that it is a great little book.

“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