Canadian Comics, Indigenous Comix, Indigenous Issues

Political Comix Review: The Outside Circle

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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.

Ad Astra Exclusives, Cartooning, Graphic Histories

Cartooning History – An Interview With Larry Gonick

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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.

Ad Astra Exclusives, Prisons, Publishing

Coming Soon: “Free Inside” by Peter Collins

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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.

 

Comics Research, environmentalism, Reviews

What Would Wolverine Do? An Interview with Hellberta’s Mike Comeau

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I’m on tour at the moment and am moving like molasses, but I’ve finally gathered myself up from drawing my own comic that takes place in Alberta, to talk about my *favourite* comic that takes place in Alberta. Michael Comeau’s ‘Hellberta’ has been described elsewhere on the internet as “one of the most meaningful and interesting” variations of a Wolverine comic, and I must agree. It explores the Canadian home of one of comic fandom’s most celebrated characters, against a background that is at once both more realistic and more surreal than your garden-variety Marvel title.

My conversation with Michael is below. For a better run-down on the plot and cultural significance of ‘Hellberta’, I recommend reading the Barbed Comics review linked above. To pick up a copy for yourself, you can do so here.

hellberta banner

N: What was your relationship to comics growing up? To X-men and Wolverine in particular?

    M: I collected the “Uncanny X-men” from the Mutant Massacre story arc to when Jim Lee branch off to the merely “X-men” title approximately 1986 to 1991.  Wolverine emerged as an intriguing character for me and many others.  The Chris Claremont, Frank Miller mini series is the quintessential statement on the character.  I bought an old  “Inferno” issue of Uncanny X-men in Drumheller Alberta and began drawing Wolverine.  I didn’t pay attention to super hero comics for around a decade and was mildly annoyed to find out they filled out Wolverine’s back story to be that his name was no longer Logan but James Howlet and he was originally British.  I can usually recognize when a writer can’t grasp the Canadian hoser Logan archetype so it poses the question what would I do with the character.  The reclamation of Wolverine opened up notions of Canadian identity like collaging the archetypes of Neil Young and Logan.

I often find myself fantasizing about the ability of the supernatural (and by extension, superheroes) solving the world’s social and political problems, beyond what I would see in your standard comic book. So I’ve found that Hellberta has been really satisfying for me and other activist folks I’ve shown it to. Would you describe Hellberta as a kind of political revenge porn, like Inglorious Bestards is to nazism or Django Unchained to slavery and racism?hellberta-page-shot

    I am a straight/cis/white man from Ontario who learned about Albertan activist culture among the oil sands boom while living and traveling with queer and trans people from Calgary.  I was unsure how to depict the queer flight from Calgary or the environmental impact of the tar sands so I took a popular myth from the area and supplanted it onto the situation.  What would Wolverine do?  Superheroes are extensions and exaggerations of our hopes and fears I don’t really see them as rising above anything.  I’d rather see them struggle with our same mundane problems in spite them being so exceptional.

I would hate it if someone compared anything I’d done to a Tarantino film, so in your own words – what were you going for with Hellberta? What would you say were your influences or sources of inspiration?

  A: Initially it was a cahier de voyage with rough drawings that were somewhat related to our adventures on the road.  Then I included the Wolverine vs. the tar sands as a way to learn how to make a comic. It had direct X-men references like how Wolverine would “hunt” deer by creeping up and touching them or the Phoenix as an arbitrary global catastrophe and an Osamu Tezuka style time lapse of total destruction to gradual renewal.  The photo comic section was based on the relationships Logan has with young women.   He is a good archetype for intergenerational friendships with women.  The “Sackville Slapper” section is more about trajectories across provinces.  It is inspired by Donald Shebib’s “Going Down The Road” movie and the SCTV spoof of it.  Both of my parents are from New Brunswick and i wanted to reference the east coast.  The idea was Logan as Popeye and Puck as Wimpy in an east coast Tijuana Bibles style book which is a paradigm shift away from the photo comic.

There’s a lot of Christian iconography in this book that can’t go unnoticed. Harper and his harlots fly around on a cross, but it is Wolverine who is martyred and rises again. How did you decide to incorporate this imagery?

Christianity is a conquering ideology used in colonization.  It severs a localized spiritual connection to the land.  I often think of what therapists call the “reversal of desire”  regarding someone feeling repressed and ostracized by images of Christ and finding comfort in Satan etc.  Like a metalhead teenager.  In processing my own catholic repression I enjoyed drawing from medieval christian imagery.  Wolverine is a classic christ figure.  Sacrificing himself to be resurrected through his homo-superiority ie. healing factor.  He regularly gets crucified onto X’s in comics.  The Right Wing wields notions of God as a weapon and I wanted to counter that with what is essentially the same human impulse to create heroes/gods but from a far more transparent place as pop culture.

One question for the printing nerds: take us through the printing process of this book, because the dual tone is enough to make your brain want to explode. It kind of feels like a throw-back to those cheap 3D graphics with the red & blue ink that you could dig out of the bottom of a cereal box. How did you decide on this technique?

I’ve created and printed many 2 colour screen printed posters.  The first issue was printed on Jesjit Gill of Colour Code Printing’s very first risograph machine which only printed one colour at a time so the registration had to be very loose.  I was doing the dot tone with a photocopier.   Copying over top the lines or turning the breakdown into a negative, copying over a negative dot tone and reversing back to positive and then copy over top the line work.  I am fascinated by the timbre of an image and use of tone.  It is constantly evolving through out my work.

Do you see yourself making anything in this vein again?

There is an Alpha Flight story in my head that has haunted me for years.  I have done my own riff on Son of Satan but now for the most part I am working on original stories with only some sketchbook strips that might be bootleg.  Lately when I don’t know what to draw I do without reference Superman, Wonder Woman and Batman.  No matter how crud the drawing is you still project the characters onto them.  So naturally I have thought of dumb, petty dialogue for them to exchange.   

Since this comic was created, pipeline projects (and their messes) continue to dot the North American landscape.We’re also entering a “Trump era”, which shares a fair bit of common ground with the Harper Government. Do  you think Wolverine is an important hero to have in an age like this?

Heroes are as important as we make them.  Each situation is gazed at through the lens of the hero prism.  Be it Wolverine, Jesus, Tupac or Joni Mitchell.   Logan is post-human, a homo-superior, so he points to the future but is from the far past.

 

Crowd-funding, Uncategorized

Out Now: ‘Undocumented’ Special Edition

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We’re thrilled to announce the publication of our fourth title, Undocumented: The Architecture of Migrant Detention Centres’. First published in a very short run in 2014, Undocumented grew out of the research of architect and activist Tings Chak. Tings has been active in the Toronto chapter of No One is Illegal, a group dedicated to protecting the rights and freedoms of migrants.


This second, expanded edition of the book comes at a difficult time for migrants. With Trump talking about building a border wall, hiring hundreds of thousands of border guards and even discussing using 100,000 national guards to deport migrants, things are looking grim. The situation in Canada is not much better, as refugees flee over the US border only to be threatened and arrested when they arrived.

That’s why it’s so important to keep informed. Undocumented provides critical context for understanding how migrant detention works to strip people of their humanity and make them invisible to society at large. Forewarned is forearmed as they say and this book helps to explain what is shaping up to be one of the most important struggles of the 21st century.

What’s more, Tings is donating her royalties to the End Immigration Detention Network, so every sale will help fight the oppression of migrants.

Head on over to the crowdfunder page!

Art Activism, migration

Call for Art: End Migrant Detention!

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In January 2017, Ad Astra Comix is teaming up with Toronto-based artist and activist Tings Chak to produce a new and improved 2nd edition of their work, “UNDOCUMENTED: The Architecture of Migrant Detention”.

What is Undocumented?

This 120 page book of illustrations, diagrams, and comics journalism-style interviews with former detainees explores the world of migrant detention from the intersection of architecture and migrant justice. The result is a unique and eye-opening argument for an end to migrant detention as we know it –or, in many cases, as we have only begun to discover it exists.

Pre-orders for the book’s 2nd edition will begin with a crowdfunder in January, and we’d like to use the crowdfunder as an opportunity to celebrate all art against migrant detention.

Themes:

– End Migrant Detention
– Refugees Welcome Here
– No One Is Illegal
– Stop the Deportations
– Migration is Not a Crime

If you are an artist and would like to “donate” a digital file as a promotional perk, we will promote your art through the crowdfunder and compensate you for your work to the tune of a 20% royalty on all items sold. Please e-mail adastracomix@gmail.com for details.

Requirements & Deadline

Deadline for art submissions will be January 1, 2017. We request that files be 300 dpi, black and white or colour, and between the size dimensions of 5″ x 7″ – 18″ x 24″ (irregular dimensions may also be accepted). Any questions or concerns, please e-mail Ad Astra Comix at adastracomix@gmail.com.

Looking for Inspiration?

Check out some beautiful migrant justice artwork through the JustSeeds print collective and their collection, “Migration Now!” Have any other inspiring suggestions? Msg us and we’ll share it!

Ad Astra Exclusives, Race & Migration

Special Edition of “UNDOCUMENTED: The Architecture of Migrant Detention”

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Ad Astra Comix is pleased to announce the second edition of ‘Undocumented: The Architecture of Migrant Detention“. First published by an academic architecture publisher in 2014 in a limited run, we are excited to bring ‘Undocumented’ to a wider audience.

Undocumented cover

 

Title: UNDOCUMENTED: The Architecture of Migrant Detention
Creator: Tings Chak
Published: Sections (The Architecture Observer), 2014
Dimensions: 23.4 x 17.3 x 1.5 cm
Shipping weight: 340 g
Pages: 120
1st Edition Print Run: 750 copies
Buy a 1st Edition: In the Ad Astra Online Store

 

Unlike previous Ad Astra titles, ‘Undocumented’ is not only a comic. It features sketches, architectural drawings, and written commentary on jails and detention centres. This unusual format encourages the reader to visualize the spatial experience of detention, and evokes its own kind of empathy.

 

The thesis of ‘Undocumented’ is this: unlike standard architecture, which is designed to maximize comfort for its inhabitants, carceral spaces like jails and migrant detention facilities are designed based on a logic of the bare minimum.
‘Undocumented’ is written and illustrated by Tings Chak, a student of social justice and architecture. Based in Toronto, Tings has been actively involved in grassroots migrant justice and anti-detentions organizations such as No One is Illegal-Toronto and the End Immigration Detention Network, from which ‘Undocumented’ draws much of its inspiration.

As with previous Ad Astra projects, a pre-order campaign will be held to raise awareness and cover the costs of printing. Stay tuned for details!

the panel is political.