Tag Archives: political cartoons

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.

 

Advertisements

Talk is Cheap: Episode #4

Hey Everyone,

We’re back this week with a fresh episode of “Talk is Cheap”. This week’s comic features those lovable little critters that come out this time of year: the opinion pollsters.

We’re still looking for a few more newspapers interested in running the comic! TiC is timely, ever so witty, and a steal-of-a-deal. E-mail us at adastracomix@gmail.com for more info.

4_1 4_2 4_3 4_4

Episode 2 of “Talk is Cheap”

Welcome to ‘Talk is Cheap’, our new newspaper-style comic covering the Canadian political scene – such as it is. Following in the tradition of Doonesbury, Bloom County and Weltschmerz, TiC aims to measure the space between rhetoric and reality with a mixture of surrealism, snark and snappy visuals.

Currently running in Trent University’s Arthur Newspaper, with art by Ad Astra Comix founder Nicole Burton and text by lead staff editor Hugh Goldring,

‘Talk is Cheap’ is available for syndication, so send us an e-mail for details if you’re interested!

2_1

2_2

2_3

2_4

Next: Episode 3

Arctic Dreams and Nightmares: Into the Art of Alootook Ipellie

Note: While this is a review of the book “Arctic Dreams and Nightmares,” a collection of art and accompanying short stories by the late Inuk artist, Alootook Ipellie, we are also taking a look at Ipellie’s larger body of work, and the significance of his contribution to Inuit art and political comics in general.

Arctic-Dreams-and-Nightmares_theytustitlemain
“Arctic Dreams and Nightmares” originally published by Theytus Books, was Ipellie’s largest collection of published political cartoons outside of Arctic newspapers and magazines. The book is currently out of print.

The title “Arctic Dreams and Nightmares” is a woeful summation of this haunting journey through the imagination of a man who seems to have been, as the title suggests, a dreamer. But within modern memory, it is an easy thing to understand how any Inuk’s dreams might turn to nightmares.

“Self-Portrait: Inverse Ten Commandments” by Alootook Ipellie

Writing as a qallunaat from the privileged perspective of the south, it is outside my role to interpret these dreams for the world. But as a sometime-student of Canadian colonialism and its violence against the indigenous people of the Arctic, I can help to shed some midnight sun on the darkness of this genocidal history.

“I, Crucified” by Alootook Ipellie

Rachel Attituq Qitsualik wrote in Nunatsiaq that “The Inuit cosmos is ruled by no one. There are no divine mother and father figures. There are no wind gods and solar creators. There are no eternal punishments in the hereafter, as there are no punishments for children or adults in the here and now.” This Inuk hunter on the cross, pierced by the arrows and harpoons of his people, is a curious expression of the impact of Christianity on indigenous spirituality. For several hundred years,  missionaries were among the only European people in the north. The legacy of the Christian churches in the Arctic is inextricable from the legacy of the residential schools system, which saw many Inuit taken from their communities. The choice of wolves, harpoons and arrows to pierce the Inuk Jesus is difficult to interpret; is it intended to convey that the Inuit have done harm to themselves by adopting Christianity?

“When God Sings the Blues” by Alootook Ipellie

The Inuit have not so much adopted Christianity as adapted it, as they have done with so many things from the south. In the 1950s, when the government imposed a program to settle the Inuit into stationary townships, social workers would complain of bathtubs being used to butcher seals or dining room tables turned into workbenches. But as their success in the extreme conditions of the Arctic shows, Inuit culture is nothing if not adaptive. So there is perhaps an echo of this in the image of a 3-piece Inuit blues group like the one above. It is likely not a coincidence that blues, a music with its roots in articulating experiences of oppression and resistance, is the music played by the band.

“The Dogteam Family” by Alootook Ipellie

There is something viscerally disturbing about a woman being drawn along like a sled by a team of babies, still tethered to her womb by umbilical cords. Casual familiarity with the Inuit is enough to understand the historic importance of dog sleds to their lives, and some may know that snowmobiles have overwhelmingly replaced dog sleds as the main mode of tundra transit. But what goes woefully unacknowledged is the vicious extermination of hundreds of sled dogs by the Royal Canadian Mounted Police, who traveled the Arctic in the 1950s and 1960s, murdering whole teams of sled dogs. This systematic slaughter left a collective trauma shared by many Inuit, a violent break with traditional lifeways enforced by agents of colonial administration. It is difficult to discern the meaning of the children in place of the dogs – is it meant to convey that the Inuit continue regardless?

“After Brigitte Bardot” by Alootook Ipellie

The broader ethics of animal rights aside, there is a particularly sinister clash between traditional indigenous practices and glamorous celebrities who care more for seals than human life. The famed French film starlet Brigitte Bardot has had a long career as an animal rights activist, and at one point took the Inuit to task for their continuation of the seal hunt. Here she is re-imagined as an Inuk’s wife, stalked by the very creature she once sought to protect. Unchecked by the seal hunt, the creatures now turn on their former predators, seeking to club them in turn. If starvation would not be the literal outcome of ending the seal hunt, the scene is suggestive of the damage to Inuit culture if this long practice would be discontinued.
What is more, the damage may not only be cultural. In addition to it being a major component of Inuit culture, what is called ‘country food’ is in fact healthy to the Inuit diet, which has adapted to this nutritional intake from centuries of continuous habitation in the region. Adverse health trends in the north have been linked to the adoption of southern diets, encouraged by well-intentioned southern doctors.

InukTVRegardless of the historical context in which these works are placed, there is a critical meta-narrative at play.  Primitivism, an artistic movement that appropriates indigenous aesthetics for European audiences, has become an acceptable form of art – a kind of cultural erasure. Traditional indigenous art is permissible in the iconography of official Canadian cultures, because it is “historic”. Indigenous peoples are permitted in the canon because they are presumed to have assimilated, (AKA disappeared). Inukshuks, totem poles, soapstone carvings and bead-work are all relatively traditional indigenous crafts, co-opted by the Canadian state to suggest a continuity between historic indigenous peoples and modern Canadian settlers–use of indigenous culture by the colonial apparatus suggests a cooperation, or at least a submission by the former to the latter. Symbols of pre-contact Inuit spirituality are acceptable as well – traditional tales and legendary creatures that preserve the image of the Inuk as an unchanging “primitive” without the complex legacy of Christianity. This is effectively a denial of the violent rupture that occurred.

“The Woman Who Married a Goose”

Ipellie’s style seems to stand outside of this. His art is by turns haunting, erotic and grotesque, but always political. By deviating from southern expectations that Inuit art produces a pre-contact fantasy of seal hunting, igloos and polar bears, his art challenges white expectations of indigenous art. By smearing sex, violence and modernity across southern stereotypes of Inuit culture, Ipellie defaces the museum-exhibit sterility of the “noble savage” trope with the viscera of human vulgarity.

CdnGovtLabThe Inuit are not simply figures in the past, a culture to borrow as part of some settler narrative. They are figures in our present, affected by us, and, as is best represented by Ipellie and his work, affecting us in turn.

Cartoonists to Director of the Angoulême Comics Festival: Drop SodaStream

140131_sodastream4For more information: http://lettertoangouleme.tumblr.com/

CARTOONISTS TO DIRECTOR OF ANGOULEME FESTIVAL: DROP SODASTREAM

Sacco, Siné, Katchor, Kerbaj, Coe, Drooker, Kuper, Madden, Tobocman, among dozens of others protest sponsorship by Israeli settlement manufacturer

FRIDAY, JANUARY 31, 2014– Over forty cartoonists and illustrators from a dozen countries around the world released an open letter today to Franck Bondoux, director of the International Festival of Comics at Angoulême, asking the festival to drop its relationship with the Israeli drink manufacturer SodaStream. Among those signing the letter were French cartoonists Siné, Baudoin, Carali, and Chimulus, Americans Joe Sacco, Eric Drooker, Ben Katchor, Peter Kuper, Matt Madden, Seth Tobocman and Sue Coe, as well as Palestinian cartoonist Mohammad Saba’aneh, Lebanese Mazen Kerbaj, Sudanese Khalid Albaih, Tunisian Willis From Tunis, Israeli Amitai Sandy, Brazilian Carlos Latuff, Spanish Elchicotriste, Italian Gianluca Costantini, and many more.

The letter comes as SodaStream increasingly is targeted by an international boycott due to the presence of its primary factory in the Israeli settlement of Ma’ale Adumim. The day before, headlines were made when actress Scarlett Johansson ended her seven-year relationship with the charity OxFam over disagreements stemming from her role as a paid spokesperson for SodaStream.

140131_sodastream1

The Angoulême International Comics Festival is the largest in Europe, and the second-largest in the world. The announcement that it would be sponsored this year by SodaStream drew immediate condemnation from French activists.

The full text of the letter and list of signatories follows:

Lettre ouverte à / Open letter to:

           Monsieur Franck Bondoux

                 Direction du Festival international de la bande dessinée
71 rue Hergé
16000 Angoulême

We, cartoonists and illustrators from all countries, are surprised, disappointed and angry to find out that SodaStream is an official sponsor of the Angoulême International Comics Festival.

As you must know, SodaStream is the target of an international boycott call for its contribution to the colonization of Palestinian land, due to its factory in the illegal settlement of Ma’ale Adumim, its exploitation of Palestinian workers, and its theft of Palestinian resources, in violation of international law and contravening international principles of human rights.

Angoulême has had an important role in the appreciation of comics as an art form for over 40 years. It would be sad if SodaStream were able to use this event to whitewash their crimes.

We ask you to cut all ties between the Festival and this shameful company.

Sincerely,

+++++++++++++++++

Khalid Albaih (Sudan)
Leila Abdelrazaq (USA)
Avoine (France)
Edd Baldry (UK/France)
Edmond Baudoin (France)
Steve Brodner (USA)
Berth (France)
Susie Cagle (USA)
Jennifer Camper (USA)
Carali (France)
Chimulus (France)
Jean-Luc Coudray (France)
Philippe Coudray (France)
Marguerite Dabaie (USA)
Eric Drooker (USA)
Elchicotriste (Spain)
Jenny Gonzalez-Blitz (USA)
Ethan Heitner (USA)
Paula Hewitt Amram (USA)
Hatem Imam (Lebanon)
Jiho (France)
Ben Katchor (USA)
Mazen Kerbaj (Lebanon)
Lolo Krokaga (France)
Nat Krokaga (France)
Peter Kuper (USA)
Carlos Latuff (Brazil)
Lasserpe (France)
Lerouge (France)
Matt Madden (USA/France)
Mric (France)
Barrack Rima (Lebanon/Belgium)
James Romberger (USA)
Puig Rosado (France)
Mohammad Saba’aneh (Palestine)
Joe Sacco (USA)
Malik Sajad (Kashmir)
Amitai Sandy (Israel)
Siné (France)
Seth Tobocman (USA)
Eli Valley (USA)
Willis From Tunis (Tunisie/France)
Jordan Worley (USA)

Si vous êtes dessinateur et que vous voulez vous associer à cette lettre ouverte, merci d’écrire à: lettertoangouleme@gmail.com

If you are a cartoonist and you want to endorse this open letter, please write to: lettertoangouleme@gmail.com

Sabo-Tabby Vs. The Bosses: The Political Cartoons of North America’s Most Radical Union

SaboTabbyAlthough the name might mean little to modern readers, there was a time when the initials ‘IWW’ struck fear in the hearts of bosses, police and all other respectable elements of society.  The Industrial Workers of the World, formed in 1905, was one of North America’s most radical and militant unions.  Though much diminished since its heyday in the 1910s and 20s, there are still active IWW chapters around the world, including here in Toronto.  What is less well known about the Wobblies, as they have been called for generations, is their rich history of political cartoons.

Their most enduring contribution to the graphic vocabulary of the left is undoubtedly the Sabo-Tabby.  Seen here with claws out and back arched, the Sabo-Tabby was probably created by Ralph Chaplin, more famous for writing the union hymn “Solidarity Forever”.  But their work also includes the hopeless ‘boss-head’ Mr. Block who could never quite see where his interests lay, and a proliferation of other editorial cartoons. The IWW truly forged an iconography of both union pride and class consciousness in their decades of activity.

An organized worker walks proudly with his good friend. Note the wooden clogs, another early symbol for workers' sabotage.
An organized worker walks proudly with his good friend. Note the wooden clogs, another early symbol for workers’ sabotage.

In their cartoons, the IWW often sought to entice workers away from electoral politics.  The IWW emphasis on direct action – strikes, foot-dragging and packing jail cells over free speech – finds ready expression in this cartoon.  The heroic figure of the worker is coaxed by the politician on the one hand and the Wobbly on the other – where should he struggle?  Washington’s distance is matched by the factory’s immediacy, emphasizing the workers’ true and immediate priorities.  The stakes of this struggle are expressed in the preamble to the union constitution:

“The working class and the employing class have nothing in common. There can be no peace so long as hunger and want are found among millions of the working people and the few, who make up the employing class, have all the good things of life.”


In the first half of the 20th century, when millions of working people lived in conditions of poverty unimaginable today, the rich enjoyed lives of equally unimaginable luxury. The appeal of the IWW’s call is all too evident.

HeUnderstandsTheGame

The refusal to deal with politicians, seen as agents of the capitalist class, is recurrent in Wobbly cartoons.  The IWW’s antipathy to politicians began early, with a break from socialist politician Daniel DeLeon, who insisted on the primary importance of political struggle and the potential irrelevance of demands for higher wages.  The Wobbly response to this attitude is summed up wonderfully in “Now He Understands The Game”, where the looming figure of a class-conscious worker looks skeptically on the capitalist’s puppet show.  The demands clutched in his hand and the rising sun of the IWW at his feet are all a part of him seeing the political façade for what it is, and so the worker is labeled accordingly on his overalls.  That the various political puppets are all on the strings of the same boss, symbolizing the capitalist class as a whole, showed that the bitter partisanship of mainstream politics was an irrelevance to workers who could legislate on the shop floor.

Migratory_WorkersIWW cartoons tended to construe politicians as a class, usually not differentiating between Democrat or Republican.  But their jabs were also aimed at the parties of the socialist left. In this cartoon, the artist mocks the notion that transient workers can have their interests served by sedentary politicians belonging to the more mainstream Socialist Party, led by former Wobbly cofounder Eugene Debs.  Farmhands, lumberjacks and other temporary migrant workers were the focus of many successful IWW campaigns; the idea that these precarious workers would cast their lot in with a politician representing a congressional district they might not be in for even a year was duly mocked by the Wobbly press.  The only way to catch the pork chop of gainful employment was to join a union that would see to your getting a square deal – or at least a square meal!

Organize

IWW_misconceptionThe Communist Party USA was, if anything, less favourably regarded by the Wobs.  Like a great many other left organizations operating in North America, the IWW was constantly confronted with accusations that it was doing Bolshevik Russia’s work and that its members were agents of the communist state.  This allegation was not helped by the emigration of leading Wobbly ‘Big’ Bill Haywood to Russia following the revolution, and the publication of his happy memoirs.  But as this comic shows, the IWW did not want to be seen as leading the Russian Bear behind it.  The cartoon draws on the popular representation of Russia as a bear, and the high population of lumberjacks in the IWW to create an image of a sinister woodsman.  Other than the label, ‘One misconception of the IWW’, nothing in the cartoon indicates that the Wobblies and the Bolsheviks were anything other than friendly.

Although they were drawn by dozens of different artists, some of whom are speculated to have had separate careers as established comic strip artists working for commercial features, IWW cartoons share some commonalities.  They are seldom subtle, and some feature such extensive labeling of elements of the image that one suspects the artist harboured grave doubts regarding their abilities as an illustrator.  At times they attempt to incorporate too many elements to be coherent, though most of those selected here avoid that prospective pitfall.  But they serve their purpose in their simplicity: politicians and businessmen are ugly with expressions of sinister intent on their face. For hungry workers making a pittance for long hours, the straightforward message of these comics must have helped to win them over to the Wobblies’ cause.  When all the fiery manifestos in the world won’t do, sometimes a few comics can close the gap.

MORE WOBBLY ‘TOONS…

This slideshow requires JavaScript.


 

Further Reading

Preamble of the IWW, by its membership:  http://www.iww.org/culture/official/preamble.shtml Rebel Voice: An IWW Anthology Edited by Joyce L. Kornbluh.  2011, PM Press. The Industrial Workers of the World: Its First 100 Years. Fred Thompson and Jon Bekken. 2006, IWW. Bill Haywood’s Book: The Autobiography of Big Bill Haywood New York: International Publishers, 1929

For a comic book history of the IWW, check out:

Keeping the Faith: Wobblies! A Graphic History of the Industrial Workers of the World. Mike Alewitz, Sue Coe, Sabrina Jones. Edited by Paul Buhle and Nicole Schulman. 2005, Verso Books.

The Political Comics of Matt Bors + Launch of Ad Astra Distro

Fellow Torontonians, I hope you’ll join us on Friday May 10 for an incredible presentation on political cartooning, political comics, comics journalism, and more at Ad Astra Comix’s first event: The Political Comics of Matt Bors. Matt will be in town for the Toronto Comic Arts Festival (TCAF) happening that weekend at the Toronto Reference Library, and to promote his new book, Life Begins at Incorporation.

Here is a copy of the poster we’ll be putting up beginning this week:

May-10-Poster-1

In conjunction with the event, Matt has agreed to have his book distro’d by Ad Astra Comix here in Canada, which is pretty exciting. So the event is also a launch for Ad Astra to begin actively distributing political comics!

I’m also extremely grateful to the kind folks at the Comic Book Lounge for inviting us into their space. It’s so nice to have comic shops that are not only supplying me with my next fix of comics, but also see themselves as an integral piece in an active and vibrant community- and Comic Book Lounge is an enthusiastic believer in this.

In addition to a presentation, where will be a book sale and signing, a bar lovingly stocked with local beer and wine, and free snacks. I can’t emphasize enough that there will be free snacks.

Folks can RSVP for the event on Facebook here. We look forward to seeing you there!