Documenting Trauma in Comics: Traumatic Pasts, Embodied Histories, & Graphic Reportage

Acknowledgements
Contents
Notes on Contributors
List of Figures
Chapter 1: Introduction: Documenting Trauma in Comics
	What Is Trauma?
	The Shape of Trauma
	Witnessing and Working Through
	Works Cited
Section I: Documenting Trauma
	Chapter 2: Hierarchies of Pain: Trauma Tropes Today and Tomorrow
		Introduction: Trauma Aesthetics and Recognition
		Imagination Blocked
		Trauma Contained
		Counter-Discourses
		Works Cited
	Chapter 3: Emotional History and Legacies of War in Recent German Comics and Graphic Novels
		Introduction
		Emotional History in Contemporary Germany
		Family Stories: Line Hoven’s Love Looks Away (2007)
		‘Can You Forgive?’: Barbara Yelin’s Irmina (2014)
		Grandfatherland: War Stories
		Conclusion
		Works Cited
	Chapter 4: The Past That Will Not Die: Trauma, Race, and Zombie Empire in Horror Comics of the 1950s
		Introduction
		Cold War Zombies and Zombie Empire
		Conclusion
		Works Cited
	Chapter 5: Exploring Trauma and Social Haunting Through Community Comics Creation
		Social Haunting and the Role of the Comics Reader
		Comics Creation as Research
		Stuart’s Comic: A Collective Haunting
		John’s Comic: Considering Alternative Interpretations
		Graphic Lives: Life Stories of British Bangladeshi Women
		Siddika’s Story: Sensing Rather Than Reading
		Shahida’s Story: Exploring Interconnections
		Conclusion
		Works Cited
	Chapter 6: Comic: “Documenting Trauma”
Section II: Traumatic Pasts
	Chapter 7: Traumatic Moments: Retrospective ‘Seeing’ of Violation, Rupture, and Injury in Three Post-millennial Indian Graphic Narratives
		Introduction
		Re: Retrospective ‘Seeing’
		Delhi Calm (2010)
		This Side, That Side: Restorying Partition (2013)
		Drawing the Line: Indian Women Fight Back (2015)
		Conclusions
		Works Cited
	Chapter 8: This Side, That Side: Restoring Memory, Restorying Partition
		Mapping Memories Through the Gutter
		‘An Old Fable’: Dismembering/Misremembering
		‘Know Directions Home?’: Stitching out Trauma
		‘I Too Have Seen Lahore!’: Through the Other’s Eyes
		Closure–Beginning
		Works Cited
	Chapter 9: Visual Detention: Reclaiming Human Rights Through Memory in Leila Abdelrazaq’s Baddawi
		Frames of Recognition
		Handala and the Right to Look
		Works Cited
	Chapter 10: Comic: Crying in the Chapel
Section III: Embodied Histories
	Chapter 11: Folding, Cutting, Reassembling: Materializing Trauma and Memory in Comics
		Introduction
		Folding: Joe Sacco’s The Great War (2013)
		Cutting: Dana Walrath’s View from the High Ground (2016)
		Reassembly: Michael Nicoll Yahgulanaas’s Red: A Haida Manga (2010)
		Conclusion
		Works Cited
	Chapter 12: ‘To Create Her World Anew’: Charlotte Salomon’s Graphic Life Narrative
		Framed Windows, Other Worlds
		Conclusion
		Works Cited
	Chapter 13: Una’s Becoming Unbecoming, Visuality, and Sexual Trauma
		Introduction
		The Yorkshire Ripper: Mediating Representations
		Women Redrawn
		The Emergence of Self
		Conclusion: Comics as Confrontation
		Works Cited
	Chapter 14: Discourses of Trauma and Representation: Motherhood and Mother Tongue in Miriam Katin’s Graphic Memoirs
		Introduction: Drawing Traumatic Memories
		Page Layouts and Traumatic Experiences
		The Female Body and Narrating Trauma
		The Language of Trauma
		Conclusion: Out of the Gutter
		Works Cited
	Chapter 15: Comic: First Person Third
Section IV: Graphic Reportage
	Chapter 16: Comics Telling Refugee Stories
		Introduction: ‘Refugee Comics’
		Examples and Approaches
		‘Refugee Comics’ as Representation
		‘Refugee Comics’ as Counter-Discourse
		‘Refugee Comics’ as Advocacy Tools
		Authors and Platforms
		Conclusion
		Works Cited
	Chapter 17: Migrant Detention Comics and the Aesthetic Technologies of Compassion
		Introduction: Migrant Detention Comics
		Compassion Comics
		The Lace Gutters in Kate Evans’s Threads: From the Refugee Crisis
		The Cellular Self in Tings Chak’s Undocumented: The Architecture of Migrant Detention
		Conclusion: Recognition and Responsibility
		Works Cited
	Chapter 18: Comics as Memoir and Documentary: A Case Study of Sarah Glidden
		Introduction: Comics as Reality-Based Narrative
		Generic Framing: The Paratext and Metanarrative Comments
		Focalization, Subjectivity, and Witnessing
		Similar Means to Different Ends: A Conclusion
		Works Cited
	Chapter 19: Afterword
		Works Cited
Index