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Hague, Ian. "Folding, Cutting, Reassembling: Materializing Trauma and Memory in Comics." Documenting Trauma in Comics. Traumatic Pasts, Embodied Histories, and Graphic Reportage. Eds. Dominic Davies and Candida Rifkind. Palgrave Studies in Comics and Graphic Novels. New York [etc.]: Palgrave Macmillan, 2020. 179–97. Added by: joachim (13/05/2025, 12:53) Last edited by: joachim (13/05/2025, 12:54) |
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| Resource type: Book Chapter BibTeX citation key: Hague2020 Email resource to friend View all bibliographic details  |
Categories: General Keywords: "Red", "The Great War", "View From the High Ground", Sacco. Joe, USA, Walrath. Dana, Yahgulanaas. Michael Nicoll Creators: Davies, Hague, Rifkind Publisher: Palgrave Macmillan (New York [etc.]) Collection: Documenting Trauma in Comics. Traumatic Pasts, Embodied Histories, and Graphic Reportage |
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| Abstract |
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Visual representations of trauma and memory are common in comics and graphic novels and have been explored at length by scholars. Less widely discussed, but nonetheless significant, are the ways in which trauma and memory have been realized materially through the physical forms that sequential arts have taken. This chapter addresses these forms, first examining two examples of visual metaphors used to explore the effects of trauma: Rosalind B. Penfold’s torn timeline image from Dragonslippers and Nicola Streeten’s broken vase from Billy, Me and You. The chapter then proceeds to consider three instances where the material form of the comic has itself been brought into play by creators: Joe Sacco’s The Great War (2013) which uses folding, Dana Walrath’s View From the High Ground (2016) which uses cutting, and Michael Nicoll Yahgulanaas’ Red: A Haida Manga (2010) which asks its reader to take apart the whole book and reassemble it. In each of these examples, the reader is required to make physical interventions upon the text, simultaneously acknowledging the bodily impacts that trauma can have and the physicality of trauma’s causes.
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