In Drawing the Past, Volume 2: Comics and the Historical
Imagination in the World, contributors seek to examine the many
ways in which history worldwide has been explored and
(re)represented through comics and how history is a complex
construction of imagination, reality, and manipulation. Through a
close analysis of such works as V for Vendetta, Maus, and
Persepolis, this volume contends that comics are a form of
mediation between sources (both primary and secondary) and the
reader. Historical comics are not drawn from memory but offer a
nonliteral interpretation of an object (re)constructed in the
creator's mind. Indeed, when it comes to history, stretching the
limits of the imagination only serves to aid in our understanding
of the past and, through that understanding, shape ourselves and
our futures. This volume, the second in a two-volume series, is
divided into three sections: History and Form, Historical Trauma,
and Mythic Histories. The first section considers the relationship
between history and the comic book form. The second section engages
academic scholarship on comics that has recurring interest in the
representation of war and trauma. The final section looks at mythic
histories that consciously play with events that did not occur but
nonetheless inflect our understanding of history. Contributors to
the volume also explore questions of diversity and relationality,
addressing differences between nations and the cultural,
historical, and economic threads that bind them together, however
loosely, and however much those bonds might chafe. Together, both
volumes bring together a range of different approaches to diverse
material and feature remarkable scholars from all over the world.
Contributions by Dorian Alexander, Chris Bishop, David Budgen,
Lewis Call, Lillian Cespedes Gonzalez, Dominic Davies, Sean Eedy,
Adam Fotos, Michael Goodrum, Simon Gough, David Hitchcock, Robert
Hutton, Iain A. MacInnes, Malgorzata Olsza, Philip Smith, Edward
Still, and Jing Zhang.
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