graphic novel – Michigan Quarterly Review

graphic novel

On “Poetry Comics From the Book of Hours”: An Interview with Bianca Stone

Leave a Comment /

“The process of making a poetry comic is vital, since I don’t plan out in advance; don’t plot and storyboard. The process is where the piece determines itself. It’s a lot like composing a poem on a blank page: you have tools (language, memories, obsessions, sound) and you work with those in a sort of simultaneous process of improvisation and intent. So, even if the poem is already written, it’s going to become something totally different in the end.”

On “Poetry Comics From the Book of Hours”: An Interview with Bianca Stone Read More »

“The process of making a poetry comic is vital, since I don’t plan out in advance; don’t plot and storyboard. The process is where the piece determines itself. It’s a lot like composing a poem on a blank page: you have tools (language, memories, obsessions, sound) and you work with those in a sort of simultaneous process of improvisation and intent. So, even if the poem is already written, it’s going to become something totally different in the end.”

The Spectral and the Speculative in Richard McGuire’s “Here”

Leave a Comment /

In one of the last visual narratives to grace the pages of Richard McGuire’s 2014 graphic novel Here, a woman in 1957 is depicted walking across a room over the course of several spreads. Her walk is juxtaposed with and transposed over fragments of other scenes from years ranging from 1620 to 2005, scenes that—through their shared space on the page—take place both throughout the prism of the past and also simultaneously in a static present. The woman walks across the room until she reaches for a book and, in the novel’s final frame, states, “…Now I remember.” Readers can only make sense of this phrase by returning to the book’s beginning, where the first line reads: “Now why did I come in here again?”

The Spectral and the Speculative in Richard McGuire’s “Here” Read More »

In one of the last visual narratives to grace the pages of Richard McGuire’s 2014 graphic novel Here, a woman in 1957 is depicted walking across a room over the course of several spreads. Her walk is juxtaposed with and transposed over fragments of other scenes from years ranging from 1620 to 2005, scenes that—through their shared space on the page—take place both throughout the prism of the past and also simultaneously in a static present. The woman walks across the room until she reaches for a book and, in the novel’s final frame, states, “…Now I remember.” Readers can only make sense of this phrase by returning to the book’s beginning, where the first line reads: “Now why did I come in here again?”

Cover of Sandman 50 and Palestine graphic novels

The Middle East through Graphic Novels

1 Comment /

* Kaveh Bassiri *

I was surprised by the number and quality of the different works, as well as how often these books could be used as teaching tools. The Middle East, with its mythic and socio-political significance, has become a great source of inspiration for many important graphic novelists. The Middle East, with its mythic and socio-political significance, has become a great source of inspiration for many important graphic novelists.

The Middle East through Graphic Novels Read More »

* Kaveh Bassiri *

I was surprised by the number and quality of the different works, as well as how often these books could be used as teaching tools. The Middle East, with its mythic and socio-political significance, has become a great source of inspiration for many important graphic novelists. The Middle East, with its mythic and socio-political significance, has become a great source of inspiration for many important graphic novelists.

lsa logoum logoU-M Privacy StatementAccessibility at U-M