My Teens in Comics: The Rise of Graphic Journalism, Graphic Medicine & My Top Ten Toons.
Journalism will again become what it was more than a century ago – a form of art. –Chris Hedges
The teens did not bring Hedges’ words to fruition — mainstream journalism did not return to a golden age of revolutionary truth-telling, but quite the reverse, with our “post-truth” world, full of filter bubbles flowing with “fake news.” Yet, despite the grim state of contemporary journalism in general, Hedges prophecy has come true in the teens — for graphic journalism.
Hedges words also opened my 2011 Truthout report “Warning: This Article Contains Graphic Journalism“, a time when I found myself writing solely prose essays (the title is inspired by Rocco Versaci’s ground-breaking work of comics scholarship This Book Contains Graphic Language: Comics As Literature). Then, also, I was still making the case that comics are literature, an appropriate medium for study in college classroom. I interviewed the some of the key figures in the “new” wave of comics journalism: Sarah Glidden, who had just published the fantastic graphic memoir How to Understand Israel in 60 Days, Matt Bors (who had just published a remarkable comic on his travels in Afghanistan in a series “Afghan Life“, and hadn’t yet gone on to create The Nib), Ted Rall (who had already a long-track record of hard-hitting comics journalism), and Dan Archer who effectively defined the field in a comic and speech (click here). Indeed, graphic journalism was already heeding Hedges’ call — it was art, in every sense of the word.
And I wanted in.
A decade ago, I was a comics scholar, educator, and journalist — but what I really wanted to do was to make comics. And after meeting Dan Archer at San Francisco Zinefest, I got that first break, with our series for Truthout The Disaster Capitalism Curriculum (2012), a three part series exploring the privatization and standardization of education in the United States. I knew that as a pure-text essay, as I’d been writing for years, it would get a narrow audience of folks who already knew the issues and generally agreed. However, with this report, I hoped to broaden and diversify the audience involved in the education reform conversation.
At that time, few mainstream outlets seem to understand comics as a form of serious journalism — not only did I have to make the pitch for the story, but provide an explanation of comics as a legitimate medium (it was the same kind of argument I had made countless times in the academic setting). Truthout got it right out — thanks in large part to Anne Elizabeth Moore, co-editor of the first Best American Comics (with Harvey Pekar). Anne was also producing a fantastic series for Truthout “Ladydrawers,” and so Truthout understood comics as journalism. Thus, when we pitched the project, I didn’t have to explain why Dan and I were using comics — they were excited by the opportunity, and immediately grasped how such a project could drive active engagement over a wider and more diverse population.
Now, in 2020, you can find comics journalism in most major outlets — indeed, Wendy Macnaugthon found her “drawn journalism” (as she dubs it) on the cover of the New York Times recently. This rising tide of interest in non-fiction comics is also reflected by the popularity of graphic memoir — such as Raina Telgemeier’s immensely popular series, including most recently Guts. Further, and most personally as a cancer survivor, the emergence of Graphic Medicine has created space for patients like me to tell their stories in a vivid and humanizing form.
This comics movement of the teens — built by incredible, and often ill-compensated work by countless creators, editors and publishers, some of whom I’ve shouted out here — created the space that allowed me to not just write, but actually get a number of scripts produced and published in a wide variety of outlets, including The New Yorker, The Boston Globe, The Atlantic, The Los Angeles Times, and The Nib (Matt Bors‘ outlet truly created a platform to usher in this new era of comics journalism). I feel immensely grateful to have been able to join the field during this exciting time, and be surrounded by such incredibly talented and hard-working artists, writers, and editors, who continue be driven to illustrate the truth in a dark time — and do so artfully.
As we move into the 20s, I’m optimistic about the state of non-fiction visual storytelling. I plan to continue my work with comics journalism. However, I’m focused on my memoir It’s All In Your Head, a book-length hybrid comics/prose story of my journey living with a brain tumor while balancing being a parent, partner, and professor.