What Exactly is a "Non-Fiction Novel?"

The term "non-fiction graphic novel" seems to contradict itself. In one sense, we hear "novel" and immediately go straight to the fantastic realm of literature where there are no limits and storytelling becomes a way to escape the real world. But then, let's throw the term "non-fiction" in there. Excuse me? A classic oxymoron. In my opinion, it is the best kind. As an avid reader, I have read everything from dystopian fiction to the most gushy romance novels. However, the books that pulled me in the most always had some sort of relatable element that really put me in the shoes of the main character. I thrive off of having something realistic to give me a better sense of what each character goes through. Non-fiction graphic novels do that for me. In stories like Maus by Art Spiegelman and A Contract with God by Will Eisner, I find myself entering an entirely new world that seems all too familiar. These graphic novels allow for the re-telling of very personal, traumatic events in a way that is fresh and brings story-telling to life. We tend to think of graphic novels as a medium for extraordinary tales of superheroes and crime fighting action. But not for these novels. Maus and A Contract with God both use the graphic novel medium in order to intensify their respective worlds in a way that places the reader in the exact time and place of these stories. The use of images to explain their backgrounds is exactly what allows for their stories to be relatable and more remarkable. It makes the reader pay attention. One thing I'd like to point out here is that both comics utilize black and white in their illustrations. In my opinion, this is done in order to commentate on the poverty in each situation and how that affected each author. As mentioned in Understanding Comics by Scott McCloud, the simplification of the design contributes to the way we perceive a story. A Contract with God does seem to use more realistic design, while Maus clearly uses animal personification to tell the story. However both use their art to grasp the reader's attention and draw them closer and closer. Each author creates a sense of familiarity between himself and his audience. All in all, I think that "non-fiction novels" are an overlooked genre. Is there a better way to connect with stories of our past than to tell them from unique, engaging perspectives?

Eisner, Will. A Contract with God. W.W. Norton & Co., 2006.

McCloud, Scott. Understanding Comics: the Invisible Art. Simon Fraser University Library, 2018.

Spiegelman, Art. Maus. Pantheon Books, 1992.

Comments

Analysis of Aya: Life in Yop City

To begin this week's post, I'd like to first address a few things about the author's duty to his/her readers. When we think of reading material from other countries or cultures, what factors are important to us? What information do we need in order to recognize the significance of the author's work? For me, it's important for the author to find some way to connect to me as a reader. Do we share a common experience? Can I relate your story to mine? This is not to say that a writer's work is rendered unimpressive if they choose not to do this. But I do think it goes without saying that most impressionable works hit us emotionally. I also think that an author should be conscious of the world that they are painting for the reader. Is it true what you're writing? Does it provide some sort of insight into the world as you see it? Are you confirming outside opinions of your culture, or are you breaking the stereotypes that have been placed upon you? That being sai...

Junji Ito and the Art of the Uncanny

As discussed in Chapter 2 of Scott McCloud's Understanding Comics , the Japanese style of comic book art holds several notable quirks. While early manga artists tended to favor simplistic, yet distinct styles that paved the way for a number of internationally renowned characters, contemporary manga artists have since favored a hybrid style that juxtaposes the cutesy, rounded characters of yesteryear with the realistic and richly shaded settings that have since become popular. Building on this, McCloud describes a phenomenon in which Japanese comic artists have used realism to objectify--that is, to emphasize the "otherness" of certain characters, objects, or places--elements of their work and further separate these elements from the reader. I have chosen the work of one of my favorite comic artists, Japanese horror icon Junji Ito, to further illustrate McCloud's point. Though McCloud describes this phenomenon in the context of Japanese comic book art, he is usi...

Bringing Africa into the Fold

The comic Aya: Life in Yop City does a fantastic job of illustrating a culture different from the more popular Western variety. For those reading this, have you ever considered Africa in any way that was not influenced by main stream media? No? Well me either. It is sad to say, but my view of Africa was just - more or less - a vast land of chaos and poverty. Why? Because is that not what the media would have us believe? As a western country ourselves - presuming, of course, that you are reading this from the US or some European country - we do not consider other nations to have much value in comparison to our own. Because we have created a Eurocentric view of what society should be, we have disallowed other countries to feel that their own culture is worth portraying in novels or media. For example, most people are lead to believe that Africa is riddled with disease, famine, and "uneducated" people who are in dire need of help. This just isn't true! There are places ...

ENG 4433: Topics in World Lit

Search This Blog