A massacre in Boston. A tea party. A shot heard around the world. But who was the first casualty of the massacre? How did the tea get to Boston Harbor? What was the Battle of Concord like for a Minute Man? Colonial Comics: New England, 1750–1775 expands the frame of this important period of American history. Unconventional characters come to life, including gravedigging medical students, counterfeiters, female playwrights, instigators of civil disobedience, newspaper editors, college students, rum traders, freemen, and slaves.
A graphic novel collection of twenty stories focusing on the colonial period from 1620 through 1750 in New England. These illustrated stories focus on tales you cannot find in history books. Includes stories about free thinkers, Pequots, Jewish settlers, female business owners and dedicated school teachers, whales and livestock, slavery and frontiers, and many other aspects of colonial life.
Colonial Comics is a graphic novel collection of 20 stories focusing on the colonial period from 1620 through 1750 in New England. Stories about Puritans and free thinkers, Pequots and Jewish settlers, female business owners and dedicated school teachers, whales and livestock, slavery and frontiers, and many other aspects of colonial life.
This collection examines new comic-book cultures, graphic writing, and bande dessinée texts as they relate to postcolonialism in contemporary Anglophone and Francophone settings. The individual chapters are framed within a larger enquiry that considers definitive aspects of the postcolonial condition in twenty-first-century (con)texts. The authors demonstrate that the fields of comic-book production and circulation in various regional histories introduce new postcolonial vocabularies, reconstitute conventional "image-functions" in established social texts and political systems, and present competing narratives of resistance and rights. In this sense, postcolonial comic cultures are of particular significance in the context of a newly global and politically recomposed landscape. This volume introduces a timely intervention within current comic-book-area studies that remain firmly situated within the "U.S.-European and Japanese manga paradigms" and their reading publics. It will be of great interest to a wide variety of disciplines including postcolonial studies, comics-area studies, cultural studies, and gender studies.
The first of two volumes builds on the brilliant and original Graphic Canon series in retelling classic works of literature as comics and other visual forms. Organized thematically, Volume 1 opens with "The Act" (think In Cold Blood and A Clockwork Orange), followed by sections dedicated to "Criminals," Whodunit," "Judgment" (Scarlet Letter, anyone?), and "Punishment." Here you'll find stunning and suspenseful adaptations starring classic PIs Sherlock Holmes, Auguste Dupin, Hercule Poirot, Father Brown, Mike Hammer, and teenage girl-detective Violet Strange. But the mystery, intrigue, and foul play don't end (or begin) there. The artists also bring to life crime stories from the Arabian Nights, the Bible, The Canterbury Tales, China's Song Dynasty, Shakespeare, James Joyce's Dubliners, Patricia Highsmith, Truman Capote, and current writers like Stephen King, Jo Nesbo, and Sara Paretsky. Rick Geary brings his crisp style to Dostoevsky's Crime and Punishment. Teddy Goldenberg gives us a dense, murky treatment of Dashiell Hammett's "The Road Home," often considered the first hardboiled detective story ever published. C. Frakes resurrects the forgotten novella "Talma Gordon," the first mystery written by an African American; and Shawn Cheng renders the first serial-killer story, the so-called fairy tale "Bluebeard" by Charles Perrault. Even the very natures of crime, justice, and punishment are up for grabs. Landis Blair reimagines The Trial, as a choose-your-own-adventure story that you cannot win, Ted Rall retells an O. Henry story about a petty criminal who just can't get arrested. From The Marquis de Sade to James Cain, Aeschylus to Paula Hawkins, crime and mystery has never been so brilliantly reimagined.
Contributions by Dorian L. Alexander, Chris Bishop, David Budgen, Lewis Call, Lillian Céspedes González, Dominic Davies, Sean Eedy, Adam Fotos, Michael Goodrum, Simon Gough, David Hitchcock, Robert Hutton, Iain A. MacInnes, Małgorzata Olsza, Philip Smith, Edward Still, and Jing Zhang 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.
Stories and myths from ancient Greece have fueled our dreams and fired our imaginations for centuries. Step inside a time machine built by a collection of today's finest storytellers, and enter a range of futures where familiar tales are re-imagined in an astonishing variety of styles. "Ancient" Greece: the year 3016 AD. And 4079 AD. And 6060 AD. From the trials of Heracles to the love songs of Orpheus, the myths and gods of the past are reborn in wondrous and scarcely imaginable futures. Witness exciting new visions of the Greek tradition from the hands and minds of Ronald Wimberly (Prince of Cats), Toby Cypress (Rodd Racer), J. G. Jones (Wanted), Farel Dalrymple (The Wrenchies), and many more of today's most inventive creators. From the editors of the landmark Little Nemo: Dream Another Dream anthology, this follow up to the Harvey-nominated first volume of Once upon a Time Machine features a the comics debut of Hugo and Nebula Award-winning author Michael Swanwick (Stations of the Tide).
Schenectady Genesis, Volume II, is a follow-up to Susan Staffa's highly acclaimed first volume, the Colonial Crucible 1661-1774. This standalone volume traces the four most tumultuous decades in the history of Schenectady: from the ending of the French & Indian War into the War for Independence, and later Schenectady's own fight for independence from Albany. At the same time, the town was burgeoning into an economic powerhouse at the center of the international fur trade, while trying not to tear itself apart over who owned the town's Common Lands. This all plays against the growing friction of Schenectady's transition away from its Dutch roots into a town with a greater English influence. It is not a stretch to state the armies and militia from Schenectady, Albany and Tryon counties played major roles in securing the northern border and helping to turn the tide in the Battles of Saratoga and skirmishes throughout the Mohawk Valley. The work strongly captures the state of tension that enveloped the region as fears of invasion from the north echoed throughout the valley. While military coverage is one of the great strengths of the book, Schenectady Genesis, Volume II, is so much more than a broadsheet to stake military claims. Detailed explications and charts covering businesses and their owners, churches and religious figures, governmental leaders, the growth of education in the city, and the roles of everyday citizens are all here. Extensive and well-document endnotes provide a wealth of historical information from primary sources that add flesh to storylines that would otherwise be ignored. TestimonialsJohn Gearing's exhaustive research has produced a wonderful book that will delight those readers looking for a complete picture of the American Revolution in and around Schenectady. It is also much more than just the recounting of military maneuvers, as it explores the complex cultural and business aspects of American colonial life in the second half of the 18th century. - Bill Buell, Schenectady County HistorianJohn Gearing's engaging style weaves together a narrative of the political, commercial, and social life of Schenectady as it grew into a city. These stories connect us to our past, bringing to life the times and people who came before us. Schenectady Genesis, volumes I and II are a valuable resource for the historic preservation community, giving further evidence to why Schenectady's important history and unique cultural resources are worthy of preservation.- Gloria Kishton, Chair, Schenectady Heritage Foundation
