EDITED JOURNAL VOLUME
With Nima Naghibi and Eleanor Ty, Eds. “Migration, Exile, and Diaspora in Graphic Life Narratives.” Special Issue of a/b: Auto/Biography Studies. 35.2 (Spring 2020). Forthcoming. Click here for the call for papers.
With Dominic Davies. Documenting Trauma in Comics: Traumatic Pasts, Embodied Histories and Graphic Reportage. Palgrave Studies in Comics and Graphic Novels. In press. Forthcoming 2020.
With Jessica Fontaine. “Indigeneity and Intermediality in Will I See?” Graphic Indigeneity: Comics in The Americas and Australasia Ed. Frederick Luis Aldama. Tucson: U of Mississippi P. Submitted. Forthcoming 2020. 8,000 words.
“Migrant Detention Comics and the Aesthetic Technologies of Compassion.” Documenting Trauma: Traumatic Pasts, Embodied Histories & Graphic Reportage in Comics. Eds. Dominic Davies and Candida Rifkind. Palgrave Studies in Comics and Graphic Novels. Forthcoming 2020. 6,800 words.
"Immigration, Photography, and the Color Line in Lila Quintero Weaver’s Darkroom: A Memoir in Black & White.” Immigrants and Comics: Graphic Spaces of Remembrance, Transaction, and Mimesis. Ed. Nhora Lucia Serrano. Routledge Advances in Comics Studies. Routledge. Forthcoming April 2020.
“The Elements of a Life: Lauren Redniss’s Graphic Biography of Marie Curie.” Under review. 5,500 words.
“Migrant Detention Comics and the Visual Politics of Witness” (University of Winnipeg Major Research Grant 2018)
This project studies contemporary print and digital comics about migrant detainees in camps and detention centres across Europe, North America, and Australia. Drawn primarily by Western cartoonists, often in collaboration with current and former migrant detainees, these graphic narratives use a popular form to tell individual stories that go beyond the dominant stereotypical images of migrants as an undifferentiated mass. Through analysis of approximately one dozen print comics and two dozen web comics targeted primarily to non-migrant readers, this project explores how migrant detention comics use a variety of visual styles and platforms to show that the migrant is a subject produced and reproduced within Western carceral structures, and frequently detained in the hidden spaces of Western cities and suburbs. I draw on comics studies, affect theory, and critical refugee studies to analyze the visual, narrative, and political dimensions of these comics that are becoming an important unofficial source of knowledge about subjects whose existence and conditions are hidden from public view. As they reveal how the migrant detainee is a subject framed by what Kelly Oliver terms “carceral humanitarianism,” migrant detention comics detain the reader on the page in order to challenge the conventional borders between them and us, there and here, and migrant and citizen. This project explores how these comics use visual practices of emplacement, immersion, projection, and dislocation to elicit empathy, reconfigure compassion, and call Western readers into politicized spectatorship.