Where I'll Be This Wednesday: Gendered Publishing Panel, Univ. of Connecticut

On Wednesday, October 16, I'll be returning to my alma mater, the University of Connecticut, as a speaker on a panel entitled "Gendered Publishing: The State of the Profession for Women Writers and Illustrators of Children's Literature." I'll be joining renowned author-illustrator Barbara McClintock and prize-winning author-academic Lisa Rowe Fraustino (Eastern Connecticut State University) on the panel, which will be moderated by literacy and books-for-youth scholar Susannah Richards (ECSU).

Here's how the panel is described:

This panel addresses the position of women to contemporary children's literature by considering the influence of historical legacy, institutional processes, and editing practices on creative productivity.

My portion of the panel will focus on the evolving roles of women in the creation and production of comics and graphic novels for children.

The event will take place from 6:30-8:00 p.m. in the Class of 1947 Room of the Homer Babbidge Library at the University of Connecticut, Storrs Campus, and is free and open to the public (although seating is limited). Click the image above for more details. My thanks to UConn faculty members Cora Lynn Deibler (Art) and Kate Capshaw Smith (English) for their kind invitation!

CFP: Comics and Cultural Work / Comics Forum (Oct. 31)

Comics Forum presents…

Call for Papers:

Comics and Cultural Work

Guest Editor: Casey Brienza

‘All artistic work, like all human activity, involves the joint activity of a number, often a large number, of people. Through their cooperation, the art work we eventually see or hear comes to be and continues to be. The work always shows signs of that cooperation,’ wrote sociologist Howard Becker in his seminal monograph on cultural production Art Worlds. Comic art is no exception to Becker’s basic insight. Writers, illustrators, graphic designers, letterers, editors, printers, typesetters, publicists, publishers, distributors, retailers, and countless others are both directly and indirectly involved in the creative production of what is commonly thought of as the comic book.

Yet comics scholars all too often advance a narrow auteurist vision of production in their research. Names such as Art Spiegelman, Alan Moore, Neil Gaiman, and Osamu Tezuka continue to loom large in the intellectual firmament, while, despite recent calls for sociological approaches to comics scholarship, the large numbers of people without whom no comic would exist in the first place are routinely overlooked. A clear focus upon these people and the contributions of their labour is therefore long overdue and absolutely necessary to advance the boundaries of the theoretical and methodological study of comics. After all, how are we to understand any work of comic art if we know nothing about the myriad varieties of cultural work that went into its creation?

Possible topics include (but are not limited to): cultures and/or experiences of work in the comics production, distribution, promotion, and consumption circuit; theorizing the cultural work of comics; precarious and freelance labour in comics; feminization and other employment inequality; professional identities and self-identifications in the comics industry; new workflow/publishing models for comics in the digital age; and analyses of autobiographical comics and/or fictionalized narratives about the life of the comic book artist.

Along these lines, we are seeking short contributions of 1000-1500 words for a series of Comics Forum articles on comics and cultural work to be published throughout December 2013 on the Comics Forum website (http://comicsforum.org). Prospective authors should also include a short biographical sketch of 50-100 words. The deadline for submission is October 31, 2013, and you will receive notification of acceptance or rejection by November 15.

Any inquiries and submissions should be directed to Casey Brienza, City University London (casey.brienza.1@city.ac.uk). Please write ‘Comics and Cultural Work’ in the subject line.

Comics Forum is supported by: Thought Bubble, Dr Mel Gibson, the University of Chichester, Routledge, Arts Council England and Molakoe Graphic Design.

Superheroes: The Secret Origin of Revisions

Author Peter Coogan has posted this message on the Comics Scholars Discussion List:

I'm looking to get my book, "Superhero: The Secret Origin of a Genre" reissued. If anyone saw any errors in it, could you email? I know I have to correct the number of Sherlock Holmes stories that refer to Moriarty (Thanks to Peter Sanderson for spotting that), but if there's anything else, I'd appreciate knowing about it.

If you have suggestions, you can email him at coomics @ hotmail.com. Check out our own information on Superheroes: The Secret Origin of a Genre here.

In the News: "Menace to Comic Heroes?"(LA Times)

Last week I had the pleasure of speaking to Michelle Keller, a staff writer at the Los Angeles Times, on the topic of digital piracy in the comic book field. The result was published in today's (Monday, 29 May) paper: "Menace to Comic Heroes?" (you might need to register in order to read it). Wired magazine ran a simliar but less in-depth piece last month, as well.

The LA Times story covers the topic from many angles, from publishers to comics shop owners to readers both younger and, ahem, older (that would be moi). I'm quoted arguing for a possibly not-so-drastic impact: "The collector mind-set says, 'I need the paper issue.'" And while I do believe that's true, it's also true that younger readers -- heck, younger people in general -- are more accustomed to thinking in terms like instant access and transferred bits than they are mint condition and mylar bags.

Apart from select features like Marvel's "Digital Comics," most traditional US publishing companies don't offer dowloadable digital comic books. Even Marvel's offerings are strictly on-line; you can't download a comic and take it with you, you must read it while connected to the Internet. In a half-way move into the digital realm, though, Marvel has begun offering great slabs of its library on DVD-Rom: you can get 500+ issues each of Amazing Spider-Man, Fantastic Four, The Avengers, and Uncanny X-Men on shiny media for about $50 per title.

To me, this is a real bargain; and I'd bet if publishers offered legal downloads of back-issues like these at a comparable price to the physical-media digital versions -- that's 10 cents per issue, kids! -- lots of folks would jump at the opportunity. I know I would.

Cartoonists Cover the Classics

An advertisement in today's New York Times Book Review alerted me to this series of "Deluxe Edition" Penguin Classics, featuring covers by a stellar line-up of cartoonists:

• Voltaire's Candide- cover by Chris Ware


• Stella Gibbons' Cold Comfort Farm- cover by Roz Chast


• Hans Christian Anderson's Fairy Tales- cover by Anders Nilsen


• Upton Sinclair's The Jungle- cover by Charles Burns


• Paul Auster's New York Trilogy- cover by Art Spiegelman


• The Portable Dorothy Parker- cover by Seth

I'd already heard about the Candide, but the others were news to me. These are books which should grace everyone's shelves anyway; and these covers add gorgeous, graphic icing on some top-choice literary cakes. Time to update those wish lists!

Marvel & DC's Super-Hero "Claim"

As BoingBoing notes (also here, with earlier info here), Marvel Comics is again flexing its muscles and asserting that it co-owns (with DC Comics) a trademark on the term "super heroes" - this time in the publicity for its "Marvel Super Heroes Science Exhibition."

Marvel and DC have been claiming and attempting to enforce this "trademark" for many years. According to this link (one of several) from the US Patent and Trademark Office's "Trademark Application and Registration Retrieval system," Marvel & DC claim a "First Use in Commerce Date" of October 1966. Most knowledgeable folks aggree that this claim is bogus on many levels, but that hasn't stopped the USPTO from allowing the publishers to register the claim successfully and repeatedly over the past few decades. Digging around the archives via TESS reveals that all TM claims aren't automatically registered - some are denied. But from what I can tell, they've never denied Marvel & DC's claim.

Apparently, just because the USPTO allows you to register a trademark doesn't actually mean that they're endorsing your claim's validity - they're just aggreeing that, well, you've made the claim (tax dollars at "work," folks!). I suppose if someone with deep enough pockets and stamina to spare were to take Marvel & DC to court over this, the claim's bogus nature would be revealed and overcome. But until then, these two "super-gorillas" continue to throw their imagined weight around.

Thanks to several folks at the Comics Scholars Discussion List for helping me figure out what I think is going on in this situation. Caveat lector: I ain't no lawyer!