Comic Books and I: Part 1: Mafalda

Anyone that knows me knows how much I love comics. 

I’ve been reading them as far as I can remember. In fact, some my earliest memories involve going to the newsagent with the little money that I had managed to get from my parents. The rack with the newest issues I craved used to be right at the entrance on the right hand side. Next to the newspapers. 

I can still see the image in my mind like it was yesterday.

But I read comics even before then. In a way, I was always destined to fall in love with comics. My parents, escaping from Franco's fascist regime, lived in France for quite a few years and I was born in the French side of the Basque Country. My dad read comics and we had lots of them at home. Most of them were in French, some were in Spanish. I remember, Reiser being a favourite of my dad's and lots of the early Charlie Hebdo cartoonists. I was attracted to these amazing books full of pictures. Totally fascinated.

I always wanted to read them with him but he didn't want to share them with me. He always chose one story or a few pages, showed them to me and translated the French text. I wanted more, but he always showed me just a little and sent me away.

What I didn't know then and realised much later was that those comics were not for children and most of the stories were quite inappropriate. That's why he had to carefully select which ones to share.

Quino and his best known creation: Mafalda

My parents also read a comic in Spanish created by Argentinian master Quino.

My first big love when it comes to comics was Mafalda. In fact, Mafalda had a huge impact on me. I was the last one in my class in terms of reading. Living in the outskirts of town, the river, the mountains, the forest, the canal, were my playground. I had too much to explore to 'waste' time on reading. At least that's how I saw it. I simply wasn't interested and I refused to learn to read.

Then I met Mafalda, Felipe, Manolito, Susanita and the rest. What can I say, it was love at first sight. Quino's art is simple and easy to read but that simplicity belies the extraordinary skill of the artist in creating these wonderful characters.

Even though the main characters are children, Quino's creation cannot be said to be made for children but children read it and loved it. I've heard it compared to Peanuts. A fair comparison, but I like that in Mafalda adults still feature in the strips. It allows Quino to explore the contradictions between adults and how children see the world. I would also compare it to Calvin and Hobbes and argue that Mafalda is somewhere between both but with a more mature socio political angle.


The stories and jokes often touch on politics and social issues and, thankfully, Quino doesn't dumb down any of it. We see the world from the children's perspectives, we see their innocence, their naivety, their imagination, but also their concerns. 

Mafalda and her friends often see adults who don't seem to have it together. They point out the things that adults do and take as the norm that from a children's perspective make no sense. It's important to note that Quino was drawing these cartoons between 1964 to 1973, amid political instability and turmoil in Argentina, including the 1966 military coup.

Mafalda and her friends long for peace and justice, they want to make sense of a seemingly senseless world. Quino said that Mafalda was a socio-political comic strip firmly rooted on family values. And I would say it was also the closest thing to philosophy I read as a kid. Quino's humour is sharp but also warm and full of humanity.

I often say, that Mafalda taught me to read, but it also taught me how to be a better person and, perhaps most importantly, helped me understand life, humanity, society and politics. Reading Mafalda wasn't just for fun, it also shaped my thinking and world view.

Mafalda and Quino have been largely unknown in the English speaking world. Some people were in the know but there hasn't been a proper English translation. That's about to change and I wonder what North America, the UK and Australia will make of these characters from the global south. Don't get me wrong, Mafalda has aged really well. The strips are still as impactful and highly relevant today as they were back then, but I wonder if the socio political themes will be embraced.

Mafalda's announcement poster for Netflix

An animated TV series Netflix series has also been announced. I would usually be wary of an adaptation but Argentinian director Juan José Campanella, most famous for the Oscar winner Secret in Their Eyes, is at the helm and I'm confident he'll do a great job.

Personally I couldn't be happier that Mafalda will finally have an English translation and an animated series. I've shared some of the strips with him. He doesn't speak Spanish but I've translated some of them for him. He knows how much she means to me and from the few strips I've translated he's totally fallen in love with Mafalda and her friends. How could it be otherwise? 

I can't wait for the English translation to be published so I can buy all five volumes and give them as a personal gift to him. It won't have the same impact on him. He's already an excellent reader. But I look forward to hear him laugh out loud repeatedly and I'm sure he will learn a lot from these strips. It will make him a better person.

That's the power of Quino.

Horror and Senseless War Through Children's Eyes

Children know that war is unacceptable, that war makes no sense. It's when we 'mature' that as adults we rationalise things and find justifications for the horror of war. As we have seen in the last year, we even rationalise war crimes, breaches of humanitarian law and grave human right violations, as defence. Of course, I'm referring to Israel's ongoing crimes in Palestine, now expanding to Lebanon, but it also applies to Sudan, Yemen, Myanmar, and so many others.

My son is thirteen years old. He has been bewildered by what's happening. He doesn't understand the full story but he has expressed concern at all the countless lives lost and the crimes that have reached his ears. He has heard some impassioned speeches and pleas for a ceasefire. And, of course, he has been thinking about it.

He surprised us recently, writing a short story where he laid out his thoughts about war and what struck me the most was how well he reflected the absolute senselessness of it and the grave loss of humanity it brings, both personal and collective. His story moved me and also reminded me of Grave of the Fireflies, a film that I've been holding back on playing for him. 

He has watched all the Hayao Miyazaki films and most of the Ghibli films but Grave of the Fireflies was one that I was keeping for later. It's not that it depicts violence in graphic detail. It's not that I think it shows anything inappropriate for a thirteen year old. It's that the overall tone of the film is so real and so raw that it leaves a mark on you. It stays with you.

I didn't want him to lose some of his innocence but I think the events of the last year have already done that. He's picked up enough pieces of information, he's reflected on them and he was ready for the film.

We watched Isao Takahata's film last night. I knew what I was getting into, I have seen it twice before, but it still hit like a ton of bricks. An hour and a half later, as the credits rolled we watched all the credits in silence, still wiping out our tears and trying to come to terms with what we'd seen.

Then, slowly, we started talking about it. Not an easy conversation, but an important one. The first thing we talked about is how the film doesn't shy away from showing the horror of war but it doesn't do it by showing you death in graphic detail. In fact, the bomb raids and death are never depicted vividly. Takahata is not interested in that or in demonising the enemy.

The consequences of the bomb raids are shown a bit more vividly. We see destroyed villages, dead people on the ground, the mother wrapped in bandages but, again, Takahata is not interested in showing us gore and death. Instead, the film focuses on the consequences in a more abstract but more powerful way by framing the whole story around two children. A young boy and his toddler sister. 

They are too young to understand the war, too young to rationalise it and it's their innocence that comes to the fore. In a senseless war, where adults kill each other, send young men to be kamikazes or deliberately choose to look the other way and not help each other, our two protagonists choose to take care of each other. They choose to isolate themselves from everyone else, from a world gone mad and to survive on their own, even though they don't really know how.

In a wasteland ravaged by the war, among dead souls who have forgotten humanity, our two protagonists build their own little world where their spirit and their light shines. Despite their hunger and exhaustion, they build a little house of their own in an abandoned cave outside the town where they can comfort each other, build a garden and play like the children they are.

In one poignant moment, Takahata seems to drive the point home through a metaphor. There is no light in the cave so our two protagonists bring fireflies inside. They illuminate the cave like a stunning sea of stars flying above them. 

In the morning, the fireflies are dead and Netsuko prepares to bury them. She's upset by their death and she cries, "why must fireflies die so young?" That's the light of children, of human beings, fading and dying. That's the light of their hope and survival dying. The light of our souls and spirit. If it isn't clear enough already, this scene also reveals to both the audience and her brother that despite him trying to shelter her from their mum's death, Netsuko knew all along.

Grave of the Fireflies is such an incredibly deep and humane movie. Raw and honest. It eschews flourishes to simply focus on two characters and their struggles. Perhaps, the only real flourish is how Netsuko and Setai are brought to life in stunning detail. Their mannerisms, the way they play, talk, move and care for each other is brought to life by a master director and his animators in the most real and poignant way.

I was having a conversation with a friend recently. We talked about Hiroshima, where her family is from, and Gernika, which is in the Basque Country, where I come from. She talked about how the pain of that day never goes away. It is, perhaps, for that same reason that both Gernika and Hiroshima's citizens have been so vocal against the recent and ongoing Israeli war crimes. They know what it's like to be bombed indiscriminately.

War is senseless and tragic. Adults may try to rationalise and explain it. They may say that the reasons for the conflict are 'very complex' but, at the end of the day, the consequences of war for all those affected, both personally and collectively, are quite direct and simple. We all lose with war, both the 'victors' and the 'defeated'.




Writing again

 One of the constants in my life since I was about 10 has been writing. Of course, when I say constant I don't mean that I write six pages a day like Stephen King. It's not like that.

When I say constant, I'm talking about something that's always there with me, that helps and balances my day. Sometimes, it may just be a couple of lines on a little note with an idea for a story. Sometimes, it may just be a three line poem reflecting on something that happened in the course of the day, or a cryptic micro poem. And sometimes, the words flow and I end up writing various pages. 

Sometimes, there are dry spells. Life gets busy, I'm overcommitted or over-exhausted and I just don't have the time and energy to write. But I still write short stories and poems and in my head. the words dance in my mind, they speak to me and then go into slumber but are still present ready to spring back to life when I finally have moment to sit down and write.

I have to be honest, I haven't been writing much this year. It's been one of those years when I've had to prioritise other things and other people. I simply didn't have the time nor energy to write. The epic fantasy novel I started writing a couple of years ago was left aside, languishing in limbo.

Still, my mind sometimes wondered to that fantasy land, the woods, the valleys, the ocean... And the characters appeared to me every now and then. They surfaced from behind a tree talking to each other, comforting each other or fighting to protect their way of life.

I've had a bit of time these last four weeks and it's been wild. I don't think I've ever written so many words in my life. The writing has flowed easily. Perhaps because the story and the characters have been with me for so long, I don't know. But it's a good feeling.

The novel is nowhere near finished but I'm reckon I'm around the halfway mark and that's more than I've ever done for a novel. Best of all, it's progressing easily. It's flowing.

I don't want to jinx it, so I won't say much more and I won't make any predictions of when I'll be able to complete the first full draft but I can definitely say that this will be the first full novel I will complete. Of that, I'm absolutely certain and it's a bloody good feeling.

Federico Garcia Lorca and the Value of Books and Libraries

Libraries are under attack. Some seem to think that libraries are irrelevant and obsolete now that we have the internet, Amazon and streaming services. They believe taxpayers dollars should not be used for libraries that everyone should simply buy themselves what they need. Others see libraries as an idea that must be actively fought and attacked, precisely because libraries are open to everyone. They object to books, resources and programs that don't fit their political and religious beliefs and seek to ban them altogether. And others see libraries as something to be eradicated because everything must be profit driven and libraries provide so much (information, resources, entertainment...) for free. An incomprehensible, dangerous notion for those who only think of money and profit.

Federico Garcia Lorca, who was an incredibly brilliant Spanish writer and poet saw things a bit differently. As a writer, Lorca championed books, arts and culture. But it wasn't just because he was a writer. He saw and understood the changes that were taking place in Spain. The more people gained the ability to read, the more they learned. And the more they learned, the more progressive Spain was becoming.

To him, reading, arts, and culture informed people, developed their mind and brought light. They were building a public education system, they were building a consciousness and they were building a republic.

He was a man with a huge heart and deep humanity and, of course, when Franco led the fascist coup against the Spanish Republic, Lorca was a prime target. He was an outspoken socialist and he was also gay. Two things fascists cannot accept. So, Lorca was captured and executed August 18 1936. His body was never found.


Federico Garcia Lorga reading with his little sister

In September 1931, four years before the fascist coup and five before his murder, the town of Fuente Vaqueros opened a public library. The first of its kind in the whole province of Granada and, of course, Lorca was there as this was his hometown.

He gave an impassioned speech that still feels highly relevant today. In the speech he reflects on the importance and value of books. He describes people who don't engage with any art, culture and reading as dead. People who go through life without really engaging with it. Then he says:

Humans can not live of bread alone. If I were hungry and helpless in the street, I would not ask for a loaf of bread, but I would ask for half a loaf of bread and a book. And I violently attack from here those who only talk about economic demands without ever mentioning the cultural demands that are what the people are crying out for. It is good that all people eat, but let’s ensure all people know.

Lorca said in the speech that he never had any books because he read them and, then, gave them away in the hope that others would also read and learn from them. And he added:

I feel much more sorry for a person who wants to know and cannot than for a hungry one. For a hungry person can easily satisfy their hunger with a piece of bread or some fruit, but a person who is eager to know and has no means suffers a terrible agony because they need books, books, many books, and… where are these books?

 That's why opening that first library in the province, opening in his town and making books available to everyone for free, was so life changing and revolutionary. Lorca was sharply aware of it and in one part of the speech he talked about Dostoyevsky, who was imprisoned in Siberia, in deplorable conditions, away from everything and everyone. When he was asking for help in a letter to his distant family he asked for books. Nothing else. Lorca recounts: 

"He was cold and did not ask for fire, he was terribly thirsty and did not ask for water: he asked for books. That is horizons, that is stairs to climb to the summit of the spirit and the heart. Because the physical, biological, natural agony of a body due to hunger, thirst or cold lasts a short time, very little, but the agony of the unsatisfied soul lasts a lifetime."

We take public libraries for granted now. But what a revolutionary idea they were. and what a treasure they are! We must use them, cherish them, champion them and protect them. Because, without them, large parts of our community would have no access to information, entertainment, culture, art, and resources. Without them, our community would be all the poorer in mind and spirit, and the authoritarians and fascists would assert their power over their masses.

Enough from me... I leave you with a translation of Lorca's speech (I cut a few lines here and there but not too much). A link to the full speech in Spanish is right at the bottom.


Dear fellow countrymen and friends:

All my lectures are always read, which means a lot more work than speaking, but in the end, the expression is much more lasting because it is written down and much more solid since it can serve as a lesson to people who do not hear or are not present here.

I owe a duty of gratitude to this beautiful town where I was born and where I spent my happy childhood for the undeserved tribute that I have received by giving my name to the old street of the church. You can all believe that I thank you from the bottom of my heart, and that when in Madrid or elsewhere I am asked where I was born, in newspaper surveys or anywhere else, I say that I was born in Fuente Vaqueros so that the glory or fame that falls on me also falls on this very nice, on this very modern, on this juicy and liberal town of Fuente.

The inhabitants of this town have a native artistic feeling that is very palpable in the people who have been born here. An artistic feeling and a sense of joy, which is the same as saying the sense of life.

I have visited hundreds and hundreds of small towns like this one, and I have been able to study in them a melancholy that is born not only from poverty, but also from hopelessness and lack of culture. People who live only attached to the land have only a terrible feeling of death without anything that raises them towards clear days of laughter and authentic social peace. Fuente Vaqueros has won that. Here there is a longing for joy, or rather for progress, or for life. And therefore an artistic desire, a love of beauty and culture.

I have seen lots of people from other fields come home from work, and, tired, they have sat still, like statues, waiting for another day and another and another, with the same rhythm, without a longing for knowledge passing through their souls. People who are slaves to death without even having glimpsed the light and beauty that the human spirit reaches. 

Because in the world there is nothing but life and death and there are millions of people who talk, live, see, eat, but they are dead. Deader than stones and deader than the true dead who sleep their sleep under the earth, because their souls are dead. Dead like a mill that does not grind, dead because it has no love, nor a germ of an idea, nor a faith, nor a longing for liberation, essential for all people to be able to call themselves such. This is one of the issues, my dear friends, that most concerns me at the present time.

When someone goes to the theatre, to a concert, or to a party of any kind, if the party is to their liking, they immediately remember and regret that the people they love are not there. 'How my sister and my father would like this,' they think, and they no longer enjoy the spectacle except through a slight melancholy. This is the melancholy that I feel, not for the people in my house, which would be small minded and selfish, but for all the creatures who, for lack of means and through their own misfortune, do not enjoy the supreme good of beauty, which is life and goodness and serenity and passion.

That is why I never have a book, because I give away as many as I buy, which are infinite, and that is why I am here honoured and happy to inaugurate this town library, surely the first in the entire province of Granada.

Humans can not live of bread alone. If I were hungry and helpless in the street, I would not ask for a loaf of bread, but I would ask for half a loaf of bread and a book. And I violently attack from here those who only talk about economic demands without ever mentioning the cultural demands that are what the people are crying out for. It is good that all people eat, but let’s ensure all people know. Let them all enjoy the fruits of the human spirit because to do otherwise is to turn them into machines at the service of the State, it is to turn them into slaves of a terrible social organisation.

I feel much more sorry for a person who wants to know and cannot than for a hungry one. For a hungry person can easily satisfy their hunger with a piece of bread or some fruit, but a person who is eager to know and has no means suffers a terrible agony because they need books, books, many books, and… where are these books?

Books! Books! Here is a magic word that is equivalent to saying: 'love, love', and that people should ask for as they ask for bread or as they long for rain for their crops. 

When the famous Russian writer Fyodor Dostoyevsky, father of the Russian revolution much more than Lenin, was imprisoned in Siberia, far from the world, between four walls and surrounded by desolate plains of endless snow, and asked for help in a letter to his distant family, he only said: 'Send me books, books, many books so that my soul does not die!' 

He was cold and did not ask for fire, he was terribly thirsty and did not ask for water: he asked for books. That is horizons, that is stairs to climb to the summit of the spirit and the heart. Because the physical, biological, natural agony of a body due to hunger, thirst or cold lasts a short time, very little, but the agony of the unsatisfied soul lasts a lifetime.

The great Menéndez Pidal, one of the most true sages in Europe, has already said that the motto of the Republic must be: 'Culture'. Culture because only through it can the problems of today's people, full of faith but lacking in light, be resolved.

That is why you cannot imagine how happy I am to be able to inaugurate the public library of Fuente Vaqueros! A library that is a collection of books grouped and selected, that is a voice against ignorance; a perennial light against darkness.

No one realises when they have a book in their hands the effort, the pain, the vigil, the blood it has cost. The book is without a doubt the greatest work of humanity. Many times, people are asleep like the water of a pond on a windless day. Not even the slightest tremor disturbs the soft tenderness of the water. The frogs sleep at the bottom and the birds are motionless on the branches that surround it. But, suddenly, throw a stone and you will see an explosion of concentric circles, of round waves that expand, running over each other and crashing against the edges. You will see a total shudder of the water, a bustle of frogs in all directions, a restlessness on all the banks and even the birds that slept on the shady branches jump off in flocks throughout the blue air. Many times, people sleep like the water of a pond on a windless day, and a book or some books can shake them and disturb them and show them new horizons of betterment and harmony.

And how much effort it has cost a person to produce a book! And what a great influence they have, have had and will have on the world!

In the materials of nature there are, no doubt, the palliatives for many incurable diseases, but what combination is the right one for the miracle to work? Rarely in the history of the world has there been a more important event than the invention of the printing press. Of much greater scope than the other two great events of its time: the invention of gunpowder and the discovery of America. For if gunpowder put an end to feudalism and gave rise to great armies and to the formation of strong nationalities previously divided by the nobility, and the birth of America gave rise to a displacement of history to a new life and ended a thousand-year-old geographical secret, the printing press will cause a revolution in souls, so great that societies will tremble to their foundations. 

And yet, how silently and timidly is it born! While gunpowder was exploding its fiery roses across the fields, and the Atlantic was filling with ships with sails filled by the wind, coming and going loaded with gold and precious materials, quietly in the city of Antwerp, Christopher Plantin established the most important printing press and bookstore in the world, and finally, he made the first cheap books.

So the old books, of which there were only one or two or three copies left, piled up at the doors of the printing presses and at the doors of the houses of the learned, clamouring to be published, to be translated, to be spread over the whole surface of the earth. This is the great moment of the world. It is the Renaissance. It is the glorious dawn of the modern cultures with which we live.

It was from that little house with its ivy-covered courtyard and its leaded glass windows, from where light came out for everyone with cheap books and where a great offensive against ignorance was being hatched, which must be continued with real zeal, because ignorance is still terrible and we already know that where there is ignorance it is very easy to confuse evil with good and truth with lies.

Naturally, the powerful who had manuscripts and books on parchment, laughed at the book printed on paper as something despicable and in bad taste that was within everyone's reach.

The book ceased to be an object of culture for a few and became a tremendous social factor. The effects were not felt. Despite persecutions and often serving as fuel for the flames, the French Revolution emerged, the first social work of books.

For persecutions are of no use against the book. Neither armies, nor gold, nor flames can defeat them; for you can destroy a work, but you cannot cut off the heads that have learned from it, for there are thousands of them, and if they are few, you do not know where they are.

Books have been persecuted by all kinds of States and by all kinds of religions, but this means nothing compared to how much they have been loved. For if a fanatic oriental prince burns the library of Alexandria, on the other hand Alexander of Macedonia orders the construction of a very rich box of enamels and precious stones to preserve The Iliad, by Homer; and the Arabs of Cordoba make the marvel of the Mirahb of their mosque to keep in it a Koran that had belonged to the Caliph Omar. And despite who it may bother, libraries flood the world and we see them even in the streets and in the open air of the gardens of the cities.

Every day that passes, the many publishing houses strive to lower prices, and today the book is within everyone's reach in that great daily book that is the press, in that open book of two or three pages that arrives smelling of restlessness and wet ink, in that ear that hears the events of all nations with absolute impartiality; in the thousands of newspapers, true heartbeats of the unanimous heart of the world.

For the first time in its short history, this town has the beginnings of a library. The important thing is to lay the first stone, because I and everyone else will help to build the building. 

It is an important event that fills me with joy and I am honoured that it is my voice that is raised here at the moment of its inauguration, because my family has cooperated extraordinarily with your culture. My mother, as you all know, has taught many people in this town, because she came here to teach, and I remember as a child having heard her read aloud so that many could hear her. My grandparents served this town with true spirit and even many of the songs and music that you have sung have been composed by some old poet from my family. 

That is why I feel full of satisfaction at this moment and I am addressing those who are fortunate, asking them to help in this work, to give money to buy books as is their obligation, as is their duty. And those who do not have the means, let them come and read, let them come and cultivate their intelligence as the only means of their economic and social liberation. It is necessary that the library be nourished with new books and new readers and that teachers strive not to teach children to read mechanically, as so many unfortunately still do, but to instill in them the meaning of reading, that is, the value of a period and a comma in the development and form of a written idea.

And books! Books! It is necessary that books begin to arrive at the little library in La Fuente. I have written to the publishing house of the Residencia de Estudiantes in Madrid, where I studied for so many years, and to Editorial Ulises, to see if I can get them to send their complete collections here, and of course, I will send the books that I have written and those of my friends.

Books of all tendencies and of all ideas. The divine, enlightened works of mystics and saints, as well as the fiery works of revolutionaries and men of action. Let the Spiritual Canticle of Saint John of the Cross, the crowning work of Spanish poetry, be compared with the works of Tolstoy; let The City of God by Saint Augustine be compared with Zarathustra by Nietzsche or Capital by Marx. Because, dear friends, all these works agree on a point of love for humanity and elevation of the spirit, and in the end, they all merge and embrace in a supreme ideal.

And readers! Many readers! 

This library has to fulfill a social purpose, because if the number of readers is cared for and encouraged, and little by little it is enriched with works, within a few years there will be a noticeable, and do not doubt this, a higher level of culture in the people. And if this generation that hears me today does not take advantage of all that books can give due to lack of preparation, your children will take advantage of it. Because it is necessary that you all know that people do not work for ourselves but for those who come after us, and that this is the moral sense of all revolutions, and in the last instance, the true sense of life.

I am sure that Fuente Vaqueros, which has always been a town with a lively imagination and a clear and cheerful soul like the water that flows from its fountain, will get a lot out of this library and will serve to bring to the consciousness of everyone new desires and joys for knowledge. May this modest and small lesson serve so that you love them and seek them out as friends. Because people die and they become more alive every day, because trees wither and they are eternally green and because at all times and at all hours they open to answer a question or provide comfort.

And you must know, of course, that social progress and revolutions are made with books and that the people who lead them often die, like the great Lenin, from studying too much, from trying to encompass too much with their intelligence. That weapons and blood are of no use if ideas are not well oriented and well digested in the minds. And that it is necessary for people to read in order to learn not only the true meaning of freedom, but also the current meaning of mutual understanding and of life.

And thanks to you all. This public library is now a reality.

And a greeting to everyone. To the living and the dead, since the living and the dead make up a country. To the living, to wish them happiness and to the dead, to remember them fondly because they represent the tradition of the town and because thanks to them we are all here. May this library serve as a source of peace, spiritual restlessness and joy in this beautiful town where I have the honor of having been born, and do not forget this beautiful saying that a 19th century French critic wrote : “Tell me what you read and I will tell you who you are.”


Full speech in its original Spanish here.

Alejandro Jodorowsky and the world


The world is not going well.

We cannot change the world but we can start to change it.
We cannot change ourselves but we can start to change.
We cannot heal all of a sudden but we can start to heal.

The world is an eternal beginning and we have to live every beginning to the full.

Alejandro Jodorowsky (TV interview in Telemadrid)

The Magic of Graphic Novels

This article was first published in the Australian Library and Information Association's Incite Magazine, Volume 45 Issue 1, March 2024, as part of the Communicating Collections series. I publish it here now as an archive of my writing and to ensure it's freely available to everyone, members and non-members. 
As James Baker wrote in the introduction, the series looks "at why various library collections are important and, crucially, how to communicate that importance to the different stakeholders we deal with." I was honoured to be part of the series.

Photo by Mikhail Nilov: https://www.pexels.com/photo/boy-in-black-sweater-reading-a-comics-8342186/
Talk to a comic book reader and you’ll soon understand why comics are so important to so many people. There is a special magic that comics have that is hard to describe: the mixture of words, images and symbols. The myriad of ways they can be combined or juxtaposed to communicate meaning is hard to fathom. Most importantly, people derive a very personal and special joy of reading comics, one that helps to associate reading with pleasure, and turns comics readers into lifelong readers. So why should libraries invest in graphic novel collections?

Providing free access to a wide range of resources for information and recreational purposes while serving a diverse group of patrons in the community is fundamental core business for libraries. Libraries need to adapt, respond and cater to the changing needs and interests of the community they serve. 

Graphic novels are enormously popular these days and often appear at the top of the best-selling charts. They are also increasingly garnering major literary awards and recognition. Three nominations to the Stella Awards, a CBCA Eve Pownall Award win in 2022 and a CBCA Book of the Year for Older Readers win in 2023 are recent examples in Australia that things are changing.

Fostering literacy is also a priority for libraries. Comics are increasingly gaining favour with educators as the curriculum recognises the importance of multimodal texts and multiliteracies in 21st century literacy. Comics, as multimodal texts, foster and support the development of multiple literacies, which is a necessary and important part of the school curriculum.

Researchers are increasingly interested in the ways that comics stimulate a love of reading. Stephen Krashen long ago showed evidence that comic book readers read as many books as regular readers - often more, – and that there is a strong correlation between reading comics and life-long reading. Interviewing comic book readers and creators a lot of them speak about not having much of an interest in reading, or struggling to read when they were young, until they found comics. Comics turned them into life-long readers and, in many cases, storytellers and creators.

As some people speak of the magic of opera, ballet or films. There is no doubt that the power of comics and their multimodal nature has a profound effect on readers. In Japan and France comics have long been studied and recognised as literature and art. The Hiroshima City Manga Public Library, for example, serves readers manga and only manga. In France, comics have long been referred to as the ninth art. Their acceptance and their understanding that comics are simply another art, another story-telling medium, that appeals to all ages and encompasses all genres, has made them a ubiquitous form of reading across all age brackets.

Comics are also very well suited to discussing complex issues at a very raw and personal level. In fact, it is no surprise that non-fiction graphic novels are among the most popular and highly regarded categories of comics. The emergence and growth of graphic medicine as a category is a perfect example.

With the great wealth of graphic novels currently being published and the excellent quality of Australian graphic novels being produced these days, with incredibly interesting emerging creators surfacing across all of Australia, it is my hope that libraries invest in their graphic novel collections, for children, for young adults and for adults. In 1967, while visiting a bookstore in Paris, Salvador Dali said that comics would be the culture of 3794. He was wrong in only one aspect. We don't have to wait that long.

The Perth Comic Arts Festival

I was really honoured to be a festival guest at the Perth Comic Arts Festival last weekend, which was held at the WA State Library and Museum. It was a really wonderful event. The PCAF Committee should be very proud of the event. It really seems like, they have the most wonderful community of comic creators and fans there. 

I was there representing ALIA Graphic Novels and Comics and spoke at a panel on Saturday. It was odd to be on stage with Eleri Harris, an editor and creator I admire who just recently received an Eisner Award for her work with The Nib, and Josh Santospirito a creator and advocate I have admired for a long time and only met in person the day before. 

It was also odd to be speaking to an audience composed in large part of Australian comic book creators. People who I greatly admire. I usually promote their graphic novels, work to elevate their profile and sometimes interview them for the ALIA Graphic Podcast. But I was invited to represent ALIA Graphic Novels and Comics and the work we do, so I was there ready to speak.

Our panel discussion covered a lot of ground. 

  • Editing comics, residencies for comic creators, building community and readership through library events and workshops, including library comic cons like King Con!, Comic Gong, and others.
  • Advocating for comics in literary spaces. Literary awards and journals very often exclude comics. However, literary journals and awards often work a launching pad for authors, so what options do comic creators have?
  • Comics in libraries and the work of ALIA Graphic. Advocating for comics in libraries and schools. Raising their profile in general and of Australian titles and creators in particular, including ALIA Graphic's Notable Australian Graphic Novels list, webinars, etc.
  • Fighting back book challenges at libraries and defending comics and graphic novels through ALIA's Freedom to Read Committee.
  • Eleri also spoke about her first hand experience when one of the comic anthologies she edited was challenged in the USA.

It's great to have artists in the audience who can summarise the panel talk in infographic visuals. The first one, on paper is from Aśka. The others, on the WA State Library's window, are from some other artist - sorry, I don't know who.


All the panel talks on Saturday's Academy Day were really amazing. The comics and Culture panel with Brenton McKenna, Chris Wood and Scott Wilson was outstanding. All three of them are Australian Indigenous comic book creators and their thoughts on comics and culture were really interesting. They talked about living and working in two worlds. Scott Wilson talked extensively about the culture protocols with First Nations people. There are stories where Elders have the authority and you need their involvement and guidance. But he encouraged other creators to create stories that include Indigenous characters. He just stressed the importance of making sure they check with their local Indigenous people and ensure they approach them with respect and in a spirit of collaboration.

The romance in comics panel was really lively. They talked about the current trend for YA romance now, but also the struggle to keep romance books ‘clean’ for young readers and the risk of bans when depicting physical intimacy on the page. Sara W. Searle said that publishers always push for YA romance for girls, but it’s not just teenage girls reading comics. Romance books are a big genre but publishers are reluctant to publish romance graphic novels for adults, probably fearing depictions of physical intimacy.

There was a discussion about how unfair it is that romance books are hardly ever challenged but graphic novels with depicting physical intimacy are discouraged by publishers and, if published, often the target of challenges.


We also enjoyed comic readings from a few creators. This is something that I would definitely love for libraries to adopt. The readings were fascinating and it was beautiful to hear the creators themselves reading and interpreting their comics. There was a bit of everything in those readings. It really struck me how the audience responded to Marc Pearson's hilarious comedic reading and people were visibly moved, even cried, with Josh Santospirito's non-fiction account of his family's migration story.

I'm home with my son today. He's picked up something at school (thankfully, not Covid) and I'll be going through all the comics I collected at the Perth Comics Arts Festival Market Day, which was an outstanding success. The market hall at the museum was absolutely packed with families. 

There's such a wide range of comics here, including comics created by children through the Milktooth school of art and stories. Something, that I will have to write about in a different blog post, because their work is incredible and so inspiring. Something that I think libraries could tap into, a club for young comic creators.


And finally, I would like to mention, the Comics Battle Royale. This is such a fun and beautiful event to watch! Once again, four comic book artists had to battle it out, creating comics in front of the audience. With Campbell Whyte as MC and audience participation, including four kids drawing some panels together with the artists, the battle royale was a resounding success. 

After the battle royale I had to gather all my belongings and run to the airport to get back home with a huge smile in my face and filled with positive feelings. Thank you to the PCAF Committee for inviting me and to all the festival guests, creators, and everyone that I had a conversation with. It was an illuminating and beautiful weekend. I look forward to keep working on this field and to continue advocating for Australian comics. You're a wonderful community. ALIA Graphic sees you and we're here for you.

Of book challenges, attempts at bans and advocating for comics in libraries

The fact that Maus is being removed from school libraries and there are attempts at banning it should give us serious pause for thought. Why is this happening now, when this book was published decades ago? Like it or not, and there are some critical voices, there's no doubt that Maus is an outstanding work of non-fiction in graphic novel form that explores a deeply personal and, at the same time, universal story around genocide, trauma and the author's relationship with his father, who survived the genocide, Nazi Germany and Auschwitz.

Pen America published an interview with the author recently. In the interview, Art Spiegelman, makes some really great points that are highly relevant for us as librarians. He mentions how librarians and teachers participated and were complicit in book bans in the 1950s. It's an uncomfortable truth, but one that we need to acknowledge and be aware of. Then he says:

I think that book banning is not the only threat. I mean, there are many threats right now, where it seems to be, memory is short, fascism is a while back, they don’t know much about it. And, you know, it’s maybe attractive. It’s so complicated to live in a plurality, a democracy of some kind, even if it’s a flawed one, and try to balance out all those needs, and make decisions for yourself. So there’s a desire to keep it simple. And maybe fascism looks simple to them. And it seems to be the direction we’re moving in, more and more in various ways. And not just in America. It’s a worldwide phenomenon. Art Spiegelman 2023

While many see book bans as something distant that happened in Nazi Germany and the USA, I'd like to mention here that Australia was at the forefront of book bans in the 1950s. The Horwitz Code for comics was set up before the Comics Code Authority was created in the USA and there were various literature review boards across Australia set up in order to ban books they objected to. Comics were especially targeted as Daniel Best, author and comics historian explains here

Boards were being formed in almost every state. South Australia was attempting to have amendments to its Police Offences Bill to deal with ‘objectionable literature’ in August, 1953 and New South Wales and Victoria were looking to follow suit. The state leading the way for outright banning was Queensland. Various mothers groups were calling for censorship of both comic books and film. In March, 1954, the Queensland Literature Board Of review was formed and duly announced. Its role was simple – to ban comic books in the state of Queensland.  Once a comic book was banned in one state, other states would unofficially adopt the bans, thus preventing a title from being on sale, resulting in cancellations and publishers either going out of business or looking at other mediums to stay afloat. The Board was up and running and busily banning comic books before the year was out. Daniel Best, 2014 

This year, in Australia, a pattern is emerging. Those who are challenging books and want them out of libraries are targeting books with LGBTQ+ themes and comics. The bulk of titles being challenged are clearly LGBTQ+ books. That is very clear. But they're also targeting comics and they often use images from comics and manga to make their case. 

In fact, eleven publications have been referred to the Australian Classification Board this year. All eleven of them are comics. They are, the six volume collected edition of The Boys by Garth Ennis and Darick Robertson, Gender Queer by Maia Kobabe, three volumes of Warrior Nun Areala Rituals created by Ben Dunn and published between 1995 and 2003, and Crossed Badlands 41 by David Hine and German Erramouspe, published in 2013. 

The ALIA Graphic Novels and Comics blog has all the information here about the decision taken by the board for The Boys (essentially, three volumes have been banned in Queensland and severely restricted in other states, the other three are classified as unrestricted M). The ACB's decision on Gender Queer was appealed and it's with the review board. They initially classified it as Unrestricted M (not recommended for readers under 15) in a decision announced April 3 but we're waiting on the final decision, which should be announced soon. 

Warrior Nun Areala Rituals is only available in one university library and Crossed Badlans 41, doesn't appear to be in any library in Australia.

We know why they're targeting rainbow and pride books. These radical conservative and religious individuals cannot accept people outside their narrow minded dark cave. Anyone who lives their lives beyond the strict and narrow confines of what they deem appropriate is attacked and it's a vicious culture war with devastating consequences.

The LGBTQ+ books they're targeting include picture books and non-fiction books for children. They talk about pornography, grooming and pedophilia, but it's all about erasing any mention of LGBTQ+ people altogether. They want them criminalised, humiliated and gone. We've seen this many times before. Including, as Spiegelman notes in the interview above, by the Nazis, who attacked LGBTQ+ people first.

But why comics? Why again? What is it that frightens them so much about comics? 

I believe there are various reasons but it all comes down to the incredible power this medium that we love so much has. The unique mix of words and visuals on the page, where the reader, not the creator or anyone else, is in total control of the reading process.

In fiction, there are no visuals but the ones you make in your head. In theatre, the actors are on stage telling the story. In film, you can pause an image but otherwise, the film moves at 24 frames per second. You are not in control as a viewer. 

But in comics, you have a unique mix of words and visual where you, the reader, are in total control. You can choose the reading speed. You may stay with a panel for a long time, or quickly glance at it and absorb what's going while jumping to the next panel. You can focus on one detail or move to the previous panel and back to that detail. You can focus on one panel or look at the page as a whole.

You may in fact, look at more than one space and time in different panels at the same time while putting all of that together in your brain and constructing the sequence in your mind. 

And then, there something else. Spiegelman mentions the power of the image and the mix of words and pictures and how, when they combine, something magical happens. Not only do they have bigger impact at the moment of reading, but they stay with us longer. They stick in our mind.

There’s something about pictures. Pictures go straight into your brain, you can’t block them, right through your eyes. You see it, you can’t unsee it. With words, we’ve actually got to struggle to understand the word before you can be puzzled or surprised or enlightened by those words. 

... So basically, it’s because pictures are so strong, it’s words and pictures combined, they’re actually stronger than either one alone. And it’s easier to take information in and study. Unlike a movie, comics stand still. Art Spiegelman 2023

There's also the issue of their high popularity. Comic book sales have been growing and growing in the last few years. At libraries, we can also see how popular they are and how they get kids hooked to reading. Those kids that fill their bags with junior graphic novels and manga turn into life long readers who read a lot and read widely. And life long readers are dangerous you see?

Reading is dangerous for these radical conservative and religious types, because people who read are, generally, more empathetic and better informed. They cannot accept that. The idea of an informed, empathetic community frightens them because they cherish and thrive in an environment of fear and division.

Parents, psychiatrists, teachers, librarians, we were all complicit and active in banning books and comics in the 1950s. There's no denying it and no escaping from it. Thankfully, I'd like to think, that decades later we know better. I'm glad that librarians and teachers are defending comics, graphic novels and LGBTQ+ books from attacks these days. 

Yes, there are still pockets of people in education and libraries who are still prejudiced against comics as a medium. But, graphic novels, as we like to call them these days, are far more accepted and available. We know, that this is a literary art form with wide appeal and merit that we must defend and advocate for. It's up to all of us, we all need to go to our kids school and our public library ready to fight for them.

Comics are also very high circulating items in libraries with a great return on investment ratio. Graphic novel collections are among the best performing collections at public and school libraries, particularly Junior and YA graphic novels. In fact, I was at a library recently and the Junior Graphic Novels shelves looked really empty and sad. I talked to a librarian there and mentioned that it looked like they needed more. She smiled and agreed with me. Then, she proceeded to tell me that about 70% of the junior graphic novels were out on loan.

This is common place in a lot of libraries. Libraries who have a dedicated junior graphic novels section that is current and up to date suffer from this kind of success. Stand around the junior graphic novels after school or on the weekend and you'll see kids empty the shelves and fill bags. The same goes for YA graphic novels. Especially, YA manga.

In libraries and schools, we must talk about the benefits of comics as a medium and their literacy super powers. Comics are multimodal texts, where the reader must use multiple literacies to decode all the elements of the text and make meaning. Here's an example, following and adapting The New London model.


Comics model efficient, economic and concise writing. You can't have long chunks of text, so every word matters. Perhaps, this is why they also have a high incidence of rare words per 1000, which is higher than adult books.

Sadly, challenges to books and attempts at bans are no longer something that only happens in the USA. They've reached Australia and we cannot be complacent. Every library needs a graphic novels champion and we have to be prepared.

So activate your brain. In fact, light up your whole brain and read comics. Because reading comics, as you decode words and multiple visual elements, putting them together to make meaning, more of your brain lights up. This is a joy they can't take away from us. 

Share books and comics. Advocate for them and advocate for LGBTQ+ books and people.

I'd like to talk about Maia Kobabe's Gender Queer but I, deliberately, chose not to, as the book is still with the Australian Classification Review Board. We can talk about it when the decision's announced. And when I do, I should also talk about The Boys by Garth Ennis and Darick Robertson. It's a comic for adults and it's now banned in Queensland, but the live action TV series adaptation is available. Total nonsense.

But this blog post is long enough for now. Time to sign and out and read a comic.


This blog post initially stated that seven publications have been classified in 2023 so far, this was wrong and has now been amended to eleven publications, all of them comics, with added information. 

Get on Board With the New Wave of Australian Graphic Novels

The June Incite magazine is packed with great articles. 

It includes one about the new wave of Australian comics. I loved writing this article and I'm so excited about the future of comics in libraries and of Australian comics. It's free to read for ALIA members on the ALIA Incite magazine site here. However, if you're not a member, you can read the whole article below (click on the images to make them bigger and easier to read).

 







King Con! A dream come true

The previous two days had been horrendous. Melbourne insisted on cold and rain but we needed a nice sunny Autumn day. It was a chilly morning but the forecast for Saturday May 27 was favourable, as we gathered at the library to prepare the last few bits and pieces. It was going to be a beautiful day in more ways than one.

Everything was ready, we had worked hard for months to reach out to comic book creators, to games experts, to community groups active in different activities and fandom. We knew it was a good program with a good balance of events covering comics, games and pop culture.

We were confident of the program and the work that'd gone into putting it all together. But even the best program can fail. What if there was some other event that we didn't know about? What if only a little bunch of people showed up? 

Did we do enough to promote it? I looked at the poster and smiled.

As the opening time approached, any doubts we had quickly vanished in thin air replaced by a concern. There was an enormous crowd gathering outside, ready to storm the library. 

It was a rush, a wave, a flood.

Had we underestimated how many people were coming through the library's doors? Would we have to turn people away? 

One thing became clear. Our first, little library comic con was a resounding success. Our first King Con! and we had already outgrown the space.


But we have to go back to 2019. Fel, a children and youth librarian, and I thought of putting a comic con-like event at the library. Our dream was to have a totally free event at the library that would bring everything we loved together. Authors, artists, comics, video games, table top games, D&D, LARP, cosplay, pop culture, etc. An event that would bring different fandoms and interests together. And an event for everyone, from little kids, to young adults, to adults. 

We dreamed up the event, put a proposal together and it was supported by management. 

As we started planning the event and we started confirming festival guests, the pandemic arrived at our door. All doors where shut, we had to cancel the whole thing and put King Con! in the back-burner. That was such a disheartening day!

But no one can kill King Con!

Spring was in the air in 2022 when we started receiving some positive signals from management. They said there was a budget, they talked about 2023, and they wanted us to revisit our old plans and start again.

A committee was set up. Fel and I presented our idea and plans. Most of the event was already there, the main events we wanted, the authors, the games, who to contact. The work we had done previously paid off. 

Organising an event like this at the library takes months and even though we started planning in November 2022 for a May 2023 event, and we had an incredible committee of hard working library staff, we all wished we had a bit more time.

More time would be better. Sure. But as more and more people burst into the library, dressed as a Jedi, greeting everyone as they came in and directing them as best I could, I knew that we had created something special.


Libraries are there to serve the community, to cater for a diverse range of people and interests. While I'm proud of what we do every day and the fact that we continue to be a space that offers access to information and entertainment for free (an incredibly rare thing nowadays, where everything has a price tag). It's events like this that I have long wanted to see at libraries. And I have looked with envy from a distance, at Comic Con-versation in Sydney, Comic Gong in Wollongong, Dandy Con in Dandenong and the Comic Con events at YPRL in 2019. 

I've always felt that libraries are really good at having programs for babies, primary school children and adults. But I've always wanted more programs for young adults and programs that bring everyone together.

As the event unfolded, surrounded by characters from Star Wars, superhero comics and movies, manga and anime, fantasy and sci-fi books. 

As I saw a group of teenagers cosplaying Demon Slayer and other anime characters. 

As children laughed with Andrew McDonald and Ben Wood's Real Pigeons talk. 

As people of all ages joined Dean Rankine's comics workshop. 

As people gathered to see the Exodus LARPers battle each other and the Southern Rogue Saber Corps demonstrate their lightsaber fighting skills. 

As people of all ages gathered around tables to have a go at different table top games, Minecraft and VR games, and to go on a D&D quest. 

I knew that the dream Fel and I had was worth it. That the hard work the committee put into putting the whole event together was worth it. 


I didn't have time to feel the emotion in the course of the day. I was busy running around ensuring that everything run smoothly. That I was where I had to be. But at the end of the day, when I arrived home, totally exhausted and wrecked, I couldn't help but shed a few tears. Good tears, of joy and relief. 

We put an event together and the community joined us to party. King Con! is here to stay and we can't wait to start preparing next year's event.

A massive thank you to Fel (my co-conspirator), the whole King Con! committee for putting in 100% and then some more, for management for believing in our idea and supporting it, all the festival guests for fully embracing the event and being amazing all day, and the community for joining the party.