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Drawing Lessons
by Tracy MackTwelve-year-old Rory begins to lose the passion for making art that she shares with her father after she finds him kissing his female model and fears for the safety of her parents' marriage.
Drawing Lessons from a Bear
by David M. Mcphail"You can't be a bear, you know, but you can be an artist. Are you an artist? Then say so. Say it softly to yourself, or say it loudly for the whole world to hear: I AM AN ARTIST! There. Now you are an artist. For all time and forever." From his earliest scratchings on the floor of his den to his drawings for kings and queens and princesses, this down-to-earth bear artist guides and encourages young readers to follow their dreams. Support from his mom (who hangs his first pictures on the wall of the den with magnetic rocks) and his teacher, as well as inspiration from art museums and the world around him, create an environment where the fuzzy artist can learn and grow. Warmly humorous text by David McPhail, the beloved human artist and author of more than 50 children's books (including Edward and the Pirates), will inspire bears and human beings alike to pursue their artistic aspirations.
Drawing Lines: An Anthology of Women Cartoonists
by Joyce Carol Oates Trina Robbins Colleen Coover Gail Simone Roberta GregoryShowcasing stories from some of the comics' greatest female creators, this anthology features stories that range from mainstream adventures to hilarious comic shorts to heart-wrenching autobiographical stories. Originally published as Sexy Chix in 2006, this new edition is presented in a new, larger size!Featuring over a dozen stories by top talents like New York Times bestselling author Joyce Carol Oates, Eisner Award-winning illustrator Jill Thompson, Scary Godmother creator Colleen Doran, DC Comics creators Gail Simone and Joëlle Jones, and many more!
Drawing Outside the Lines: A Julia Morgan Novel
by Susan AustinMeet the brilliant, fearless, and ambitious Julia Morgan. In 1883, eleven-year-old Julia visits the amazing new Brooklyn Bridge—an experience that ignites within her a small but persistent flame. Someday, she decides, she too will build an astounding structure. Growing up in horse-and-buggy Oakland, Julia enjoys daring fence walks, climbing the tallest trees, and constantly testing her mother&’s patience with her lack of interest in domestic duties and social events. At a time when &“brainy&” girls are the object of ridicule, Julia excels in school and consistently outsmarts her ornery brothers—but she has an even greater battle ahead. When she enrolls at university to study engineering, the male students taunt her, and the professors belittle her. Through it all, however, Julia holds on to her dream of becoming an architect. She faces each challenge head-on, firmly standing up to those who believe a woman&’s place is in the home. Fortunately, the world has yet to meet anyone like the indomitable Miss Morgan. Drawing Outside the Lines is an imagined childhood of pioneering architect Julia Morgan, who left behind her an extraordinary legacy of creativity, beauty, and engineering marvels.
Drawing Political Narratives with Humor in Kashmir: Satirical Brushstrokes
by Heeba DinThis book explores the remarkable ability of political cartoons in the region to craft and preserve an alternative narrative by employing the potent tool of political humor. Over the centuries, political humor, delivered through satire, caricature, ridicule, or irony, has been a powerful instrument for scrutinizing the establishment and unveiling the shortcomings and absurdities within society. In this book, the author delves into the meaning-generational structures utilized by political cartoons to amplify the underlying political-socio-cultural ideologies. It also investigates the pivotal role of political humor in shaping and defining the discourse in Kashmir. This book sheds light on the enduring impact of satire and caricature as instruments for not only commenting on contemporary issues but also for creating and sustaining a collective memory that reflects the complex sociopolitical dynamics that have characterized Kashmir throughout its history.
Drawing Power: Women's Stories of Sexual Violence, Harassment, and Survival
by Diane Noomin; Roxane GayInspired by the global #MeToo Movement, Drawing Power: Women’s Stories of Sexual Violence, Harassment, and Survival is a collection of original, nonfiction comics drawn by more than 60 female cartoonists from around the world. Featuring such noted creators as Emil Ferris, Aline Kominsky-Crumb, MariNaomi, Liana Finck, and Ebony Flowers the anthology’s contributors comprise a diverse group of many ages, sexual orientations, and races—and their personal stories convey the wide spectrum of sexual harassment and abuse that is still all too commonplace. With a percentage of profits going to RAINN, Drawing Power is an anthology that stokes the fires of progressive social upheaval, in the fight for a better, safer world. Full list of contributors: Rachel Ang, Zoe Belsinger, Jennifer Camper, Caitlin Cass, Tyler Cohen, Marguerite Dabaie, Soumya Dhulekar, Wallis Eates, Trinidad Escobar, Kat Fajardo, Joyce Farmer, Emil Ferris, Liana Finck, Sarah Firth, Mary Fleener, Ebony Flowers, Claire Folkman, Noel Franklin Katie Fricas, Siobhán Gallagher, Joamette Gil, J. Gonzalez-Blitz, Georgiana Goodwin, Roberta Gregory, Marian Henley, Soizick Jaffre Avy Jetter, Sabba Khan, Kendra Josie Kirkpatrick, Aline Kominsky-Crumb, Nina Laden, Miss Lasko-Gross, Carol Lay, Miriam Libicki Sarah Lightman, LubaDalu, Ajuan Mance, MariNaomi, Lee Marrs, Liz Mayorga, Lena Merhej, Bridget Meyne, Carta Monir, Hila Noam Diane Noomin, Breena Nuñez, Meg O’Shea, Corinne Pearlman, Cathrin Peterslund, Minnie Phan, Kelly Phillips, Powerpaola, Sarah Allen Reed, Kaylee Rowena, Ariel Schrag, M. Louise Stanley, Maria Stoian, Nicola Streeten, Marcela Trujillo, Carol Tyler, Una, Lenora Yerkes, Ilana Zeffren
Drawing The Sword: Volume 1 (Volume 1 #1)
by Zuo ShaoHe, a wandering orphan, was fortunate enough to witness the confrontation between two peerless experts, and thought that the two of them were legendary immortals. Legend has it that the pinnacle of martial arts can shatter space and become an Immortal God! He decided: I will shatter the void and become an immortal god, and enjoy eternal life! [Previous Chapter] [Table of Contents] [Next Chapter]
Drawing The Sword: Volume 2 (Volume 2 #2)
by Zuo ShaoHe, a wandering orphan, was fortunate enough to witness the confrontation between two peerless experts, and thought that the two of them were legendary immortals. Legend has it that the pinnacle of martial arts can shatter space and become an Immortal God! He decided: I will shatter the void and become an immortal god, and enjoy eternal life! [Previous Chapter] [Table of Contents] [Next Chapter]
Drawing from Life: Memory and Subjectivity in Comic Art
by Jane TolmieAutobiography has seen enormous expansions and challenges over the past decades. One of these expansions has been in comics, and it is an expansion that pushes back against any postmodern notion of the death of the author/subject, while also demanding new approaches from critics. Drawing from Life: Memory and Subjectivity in Comic Art is a collection of essays about autobiography, semi-autobiography, fictionalized autobiography, memory, and self-narration in sequential art, or comics. Contributors come from a range of academic backgrounds including English, American studies, comparative literature, gender studies, art history, and cultural studies. The book engages with well-known figures such as Art Spiegelman, Marjane Satrapi, and Alison Bechdel; with cult-status figures such as Martin Vaughn-James; and with lesser-known works by artists such as Frédéric Boilet. Negotiations between artist/writer/body and drawn/written/text raise questions of how comics construct identity, and are read and perceived, requiring a critical turn towards theorizing the comics' viewer. At stake in comic memoir and semi-autobiography is embodiment. Remembering a scene with the intent of rendering it in sequential art requires nonlinear thinking and engagement with physicality. Who was in the room and where? What was worn? Who spoke first? What images dominated the encounter? Did anybody smile? Man or mouse? Unhinged from the summary paragraph, the comics artist must confront the fact of the flesh, or the corporeal world, and they do so with fascinating results.
Drawing from the Archives: Comics Memory in the Contemporary Graphic Novel (Cambridge Studies in Graphic Narratives)
by Benoît CrucifixFollowing Art Spiegelman's declaration that 'the future of comics is in the past,' this book considers comics memory in the contemporary North American graphic novel. Cartoonists such as Chris Ware, Seth, Charles Burns, Daniel Clowes, and others have not only produced some of the most important graphic novels, they have also turned to the history of comics as a common visual heritage to pass on to new readers. This book is a full-length study of contemporary cartoonists when they are at work as historians: it offers a detailed description of how they draw from the archives of comics history, examining the different gestures of collecting, curating, reprinting, swiping, and undrawing that give shape to their engagement with the past. In recognizing these different acts of transmission, this book argues for a material and vernacular history of how comics are remembered, shared, and recirculated over time.
Drawing on Religion: Reading and the Moral Imagination in Comics and Graphic Novels
by Ken Koltun-FrommComics traffic in stereotypes, which can translate into real danger, as was the case when, in 2015, two Muslim gunmen opened fire at the offices of Charlie Hebdo, which had published depictions of Islam and Muhammad perceived by many to be blasphemous. As a response to that tragedy, Ken Koltun-Fromm calls for us to expand our moral imaginations through readings of graphic religious narratives.Utilizing a range of comic books and graphic novels, including R. Crumb’s Book of Genesis Illustrated, Craig Thompson’s Blankets, the Vakil brothers’ 40 Sufi Comics, and Ms. Marvel, Koltun-Fromm argues that representing religion in these formats is an ethical issue. By focusing on the representation of Christian, Jewish, Muslim, and Hindu religious traditions, the comics discussed in this book bear witness to the ethical imagination, the possibilities of traversing religious landscapes, and the problematic status of racial, classed, and gendered characterizations of religious persons. Koltun-Fromm explores what religious stereotypes do and how they function in comics in ways that might expand or diminish our imaginative worlds. The pedagogical challenge, he argues, is to linger in that space and see those worlds well, with both ethical sensitivity and moral imagination.Accessibly written and vibrantly illustrated, this book sheds new light on the ways in which comic arts depict religious faith and culture. It will appeal to students and scholars of religion, literature, and comic studies.
Drawing on Religion: Reading and the Moral Imagination in Comics and Graphic Novels
by Ken Koltun-FrommComics traffic in stereotypes, which can translate into real danger, as was the case when, in 2015, two Muslim gunmen opened fire at the offices of Charlie Hebdo, which had published depictions of Islam and Muhammad perceived by many to be blasphemous. As a response to that tragedy, Ken Koltun-Fromm calls for us to expand our moral imaginations through readings of graphic religious narratives.Utilizing a range of comic books and graphic novels, including R. Crumb’s Book of Genesis Illustrated, Craig Thompson’s Blankets, the Vakil brothers’ 40 Sufi Comics, and Ms. Marvel, Koltun-Fromm argues that representing religion in these formats is an ethical issue. By focusing on the representation of Christian, Jewish, Muslim, and Hindu religious traditions, the comics discussed in this book bear witness to the ethical imagination, the possibilities of traversing religious landscapes, and the problematic status of racial, classed, and gendered characterizations of religious persons. Koltun-Fromm explores what religious stereotypes do and how they function in comics in ways that might expand or diminish our imaginative worlds. The pedagogical challenge, he argues, is to linger in that space and see those worlds well, with both ethical sensitivity and moral imagination.Accessibly written and vibrantly illustrated, this book sheds new light on the ways in which comic arts depict religious faith and culture. It will appeal to students and scholars of religion, literature, and comic studies.
Drawing the Curtain: Cervantes's Theatrical Revelations (Toronto Iberic)
by Esther Fernández Adrienne L. MartínMiguel de Cervantes’s experimentation with theatricality is frequently tied to the notion of revelation and disclosure of hidden truths. Drawing the Curtain showcases the elements of theatricality that characterize Cervantes’s prose and analyses the ways in which he uses theatricality in his own literary production. Bringing together the works of well-known scholars, who draw from a variety of disciplines and theoretical approaches, this collection demonstrates how Cervantes exploits revelation and disclosure to create dynamic dramatic moments that surprise and engage observers and readers. Hewing closely to Peter Brook’s notion of the bare or empty stage, Esther Fernández and Adrienne L. Martín argue that Cervantes’s omnipresent concern with theatricality manifests not only in his drama but also in the myriad metatheatrical instances dispersed throughout his prose works. In doing so, Drawing the Curtain sheds light on the ways in which Cervantes forces his readers to engage with themes that are central to his life and works, including love, freedom, truth, confinement, and otherness.
Drawing the Line: The Father Reimagined in Faulkner, Wright, O'Connor, and Morrison
by Doreen FowlerIn an original contribution to the psychoanalytic approach to literature, Doreen Fowler focuses on the fiction of four major American writers—William Faulkner, Richard Wright, Flannery O'Connor, and Toni Morrison—to examine the father's function as a "border figure." Although the father has most commonly been interpreted as the figure who introduces opposition and exclusion to the child, Fowler finds in these literary depictions fathers who instead support the construction of a social identity by mediating between cultural oppositions.Fowler counters the widely accepted notion that boundaries are solely sites of exclusion and offers a new theoretical model of boundary construction. She argues that boundaries are mysterious, dangerous, in-between places where a balance of sameness and difference makes differentiation possible. In the fiction of these southern writers, father figures introduce a separate cultural identity by modeling this mix of relatedness and difference. Fathers intervene in the mother-child relationship, but the father is also closely related to both mother and child. This model of boundary formation as a balance of exclusion and relatedness suggests a way to join with others in an inclusive, multicultural community and still retain ethnic, racial, and gender differences. Fowler's model for the father's mediating role in initiating gender, race, and other social differences shows not only how psychoanalytic theory can be used to interpret fiction and cultural history but also how literature and history can reshape theory.
Drawing the Line: Toward an Aesthetics of Transitional Justice (Just Ideas)
by Carrol ClarksonDrawing the Line examines the ways in which cultural, political, and legal lines are imagined, drawn, crossed, erased, and redrawn in post-apartheid South Africa—through literary texts, artworks, and other forms of cultural production. Under the rubric of a philosophy of the limit, and with reference to a range of signifying acts and events, this book asks what it takes to recalibrate a sociopolitical scene, shifting perceptions of what counts and what matters, of what can be seen and heard, of what can be valued or regarded as meaningful.The book thus argues for an aesthetics of transitional justice and makes an appeal for a postapartheid aesthetic inquiry, as opposed to simply a political or a legal one. Each chapter brings a South African artwork, text, speech, building, or social encounter into conversation with debates in critical theory and continental philosophy, asking: What challenge do these South African acts of signification and resignification pose to current literary-philosophical debates?
Drawing the Ocean
by Carolyn MacculloughA gifted painter, Sadie comes from California to Connecticut determined to fit in at her new school. Yet her first attempt at making friends in the new town backfires when she reaches out to the loner everyone calls Fryin' Ryan, the very last person who can help her achieve her dream. And to further complicate matters, her twin brother, Ollie, keeps appearing to her, seeming to want something. Her twin brother, who died when they were twelve.
Drawing the Past, Volume 1: Comics and the Historical Imagination in the United States
by Dorian L. Alexander, Michael Goodrum and Philip SmithContributions by Lawrence Abrams, Dorian L. Alexander, Max Bledstein, Peter Cullen Bryan, Stephen Connor, Matthew J. Costello, Martin Flanagan, Michael Fuchs, Michael Goodrum, Bridget Keown, Kaleb Knoblach, Christina M. Knopf, Martin Lund, Jordan Newton, Stefan Rabitsch, Maryanne Rhett, and Philip SmithHistory has always been a matter of arranging evidence into a narrative, but the public debate over the meanings we attach to a given history can seem particularly acute in our current age. Like all artistic mediums, comics possess the power to mold history into shapes that serve its prospective audience and creator both. It makes sense, then, that history, no stranger to the creation of hagiographies, particularly in the service of nationalism and other political ideologies, is so easily summoned to the panelled page. Comics, like statues, museums, and other vehicles for historical narrative, make both monsters and heroes of men while fueling combative beliefs in personal versions of United States history.Drawing the Past, Volume 1: Comics and the Historical Imagination in the United States, the first book in a two-volume series, provides a map of current approaches to comics and their engagement with historical representation. The first section of the book on history and form explores the existence, shape, and influence of comics as a medium. The second section concerns the question of trauma, understood both as individual traumas that can shape the relationship between the narrator and object, and historical traumas that invite a reassessment of existing social, economic, and cultural assumptions. The final section on mythic histories delves into ways in which comics add to the mythology of the US.Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world.
Drawing the Past, Volume 2: Comics and the Historical Imagination in the World
by Dorian L. Alexander, Michael Goodrum and Philip SmithContributions 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.
Drawn
by Cecilia GrayAbsorbing... refreshing... a commendable YA novel with thriller, romance and coming-of-age elements in one neat package. --Kirkus Reviews4 Stars --San Francisco Book ReviewA wholly original tale of friendship and betrayal through the eyes--and lies--of one extraordinary girl.Sasha has a secret--she can make you spill your secret with nothing more than a question. Her strange gift makes her a burden to her foster family and a total freak of nature. Not that Sasha cares. Why should she when no one cares about her?Then the CIA knocks on her door. They want to give Sasha a new identity and drop her into a foreign country to infiltrate a ring of zealous graffiti terrorists. They want to give Sasha something to care about.To survive in a world where no one is who they seem, Sasha needs to make people trust her. But when that trust blossoms into love, Sasha is forced to choose between duty and friendship, between her mind and her heart... and whether to tell the truth or keep her secrets.* * *MORE PRAISE FOR DRAWNA strange, heart-wrenching new voice in the world of YA! --A Thousand Million WordsThis story is heartbreakingly good. --To Each Their Own ReviewsSpies, secret powers, foreign cities, and graffiti artists--this story is full of intrigue, suspense, romance and angst; a perfect fit for teens who love drama! --Becca Finnigan, GoodreadsI blew through it in one sitting--loved it. --Ashleigh Rousselle, Goodreads and Barnes and Noble BooksellerFilled with witty dialogue, lovable characters and a dash of romance, DRAWN is a truly refreshing and unique read. --Tweens Read Too and Reality LapseWords canNOT express how much I LOVED this book!! --Head in the CloudsI loved this story. A real treat... --Holly Andrews, Goodreads
Drawn
by Elle BrownleeSebastian (Sen) Holt is an artist currently in New Orleans. He's always been a wanderer, believing in fate and following signs to guide his destiny. Although he itches to pull up stakes, getting a painting into a gallery keeps him rooted. One morning his good friend calls him in desperate need of help with her cleaning business. Her regular cleaner flaked, she can't lose her client, and there's no one else. The job is at a large and recently restored house--and the owner, Morgan Ballard, comes home unexpectedly. They are immediately drawn together, as if they know each other, but they've never met. As they grow closer, Morgan behaves like two people. Sometimes he's friendly and casual, and other times intimate and demanding. Sen juggles his painting through bursts of vision-like inspiration, the cleaning job, and an unexpected commission--all while trying to unlock the growing mystery of the intense connection he feels to Morgan. He's not sure which scares him more--the strangeness surrounding their growing bond or that he's found someone to make him reconsider his lifelong wanderlust.
Drawn Away
by Holly BennettOne minute Jack's in math class. The next, he's on a dark, cobblestoned, empty street. Empty, that is, except for a skinny girl wrapped in a threadbare shawl. "Matches, mister?" she asks, and just like that, Jack's life collides with one of Hans Christian Andersen's grimmest tales. And just when he has almost convinced himself it was just a weird dream, it happens again. <P><P>Suddenly, Jack's ideas about what is "real" or "possible" no longer apply. While he and his new girlfriend, Lucy, struggle to understand who or what the Match Girl is, they come to realize they must also find a way to keep Jack away from her. The Match Girl is not just a sad, lonely soul; she's dangerous. And each time Jack is drawn into her gray, solitary world, she becomes stronger, more alive...and more attached to Jack. <P><P> She wants to keep Jack for her very own, even if that means he will die.
Drawn Blades
by Kelly McculloughOnce one of the world's greatest assassins, Aral Kingslayer has finally reclaimed his swords and his soul. But the forces that destroyed his patron Namara twelve years ago are still there, waiting, and his past as a Blade is never more than a shadow's breadth away.In the days before the fall of his goddess, only one other rivaled Aral's skills, Siri the Mythkiller--a woman who ruthlessly earned the title First Blade. As a friend, Aral owes her his loyalty. As a former lover, he owes her part of his heart. As a Blade, he owes her anything she asks, including his life.When Siri seeks Aral's aid, he knows he must go. But as they journey towards the ancient Sylvani Empire, only time will reveal whether Aral can save the former First Blade, or if he will simply fall with her...
Drawn Into Darkness
by Annette MccleaveServing a five-hundred-year sentence as a Soul Gatherer-one who battles demons for the souls of the dead-Lachlan MacGregor keeps his distance from humans. That is, until the lovely Rachel Lewis knocks on his door, begging for help. As they struggle to rescue her daughter from the clutches of a powerful demon, Lachlan finds himself increasingly drawn to the artistic single mother. But when Death assigns him an unbearable task, he's left wondering who will provide more for his soul.
Drawn Into Darkness
by Nancy SpringerDarkness lies closer than you think. . . . Liana Clymer is running away-from her divorce, from her past, from herself. Leaving behind everything she knows, she finds herself ensconced in a fuchsia-colored cottage in the swampy hinterlands of the Florida panhandle. Far from the grown sons who don’t return her calls, her only companion her dog, Liana decides to put her best foot forward and get to know whoever lives in the blue house across the street, the only neighbors within sight of her new home. But minutes after a teenage boy, Justin, answers the door and wins her over with his shy kindness, his face appears on the TV screen and is immediately recognizable as that of the child who was taken from his parents two years ago. Worse, Justin’s abductor has no intention of letting Liana go. A powerful will to live-and to save Justin too-seizes hold of Liana. She will fight tooth and nail to survive. But does she have what it takes to thwart a wily, depraved psychopath for whom abuse is a way of life. . . and killing is routine? .
Drawn That Way
by Elissa SussmanMoxie meets the world of animation in this fresh, unputdownable novel about a teen girl determined to prove herself in the boys&’ club of her dream industry no matter what it takes.Hayley Saffitz is confident, ambitious, and intent on following in the footsteps of her hero, renowned animation director, Bryan Beckett. When she&’s given a spot in his once-in-a-lifetime summer program, Hayley devises a plan: snag one of the internship&’s coveted directing opportunities. Dazzle Bryan with her talent. Secure a job post-graduation. Live her dream. Except she doesn&’t land one of the director positions. All of those go to boys. And one of them is Bryan&’s son, Bear. Despite Bear&’s obvious apathy for the internship, Hayley soon realizes that there&’s more to him than she expected. As they work together, the animosity between them thaws into undeniable chemistry and maybe something… more. But Hayley can&’t stop thinking about the chance she was refused. Determined to make a name for herself, Hayley recruits the five other young women in the program to develop their own short to sneak into the film festival at the end of the summer. As the internship winds down, however, one question remains: Will Hayley conform to the expectations of her idol, or will she risk her blossoming relationship with Bear—and her future—to prove that she&’s exactly as talented as she thinks she is?