Podcast appearances and mentions of Hillary Chute

Hosted by Andrew Keen, Keen On features conversations with some of the world's leading thinkers and writers about the economic, political, and technological issues being discussed in the news, right now. In this episode, Andrew is joined by Hillary Chute, author of Maus Now. This conversation was done in partnership with the Miami Book Fair. HILLARY CHUTE is an American literary scholar and an expert on comics and graphic narratives. She is Distinguished Professor of English and Art + Design at Northeastern University and the author or editor of seven titles on comics, including, most recently, her book, Why Comics? From Underground to Everywhere. She is a comics and graphic novels columnist for The New York Times Book Review. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we are further diving into the recent banning of Art Spiegelman's Maus by a school board in TN by speaking with comics scholar Hillary Chute, Distinguished Professor of English and Art + Design at Northeastern University and associate editor of MetaMaus. She discusses the history of the original publication of Maus and Spiegelman's roots in the Underground Comics movement, which led to the elevation of the graphic novel. Then we move on to looking at why the book has been banned by the McMinn County, TN education board and situating those reasons within a larger context, including issues of otherizing Jewish histories and complicated parent/child relationships. She also uses examples from Maus to explain the power of comics as a teaching tool, and a way of processing trauma.A full transcript of this episode will be available soon!Here are some of the references from this episode, for those who want to dig a little deeper:Our previous episode on the broader context of recent comics censorship, with critic Jeet Heer & Jeff Trexler of the CBLDFMausMetaMausOriginal publication of Maus in 1972 Funny Aminals anthologyBinky Brown Meets the Holy Virgin Mary (Justin Green, who passed away just before we released this episode)History of Raw magazine, Art Spiegelman & Françoise MoulyZap Comix, Robert CrumbMcMinn, TN Education board censorship of MausOther Holocaust narratives taught in schools (and banned):Night and Fog (1956 film)Banning Anne Frank – A Case of CensorshipSpiegelman and Sendak Collab Strip about kids reading MausSpiegelman's Support for Children Comics:Toon Books ImprintLittle Lit anthology seriesGender Queer, Maia KobabeHillary's forthcoming book of essays about Maus, Maus NowOur previous episode with comics theorist Scott McCloudHillary's recommendation: Joe SaccoOur previous episode with Carol Tyler & Mimi Pond and the emergence of female-centered underground comicsIn the Shadow of No Towers (Henry's own writing on No Towers can be found here)Reprinting classic comics – Sunday Press Fantagraphics(NSFW or kids!) Wally Wood's “Disneyland Memorial Orgy”Will EisnerClassics Illustrated comicsLibrarians and ComicsShare your thoughts via Twitter with Henry, Colin and the How Do You Like It So Far? account! You can also email us at howdoyoulikeitsofarpodcast@gmail.com.Music:“In Time” by Dylan Emmett and “Spaceship” by Lesion X.––––––––––––––––––––––––––––––In Time (Instrumental) by Dylan Emmet  https://soundcloud.com/dylanemmetSpaceship by Lesion X https://soundcloud.com/lesionxbeatsCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: https://bit.ly/in-time-instrumentalFree Download / Stream: https://bit.ly/lesion-x-spaceshipMusic promoted by Audio Library https://youtu.be/AzYoVrMLa1Q––––––––––––––––––––––––––––––

To celebrate his forty-two years as the editor of Critical Inquiry, we asked past and present contributors and editors Homi Bhabha (0:55), Frances Ferguson (7:35),  Elizabeth Abel (10:07), Lauren Berlant (16:08), Slavoj Žižek (19:20), and Hillary Chute (27:30) to share … Continue reading →

To celebrate his forty-two years as the editor of Critical Inquiry, we asked past and present contributors and editors Homi Bhabha (0:55), Frances Ferguson (7:35),  Elizabeth Abel (10:07), Lauren Berlant (16:08), Slavoj Žižek (19:20), and Hillary Chute (27:30) to share … Continue reading →

 Art Spiegelman's Maus is the story of an American cartoonist's efforts to uncover and record his father's story of survival of the Holocaust. It is also a cartoon, where the Jews are mice, the Nazis cats, the Poles dogs, and the French, well, you'll have to read it. It's a story of survival and also a story of silences, and how the next generation can find and make sense of stories that seem to defy representation in their sheer horror. It's also a triumph in story-telling and a serious meditation on good and evil; on the nature of Romantic; familiar and filial love; on America's legacy of absorbing immigrants who arrive with often unspeakable traumas in a past that finds little resonance in a culture obsessed with entertainment and fast news. Maus upended the conventions of representing the Holocaust and historical trauma for a far greater audience than the American Jewish communities. It broke several rules: it spoke about past suffering to outsiders, it used low-culture to represent catastrophes, and it refused to turn the catastrophe of the Holocaust into a redemptive tale. It charted a way for others to take possession of their parents' stories without betraying them but also without letting them overwhelm the next generation, analogous to Alex Haley's magisterial Roots. I spoke with Hillary Chute, a scholar of cartoons and American literature and Distinguished Professor of English and Art + Design at Northeastern University. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

 Art Spiegelman's Maus is the story of an American cartoonist's efforts to uncover and record his father's story of survival of the Holocaust. It is also a cartoon, where the Jews are mice, the Nazis cats, the Poles dogs, and the French, well, you'll have to read it. It's a story of survival and also a story of silences, and how the next generation can find and make sense of stories that seem to defy representation in their sheer horror. It's also a triumph in story-telling and a serious meditation on good and evil; on the nature of Romantic; familiar and filial love; on America's legacy of absorbing immigrants who arrive with often unspeakable traumas in a past that finds little resonance in a culture obsessed with entertainment and fast news. Maus upended the conventions of representing the Holocaust and historical trauma for a far greater audience than the American Jewish communities. It broke several rules: it spoke about past suffering to outsiders, it used low-culture to represent catastrophes, and it refused to turn the catastrophe of the Holocaust into a redemptive tale. It charted a way for others to take possession of their parents' stories without betraying them but also without letting them overwhelm the next generation, analogous to Alex Haley's magisterial Roots. I spoke with Hillary Chute, a scholar of cartoons and American literature and Distinguished Professor of English and Art + Design at Northeastern University. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

 Art Spiegelman's Maus is the story of an American cartoonist's efforts to uncover and record his father's story of survival of the Holocaust. It is also a cartoon, where the Jews are mice, the Nazis cats, the Poles dogs, and the French, well, you'll have to read it. It's a story of survival and also a story of silences, and how the next generation can find and make sense of stories that seem to defy representation in their sheer horror. It's also a triumph in story-telling and a serious meditation on good and evil; on the nature of Romantic; familiar and filial love; on America's legacy of absorbing immigrants who arrive with often unspeakable traumas in a past that finds little resonance in a culture obsessed with entertainment and fast news. Maus upended the conventions of representing the Holocaust and historical trauma for a far greater audience than the American Jewish communities. It broke several rules: it spoke about past suffering to outsiders, it used low-culture to represent catastrophes, and it refused to turn the catastrophe of the Holocaust into a redemptive tale. It charted a way for others to take possession of their parents' stories without betraying them but also without letting them overwhelm the next generation, analogous to Alex Haley's magisterial Roots. I spoke with Hillary Chute, a scholar of cartoons and American literature and Distinguished Professor of English and Art + Design at Northeastern University. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

 Art Spiegelman's Maus is the story of an American cartoonist's efforts to uncover and record his father's story of survival of the Holocaust. It is also a cartoon, where the Jews are mice, the Nazis cats, the Poles dogs, and the French, well, you'll have to read it. It's a story of survival and also a story of silences, and how the next generation can find and make sense of stories that seem to defy representation in their sheer horror. It's also a triumph in story-telling and a serious meditation on good and evil; on the nature of Romantic; familiar and filial love; on America's legacy of absorbing immigrants who arrive with often unspeakable traumas in a past that finds little resonance in a culture obsessed with entertainment and fast news. Maus upended the conventions of representing the Holocaust and historical trauma for a far greater audience than the American Jewish communities. It broke several rules: it spoke about past suffering to outsiders, it used low-culture to represent catastrophes, and it refused to turn the catastrophe of the Holocaust into a redemptive tale. It charted a way for others to take possession of their parents' stories without betraying them but also without letting them overwhelm the next generation, analogous to Alex Haley's magisterial Roots. I spoke with Hillary Chute, a scholar of cartoons and American literature and Distinguished Professor of English and Art + Design at Northeastern University. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

 Art Spiegelman's Maus is the story of an American cartoonist's efforts to uncover and record his father's story of survival of the Holocaust. It is also a cartoon, where the Jews are mice, the Nazis cats, the Poles dogs, and the French, well, you'll have to read it. It's a story of survival and also a story of silences, and how the next generation can find and make sense of stories that seem to defy representation in their sheer horror. It's also a triumph in story-telling and a serious meditation on good and evil; on the nature of Romantic; familiar and filial love; on America's legacy of absorbing immigrants who arrive with often unspeakable traumas in a past that finds little resonance in a culture obsessed with entertainment and fast news. Maus upended the conventions of representing the Holocaust and historical trauma for a far greater audience than the American Jewish communities. It broke several rules: it spoke about past suffering to outsiders, it used low-culture to represent catastrophes, and it refused to turn the catastrophe of the Holocaust into a redemptive tale. It charted a way for others to take possession of their parents' stories without betraying them but also without letting them overwhelm the next generation, analogous to Alex Haley's magisterial Roots. I spoke with Hillary Chute, a scholar of cartoons and American literature and Distinguished Professor of English and Art + Design at Northeastern University. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

 Art Spiegelman's Maus is the story of an American cartoonist's efforts to uncover and record his father's story of survival of the Holocaust. It is also a cartoon, where the Jews are mice, the Nazis cats, the Poles dogs, and the French, well, you'll have to read it. It's a story of survival and also a story of silences, and how the next generation can find and make sense of stories that seem to defy representation in their sheer horror. It's also a triumph in story-telling and a serious meditation on good and evil; on the nature of Romantic; familiar and filial love; on America's legacy of absorbing immigrants who arrive with often unspeakable traumas in a past that finds little resonance in a culture obsessed with entertainment and fast news. Maus upended the conventions of representing the Holocaust and historical trauma for a far greater audience than the American Jewish communities. It broke several rules: it spoke about past suffering to outsiders, it used low-culture to represent catastrophes, and it refused to turn the catastrophe of the Holocaust into a redemptive tale. It charted a way for others to take possession of their parents' stories without betraying them but also without letting them overwhelm the next generation, analogous to Alex Haley's magisterial Roots. I spoke with Hillary Chute, a scholar of cartoons and American literature and Distinguished Professor of English and Art + Design at Northeastern University. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

Art Spiegelman's Maus is the story of an American cartoonist's efforts to uncover and record his father's story of survival of the Holocaust. It is also a cartoon, where the Jews are mice, the Nazis cats, the Poles dogs, and the French, well, you'll have to read it. It's a story of survival and also a story of silences, and how the next generation can find and make sense of stories that seem to defy representation in their sheer horror. It's also a triumph in story-telling and a serious meditation on good and evil; on the nature of Romantic; familiar and filial love; on America's legacy of absorbing immigrants who arrive with often unspeakable traumas in a past that finds little resonance in a culture obsessed with entertainment and fast news. Maus upended the conventions of representing the Holocaust and historical trauma for a far greater audience than the American Jewish communities. It broke several rules: it spoke about past suffering to outsiders, it used low-culture to represent catastrophes, and it refused to turn the catastrophe of the Holocaust into a redemptive tale. It charted a way for others to take possession of their parents' stories without betraying them but also without letting them overwhelm the next generation, analogous to Alex Haley's magisterial Roots. I spoke with Hillary Chute, a scholar of cartoons and American literature and Distinguished Professor of English and Art + Design at Northeastern University.

Hillary Chute talks about new graphic books that address serious issues, and Nicole Lamy discusses her Match Book column, in which she helps readers find books they'll love.

Comics are often viewed as a lesser form of storytelling, colored as they are by the superhero movies that fill multiplexes in the summer. But in the unique way they combine hand-drawn images with equally flexible lettering, comics can also convey profound expressions of humanity. Joining us in Episode 9 is Hillary Chute, Professor of […]

2017 Seattle conference keynote Hillary Chute discusses comics in the area of illness and disability. This talk is based on a chapter of her new book Why Comics? From Underground to Everywhere. Download episode.

Beard talks about her new manifesto, and Hillary Chute discusses “Why Comics? From Underground to Everywhere.”

Hillary Chute is the Author of Why Comics? From Underground to Everywhere and a Professor of English and Art + Design at Northeastern University. Her new book focuses on the maturing field of Comics, as she likes to call it, with the popularity of the graphic novel form. In this interview she breaks down the chapters of her book into Why Punk? Why Sex? Why Suburbs, and weighs in on the political power of comics, their cultural place in American history and the power of the drawn line. Heidi Legg dives in with Comics expert, author and Professor Hillary Chute in this compelling interview around a maturing field long nascent in America covering everything from superheroes, comics classics, graphic novels, sexual harassment, free speech, the emerging comics in the form of editorial and journalism and more. 

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

The Guests: Greg Kirkorian http://gregariousstreak.com/ https://www.facebook.com/plumpbundt/ https://twitter.com/plumpbundt Madeleine Lloyd-Davies http://sothisallseemshorrible.tumblr.com/ The Books: “Classical Mythology” lectures of Professor Elizabeth Vandiver, Ph. D through “The Great Courses” http://www.thegreatcourses.com/courses/classical-mythology.html, “On the Move” by Oliver Sacks, Kate Beaton, “Oh Joy Sex Toy” by Erika Moen and Matthew Nolan http://www.ohjoysextoy.com/, Tom of Finland, “Dune” by Frank Herbert, “Holy Sonnets: Batter my heart, three-person’d God” by John Donne, “Gravity’s Rainbow” by Thomas Pynchon, “Alexander Hamilton” by Ron Chernow, Romanian Folktales, Harry Bush, “Massive” by Anne Ishii, Leah Wishnia, "Graphic Women" by Hillary Chute, “About Writing” by Samuel R. Delany The Music: “Buzzcut Season” by Lorde and “Sexual Healing” by My Bubba Actionable Takeaway: Explore something that hitherto-now you have not. Ask yourself why you read the things you read. Polari, Gay Dialect link: http://www.slate.com/blogs/outward/2015/07/28/polari_the_gay_dialect_can_be_heard_in_this_great_short_film_putting_on.html Jia's Jezebel: http://jezebel.com/damn-youre-not-reading-any-books-by-white-men-this-yea-1751094468 Cortez “Burn the Ships” #inkandworm #rfb #allbodiesaresexy #queereroticcomics #flamecon2016 #language #queernessnormalized #writingishard #greekmythology #greekmythologyisAMAZING #writersneedtherapists #writeaterriblenovel #writetheworstromancenovel #riverwriting #writethecrapout #wordswithpictures #benice #inheritedbeliefs #thosekids #digitalexpansion #onlinecommunities #littlegirlsneedcomics #womenincomics #anonymity #holisticsexuality #shock #burntheships #womentrendingincomics #madeupstoriesarethebest #spidersolitaire #cleanyourspace #rituals

Cartoonists Lynda Barry and Alison Bechdel have created two of the most significant autobiographies of the 21st-century. In April 2011, Wellesley's Newhouse Center for the Humanities presented readings from Bechdel, author of the syndicated comic Dykes to Watch Out For and the groundbreaking graphic autobiography Fun Home, and Barry, author of the weekly Ernie Pook's Comeek as well as the award-winning graphic novel What It Is. The event focused on how these two acclaimed artists have represented aspects of their lives in graphic autobiographies that have changed the field of contemporary narrative. Hillary Chute, assistant professor of English at the University of Chicago and author of Graphic Women: Life Narrative and Contemporary Comics, moderated a discussion following the reading.