Small Town Ontario Bodies

A review of Jeff Lemire’s Essex County (Top Shelf Productions, 2009)

By Derek Newman-Stille

Jeff Lemire’s Essex County provides a fascinating look into small town Ontario life. Rather than just fixating on the lives of the young in this coming-of-age narrative, Lemire explores the multiple times in our lives that we come-of-age and expresses the idea that we are constantly coming of age as we change and our social and bodily circumstances change. 
Lemire explores ideas of escape and settlement in small town Ontario life illustrating the way that home is something that constantly shifts and changes and is something that is made up as much of relationships to others and to traditions as it is about a physical space. Lemire complicates notions of home, portraying his characters as constantly trying to fit in but also feeling a sense of longing when they leave. 
Lemire’s exploration is about the people in Essex County, but it is also about their bodies since many of the characters become disabled at different points in the narrative, shifting their understandings of their own bodies and their bodily identities. As bodies change and shift, relationships are also altered and changed, pointing out the ways that our bodies are complicit in our understanding of our world. 
The graphic novel format of Essex County brings attention to the ways that bodies occupy spaces and the absence that they leave in the spaces they cease to occupy. 
To discover more about Essex County visit Top Shelf Productions at http://www.topshelfcomix.com/catalog/essex-county/640

To find out more about Jeff Lemire, visit his website at http://jefflemire.blogspot.ca/ 

Psychiatric Survivor Superhero

A review of Jeff Lemire’s Moon Knight Vol 1: Lunatic (Marvel, 2016)

By Derek Newman-Stille

lemire-moon-knight

 

Writing about mental illness tends to be challenging and most authors tend to reify disempowering tropes of mental illness, projecting people with psychiatric disabilities as villainous, problematic, dangerous, and incompetent. Jeff Lemire’s 2016 rewrite of Moon Knight challenges some of the assumptions about mental illness. Although still unclear about which psychiatric disability Moon Knight has, Lemire explores the idea of Moon Knight as a character with mental illnesses (which was first established by Alan Zelenetz and Chris Warner’s mini-series about the character). Whereas Zelenetz and Warner described him as schizophrenic because of his multiple identities (which is actually more characteristic of dissociative identity disorder), Lemire avoids specifically mentioning what the superhero’s mental illness is and complicates the idea that he is mentally ill.

 

First set in a psychiatric institution, Lemire’s Moon Knight encounters a fractured reality where the psychiatric institution may actually be a prison construct by Egyptian gods. Moon Knight experiences a multiplicity of possible realities and Lemire resists telling the audience whether his realities are actual visions of real worlds or whether they are manifestations of his own delusions.

 

This trope of “is it a manifestation of mental illness or is this person seeing the reality that is hidden” has been played with in numerous science fiction media (including the Buffy the Vampire Slayer episode “Normal Again” and the Star Trek the Next Generation episode “Frame of Mind”), asking the reader to question the nature of reality. This trope in Sci Fi normally portrays the asylum as a space for the mental breakdown of the character, encompassing the idea that asylums are places of escape from reality.

 

Lemire questions and criticizes the construction of the asylum as an institution, illustrating the horrors of life in an asylum and portraying the asylum as a form of prison. Lemire’s characters want to escape from the asylum, to find new possibilities in the world outside, but Moon Knight is constantly questioning and critiquing his reality and the world around him, inviting critical questions about the nature of the mind and the nature of psychiatric institutions. Lemire doesn’t provide answers about which of Moon Knight’s realities is authentic, but instead invites the reader to look at the world through multiple lenses, with multiple different possible realities. Moon Knight even shapes his own mask from a straight jacket that is draped over his face with a moon drawn onto it, and when he wears this mask, he experiences a second vision of the world, which he believes to be true.

 

Lemire’s exploration of multiplicity in the world is augmented by Greg Smallwood’s art, which frequently plays with multiple different visions of the world overlapping. Smallwood brings attention to the character’s vision by constantly focusing on the expression in his eyes, devoting several panels to the expressions that Moon Knight projects through his eyes. This is a comic that is focused on vision and multiple ways of seeing the world, transforming the world into a shifting, changeable plane.

 

To discover more about Jeff Lemire, visit http://jefflemire.blogspot.ca/

 

 

 

Hawkeye’s Deafness

Hawkeye’s Deafness
A review of Jeff Lemire and Ramon Perez’ “Hawkeye #5: All New Hawkeye” (Marvel Comics, 2015).

By Derek Newman-Stille

  
As a disability scholar and a fan of Jeff Lemire’s work, I was extremely excited to discover that Lemire had taken on the writing of the Hawkeye comics. Hawkeye has been recently reinvented as a deaf character (I use the small “d” deaf here because Hawkeye doesn’t engage with many aspects of Deaf culture). Rather than using sign language, this Hawkeye uses a powerful hearing aid created by Tony Stark (Iron Man) that allows him to hear. Fortunately, at various points in the comic, Lemire has Hawkeye lose the use of his hearing aid to illustrate his deafness. Hawkeye’s deafness is rendered in Ramon Parez’ illustrations by showing empty speech bubbles, having the reader take the role of Hawkeye in trying to discern what is being said. This is an effective way of conveying Hawkeye’s deafness since the static form of comics doesn’t allow for the movement of lips. Further, the choice not to make Hawkeye capable of reading lips in the midst of battle is an effective one since lip reading is largely not effective when bodies are static let alone during the movement of battle. 

Lemire covers the early life of Hawkeye, illustrating when the character becomes deaf through the abuse of his father. This narrative links Hawkeye’s deafness to his early life and represents the intersection of two bodily identity narratives – the abused person and the deaf person. Lemire resists the temptation of making Deafness into a symbolic medium that many able-bodied authors fall into. Instead, Lemire presents deafness as a bodily experience and one that is only part of the multiplicity of experiences and identities Hawkeye experiences.

Lemire avoids the narrative of the “supercrip”, where a character with a disability is given superpowers to compensate for his or her disability (like Daredevil). Instead, Hawkeye has gained his skills through practise and doesn’t have any additional superpowers. The focus on vision for Hawkeye is significant since deafness normally means a focus on vision as the medium of communication and interaction. Indeed, the deaf community has been referred to as the “people of the eye”. The link between vision and Hawkeye’s name, indicating both accuracy, but also a precision of vision makes a firm link between his deafness and his focus on developing his visual skills. 

In addition to exploring Hawkeye’s deafness, Lemire explores the character’s role as a mentor and the complicated relationship between mentor and mentee, bringing attention to the role of aging that is generally elided in superhero narratives. Hawkeye is shown preparing the next generation of heroes for the future of the role. 
Lemire’s reference to Hawkeye’s history as a circus performer brings attention to the way that Deaf and disabled people have been involved in the circus industry, finding a place of belonging amongst other people who have been socially discriminated against. This role in the circus plays with the notion of the circus community and the disabled person as both being figures who are stared at in a society that constructs difference as pathological. Lemire examines the way that this intersection shaped Hawkeye’s experiences, propelling him to develop his skills in circus performance (particularly his role as a bowman) that eventually will lead to his role as a superhero. 

Lemire’s Hawkeye is represented as fundamentally shaped by his history of experiences, illustrated to be a composite of his past and his present understanding of his role as a superhero. 

To discover more about Jeff Lemire’s work, visit his website at http://jefflemire.wix.com/jefflemire.

Speculating Canada on Trent Radio Episode 53: A Discussion About the Work of Jeff Lemire

In this episode of Speculating Canada on Trent Radio, I discuss the work of Canadian comic book author and artist Jeff Lemire. Jeff Lemire has written for DC comics, working on titles such as Animal Man, Justice League Dark, and Frankenstein, Agent of S.H.A.D.E. Lemire combined his writing and ilustration abilities for the comic Sweet Tooth, a post-apocalyptic tale of human-animal hybrids and the spread of a pandemic. Lemire also wrote and illustrated the graphic novel Trillium about time travelling, pandemics, and encounters with the alien. 
I explore Lemire’s use of intertwining narratives, the relationship between image and text, his use of pandemic narratives, his exploration of notions of humanity and the animal, the dangers of science, and his examination of the human potential for cruelty. 

You can listen to this episode of Speculating Canada on Trent Radio at the link below.

  

This audio file was originally broadcast on Trent Radio, and I would like to thank Trent Radio for their continued support. I would also like to thank Dwayne Collins for his consistent tech support and help with the intricacies of creating audio files.

Make sure to allow a few minutes for the file to buffer since it may take a moment before it begins to play.

Inverted Worlds

A Review of Jeff Lemire’s Trillium (Vertigo, 2014)
By Derek Newman-Stille

1921 Earth and 3797, two worlds separated and connected by timelines, lives, temples, and trilliums. Jeff Lemire’s graphic style pulls together two narratives, linking two lives together. William, a man traumatized by war and Nika, a scientist in the future are strung together through circumstance and through their connection both of their worlds are inverted. By literally inverting one set of panels under another, portraying one story reversed, Lemire’s graphic style invites readers to see the interconnection between worlds and yet their ability to run in contrast to each other.

Lemire’s “Trillium” is a science fiction comic about cross-cultural and cross-temporal communication and the intersection of lives. Lemire’s protagonists Nika and William oppose the war-driven societies they came from that were willing to infringe on the lives of others to secure their own goals whether it be a cure from a plague that is sweeping across human intergalactic civilisations or a quest for the riches of history without regard for indigenous inhabitants. Both time periods are intimately self-interested and it is only through a willingness to bridge the gap between peoples that new knowledge and experience can be gained. “Trillium” is a tale about questioning what we believe to be true, all of the assumptions and ideas that shape our experience of the world and being willing to learn from our questioning mindset, challenging established patterns of knowledge.

Like the trillium itself, which in this graphic novel serves to facilitate a connection between those who ingest it, Lemire’s work serves to open up the idea that communication is multifaceted, multi-sensory, and requires complex ways of listening.

To read more about Jeff Lemire and his work, visit his website at http://jefflemire.wix.com/jefflemire

Animal Outbreak

A review of Jeff Lemire’s Sweet Tooth: Out of the Deep Woods (Vertigo, 2010)
By Derek Newman-Stille

Cover photo of Sweet Tooth: Out of the Woods courtesy of http://jefflemire.blogspot.ca/

Cover photo of Sweet Tooth: Out of the Woods courtesy of http://jefflemire.blogspot.ca/

Set in a post-outbreak society where most of the society has died of the plague and the remaining bits of humanity know that they have a countdown on their remaining life, Sweet Tooth: Out of the Deep Woods is a tale of loneliness and the desire to find one’s place in the world. In this post-outbreak society, the only people who are uninfected are human-animal hybrids, who appeared at around the same time that people started dying of the infection.

Having been raised in isolation, Gus, a human-deer hybrid, is soon left without the father who was his only connection to the world. Growing up surrounded by religious ideas and only his father to provide an interpretation of the world, Gus believed that he lived in the End of Days, his small, idyllic forest cabin surrounded by hellfire. When Gus’ father dies of the plague that is spreading across the world, he is left to interpret the world on his own, particularly when people invade his small woodland space and bring to him all of the hatred and fear that a plague-filled world has for those who are different, particularly those who are immune to the disease.

Sweet Tooth: Out of the Woods is a tale of coming-of-age in the apocalypse, a story of youth cut off from any semblance of normalcy and forced to discover this new world with only scant memories of the past world, snippets of conversations, religious ideologies, and fear as a guide.

Jeff Lemire’s artistic style, blending the dreamscape with the harsh sketched lines of a post-apocalyptic reality evokes the complexity of this world, filled of both destruction and the potential for change and growth.

You can explore Jeff Lemire’s blog site at http://jefflemire.blogspot.ca/ .