The final section looks at mythic histories that consciously play with events that did not occur but nonetheless inflect our understanding of history. The second section engages academic scholarship on comics that has recurring interest in the representation of war and trauma. The first section considers the relationship between history and the comic book form.
This volume, the second in a two-volume series, is divided into three sections: History and Form, Historical Trauma, and Mythic Histories. 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. Historical comics are not drawn from memory but offer a nonliteral interpretation of an object (re)constructed in the creator’s mind. 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. 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. MacInnes, Małgorzata Olsza, Philip Smith, Edward Still, and Jing Zhang
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.
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