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The conclusion recaps the various chapters by considering what the backward look of contemporary graphic novelists can mean for comics studies today. This archival impulse in the graphic novel inevitably confronts us with our own practices as comics scholars and the extent to which we are also indebted to a range of vernacular archivists and historians of the form. It highlights both the possible blinkers that we repeat from that heritage and how these various gestures of transmission can make comics scholars more cognizant about the materiality of their own engagement with historical archives, possibly paving the way for different forms of academic research.
Following 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, forging, 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.
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