I am currently editing Graphic Novels and Comics as World Literature for Bloomsbury and unfortunately had an article on African comics drop out and am looking for a fairly quick replacement. Feel free to send me an email with a short abstract by January 25. The article due date is negotiable but would need come before April 1. The original description for the collection, which already includes articles on Asia, Latin America, the Middle East, Oceania and on movement between borders, is below. The article would need to focus on comics from and/or about Africa but the approach is certainly open. I am happy to answer any questions at firstname.lastname@example.org.
Graphic novels are one of the world’s great narrative art forms, but for much of the history of literary studies comic forms have been dismissed as trivial and largely irrelevant to serious scholarship on literature. Thankfully, this is quickly changing and this sequential art form is beginning to be taken seriously in academia. However, as is often the case with emerging art, graphic novels from Europe and the United States dominate scholarly conversations (with the notable exception of Japanese comics), despite the presence of quality graphic work from the Global South. Although a few non-western graphic narratives, such as Satrapi’s Persepolis, have gained popular and academic audiences, the fact remains that scholarship on graphic novels is decidedly Euro-American centric. This collection (under contract with Bloomsbury Publishing) seeks to expand upon the little extant scholarship on non-western graphic novels to move beyond such a narrow approach to this quickly expanding field. By bracketing western writers to focus on graphic narratives from the Middle East, Africa, Latin America, the Caribbean, and Asia, the collection encourages contributors to think beyond the usual suspects in considering graphic novels outside the west.
As the title suggests, the collection is also interested with how these graphic texts engage with, fit in with, or complicate notions of World Literature. Therefore, the larger theoretical framework of World Literature is welcome (though not necessarily required) in proposed articles, but so are postcolonial, decolonial, Global South, and similar approaches that argue explicitly or implicitly for the viability of non-western graphic narratives on their own terms. This collection, then, seeks to consider the ways that graphic novels from the Global South intersect with issues such translation, commodification, circulation, Orientalism, and many others. In short, what do the unique formal elements of graphic narratives bring to conversations about literature and the globe, whether through World Literature strictly defined via its well-known interlocuters (Damrosch, Moretti, Apter, Mufti, Cheah, etc.) or through any number of other legitimate critics, theories, and methods?