Presenter: Grace Shum
Mentors: Ben Saunders and Corbett Upton, English
Oral Presentation
Majors: English, Digital Arts and Advertising
Lynda Barry’s graphic novel, One Hundred Demons, has been touted as high art by critics – a major feat for a graphic novel; yet, critics applaud the book as an art book and not a graphic novel. In my research, I try to show that while Barry’s work may be considered “high art” her original intention for the graphic novel, like for all comics, is for the general populace’s enjoyment; it is not an elaborate collage, it is a scrapbook. Research was conducted through a primary analysis of the book as well as some analyses of critical essays concerning Barry’s book and work. Through a careful analysis of her book and her use of what she terms “Autobiofictionalography”, my essay proves the low-art or the common art quality of her book. I argue that comics do not need to be relabeled as high art or an artist book in order to have critical acclaim be acceptable. Instead, comics should be lauded in the literary world for what they are even if their genesis comes from the cheap five-cent paperbacks.