A review by Joshua Santospirito of Fluid Prejudice
Various artists, edited by Sam Wallman
Published by Glass Flag 2014
Cover image Tom O’Hern featured in Island 135
I don’t know if anyone recalls an incredible serialised comics piece published in Meanjin in 2008-09 titled Their Hooks Hold Deep in Our Flesh: written by Kate Fielding and involving artists Clint Cure, Mandy Ord, Ben Fox and Elizabeth McDowell.
It arose out of the context of Rudd’s apology and it detailed a number of histories of the Portland area of the Great Ocean Road since colonisation. Fielding’s foreward stated ‘a generous, critical and impassioned engagement with our shared histories is both the joy and responsibility of all people’. Fielding and co. walked the talk; Hooks sang songs of history in multiple styles, formats and sources to create an unusual critical historical account woven from multiple voices.
Six years is a long time in the small but rapidly maturing world of Aussie comics. It’s 2014 and Melbourne’s Sam Wallman has willed a remarkable anthology of history-comics into existence entitledFluid Prejudice. ‘The very ink with which history is written is merely fluid prejudice,’ said Mark Twain. The focus of this anthology is under-represented and marginalised histories. Historical narrative shifts focus, not only because of the stories being told, but because of those who hold the pen. Perhaps the corrective biases of those whose ink flows in these pages will hold the mainstream narratives to account.
For the full article – please go to the ISLAND MAGAZINE WEBSITE (Subscribe while you’re at it).
Cover image – Tom O’Hern
Buy Fluid Prejudice at Glass Flag Press
Josh has a piece in this amazing anthology -
Fluid Prejudice is a collection of comics and drawings focusing on underrepresented, marginalised and alternative visions of Australian history.
50 artists, 175 pages
edited by the wonderful Sam Wallman
You can buy it at Sam’s website – PENERASEPAPER
Look!! This lost little comic of mine has found a home on the digisphere … indeed it’s on a map! Which is nice, because it, unto itself, maps out a route taken by a large female across the island of Tassie and onto the mainland. This piece is part of the ongoing Sleuth series … there will also be a new exhibition of Sleuth in Launceston in April – opening at Sawtooth ARI on April 4th. WOOHOO!!! In fact – the Waldheimerin will be at the exhibition.
To read the entire piece at the Digital Writers’ Festival website – go to http://digitalwritersfestival.com/mapping-the-words/the-waldheimerin/
Blair lives and works in Alice Springs – a local colour. He has worked for CAYLUS for a very long time and has been doing cartoons for a very very long timee. In May 2013, when I held the launch for The Long Weekend in Alice Springs – he came up to me with his sketchbook and showed me some responses to my work – the first one had me in hysterics … mainly because he nailed the experience of working out there so damn well … not certain who is going to get some of these cartoons … don’t care. The last one is about the local Alice Springs dreaming.
I was a bit surprised but very chuffed (I must say!) to find this morning that The Long Weekend in Alice Springs had been awarded the Comicoz Award for Best Australian Original Comic Book for 2013!
Thanks to Nat Karmichael and Comicoz – very much appreciated.
Some fantastic news at Sankessto Publications.
We have been bequeathed a Tasmanian TREASURE. The remaining copies of Six_a’s drawing anthologies – HAPPY MEAT 1 & 2.
Six_a was a very exciting artist run initiative in Hobart, Tasmania with a very active board, headed mostly by Tricky Walsh.
These anthologies will be used for the power of good – any profits made from them will go towards offsetting any losses in the DOWN THERE Tascomix series.
Happy Meat 1 – drawing anthology, was released in 2009 featuring works by: Lee Anantawat, Taylor Baldwin, Cameron Bishop, Beatrix Bae Bouwman, Stewart Cole, Cougar Flashy, Andrew Harper, Alicia King, Lisa Iglesias, Emma Jane Gilmour, Michael Fikaris, Bjorn Hegardt, Kirsty Madden, Mish Meijers, Tom O’Hern, Mark Rodda, Amanda Shone Tai Snaith, Pip Stafford, Tristan Stowards, Katrin Stroebel, and Tricky Walsh.
And Happy Meat 2 was released in 2011, immediately before Six_a folded. It featured works by: Aknarintr Kupoomchaisakul, Antoantialdo, Chris Magnusson, Cougar Flashy, Tai Snaith, Dadalin Nimsomboon, Tom Egg, Lee Anantawat, Lisa Iglesias, Julie Monro-Allison, Tim Kerr, Magic Sweater, Michael Fikaris, Mario Scorzelli, Peter Kozak, Michael Hawkins, Mish Meijers, Rena Littleson, Rob O’Connor, Sam Wallman, Simon Hanselmann, Soft Science, Suthipa Kamyam, Tia Factor, Tom O’Hern and Tricky Walsh.
The ARAS website is now featuring The Long Weekend in Alice Springs!
The Archive for Research in Archetypal Symbolism (ARAS) is a pictorial and written archive of mythological, ritualistic, and symbolic images from all over the world and from all epochs of human history. The collection probes the universality of archetypal themes and provides a testament to the deep and abiding connections that unite the disparate factions of the human family.
The ARAS archive contains about 17,000 photographic images, each cross-indexed, individually mounted, and accompanied by scholarly commentary. The commentary includes a description of the image with a cultural history that serves to place it in its unique historical and geographical setting. Often it also includes an archetypal commentary that brings the image into focus for its modern psychological and symbolic meaning, as well as a bibliography for related reading and a glossary of technical terms.
You can buy The Long Weekend in Alice Springs at the SanKessto Publications website
This is Craig San Roque’s intro to the graphic novel on the website“From my perspective as a depth psychologist, I see that those who have a connection with story are in better shape and have a better prognosis than those to whom story must be introduced – to have ‘story awareness’ is per se psychologically therapeutic. It is good for soul. Coming early with life it is already a perspective to life. One integrates life as story because one has stories in the back of the mind”
-James Hillman, A Note on Story in Loose Ends.
And what if one lives in a place that has stories already there in the backyards of the town. What if one lives in a town that sits in the midst of stories and at a location that is a site of ancient and sacred stories humming away in the back of the mind. What if the minds, hearts and bodies of the people who dwell there are overshadowed by the mountain, the rocks, the rivers, the trees that are embodiments of the stories, images, myths of the peoples who have lived there for millennia and live there still – under the influence of mythic actions, symbolic trees, rocks, mountains, even if those mythic actions, those scenes, have been shoved to the back of the mind.
Alice Springs, the town where I live, is one such place. It is a border town in arid desert regions in the center of Australia. It is 1,7000 km (1,000 miles) from the nearest cities. It was established maybe 130 years ago as an outpost of the British colonization of the Australian continent. It is built right smack on top of indigenous tribal lands of the Arrerente peoples. Alice Springs, as it is known in English, is also known as Mparntwe or Mbantua in the Arrernte Aboriginal tongue.
Like many other border towns in the Americas, Africa, and Asia where indigenous people meet the incoming rampage of another and different civilization, the original landforms of Mbantua (Alice Springs, Australia) embody the traditional mythological stories of the people. The mountain range surrounding the town embodies a mythic creation story. The rocks and trees and river in Arrernte myth are living presences exerting mental influence. Mythic creatures and stories animate the landscape. You walk out your front door and you can see the story of the Dog embedded in the mountain range; walk out your back door and you can see the trees that represent mythic women dancing in ceremony. The townsfolk live in ancient time and in real time in a most interesting, continuous and yet ordinary way. It is this notion of depicting intersecting realities that The Long Weekend in Alice Spring attempts.
-Craig San Roque