One of the greatest honors of my life has been to keynote at the joint conference of IGNCC and IBDS (International Graphic Novels and Comics Conference, International Bande Dessinée Society).
In October 2021 I was invited by Lina Ghaibeh to hold a lecture to graphic design students about drawing and comics. I was and am still honored by this opportunity.
I met Lina in Lyon as we both were invited to Lyon BD, and it was really easy to talk with her about the difficulties of organizing comics festivals and events in countries that do not really have an appreciation of comics as an artform, and also about teaching comics. We both love teaching. 🙂 Before my visit, we talked a lot about the situation in Beirut, which is extra difficult: Covid came upon a grief financial and political crisis, and the illegally stored ammonium nitrate exploded in the port of Beirut on 4 Aug 2020. It killed many people and destroyed culturally important parts of the city. I interviewed Lina for The Comics Journal, and she speaks about how they decided to eventually organize a festival in this situation, the role of art in hardship, the history and present of Arab comics, and the work and goals of the Arab Comics Initiative at the American University of Beirut. I learned a lot from this discussion, which was recorded in three sittings. Here is a link.
When I arrived at Beirut, I was really excited about being there and being present at the opening of the comprehensive, extensive, and beautiful exhibition of contemporary Arab comics – with works exhibitied from ten countries. The exhibition was curated by Lina Ghaibeh and George Khoury JAD. At the same time, I was humbled by knowing that the fact that my hotel has electricity is a privilege, as that the government provides only around 3 hours of electricity a day, and people have to use generators or candles. I walked a lot around the city and I saw the scars left by the Civil War (1975-1990) and the Revolution in 2019 and the Explosion, I saw street art everywhere, and I saw and talked to really kind people. This has been an experience of a lifetime.
If you are interested, here is my report on the events and exhibitions of the Beirut Comics Art Festival, published on The Comics Journal. I really enjoyed the drawn concerts, the programs at various locations in the city, and the exhibitions that showed political engagement, concern, and power. In the report, I made mini interviews with organizers and artists.
And of course I also talked at the American University of Beirut. It went okay. I took many pictures by phone and by my beloved analog camera (those in the beginning of this post were taken by my Minolta x700). If you want to see more, visit my blog, please.
Andrew Godfrey-Meers reviewed Comics and the Body: Drawing, Reading, and Vulnerability for the Comics Grid. I have been so anxious (you can imagine), and it is such an honor to have one’s book read by a reviewer who understands the stake of the book and comments on it critically. Andrew Godfrey-Meers looks at Comics and the Body from the perspective of Graphic Medicine, and offers precious insight into how the issues raised and theories formulated in the book could be used to talk about the Covid experience of people with disabilities in the UK.
You can watch the 20-minute presentation on Monsters, a very creative and playful comic on STDs by Ken Dahl (penname for Gabby Schulz) on YouTube. This video was made for the Transitions 9: New Directions in Comics Studies conference in 2021.
Before the actual video, I also would like to share sketchnotes made by fantastic artist-researchers during the talk – thank you Muna, John, and Paul!
This sketchnote is by Dr Muna Al-Jawad, aka The Old Person Whisperer, who was the official sketchnoter of our panel:
Dr John Miers also made sketchnotes:
And Dr Paul Fisher Davies mentions this talk in his sketchnote on our panel:
2020 was the most productive year in my life if we look at the number of academic and non-academic publications – I have to add that a number of them were written in 2018. On a personal level, 2020 was difficult because of the isolation of COVID, my own weeks of being ill, and because of the lack of success in finding an academic or cultural job.
1) The best decision of the year
was quitting my job in June. I was working at a multinational company in the IT sector, and each and every cell of me felt that I do not belong there.
Without full time employment I could immerse myself in stuff that I would otherwise do after work or not at all. I am most proud of the marketing campaign of the International Comics Festival: this year it was small and it lacked international guests, and in the campaign comics artists and other comics-related people told the audience why they like comics. As comics is still considered a childish and dubious medium in Hungary, I consider this a campaign for social change.
2) The biggest disappointment
was that each and every one of my job and scholarship applications was rejected. I was applying for jobs in Hungary and abroad, and it seems that I am too inernational for Hungarian people and too Hungarian for international people; too academic for non-academic people and academic in the wrong way for academic people. I have had some terrible weeks of despair, sleeping issues, and a general sense of “I have no place in this world, I am not young any more, what the shall I do now?” In general, I am looking for ways to work and cooperate and innovate, but this many rejections can really kill one from the inside. And the worst thing is when they tell you that you are an enthusiastic person, you can take everything. This is simply not true.
To motivate myself to keep on doing stuff, reading stuff, and talking about stuff, I started a Patreon page (here is a link). I do not have many backers, but I love each of them. The monthly projects I undertake have possibly saved my life. I need to feel that I can continue my research and scientific communication even without institutional background. (I am reclaiming ‘scientific communication’ from the hard sciences.)
3) The most amazing and miraculous thing
is that my book has been published! It is basically 1/3 my dissertation and 2/3 not my dissertation, and I still cannot believe it that a top American publisher published it. I hope that people will find ideas in it that they can use, that inspires them, and I also hope that it will not be the last book I have written. More about my book here. And this is the publisher’s site.
Another unbelievable event is that I was invited to talk about my book and my other projects in Frederick Louis Aldama’s videocast. I love this series, Frederick has made interviews with many inspiring comics scholars – I have learned a lot watching the episodes. You can watch the episode with me here.
4) I am really proud of the podcast
we started with my friend, István Mráz. We have been talking about it for quite some time, and finally we made it happen. In the first series our topic was the hero in comics. We had two guests, Anita Moskát, the coolest Hungarian fantasy writer, and Kata Gyuris, the coolest expert on African literature I know. The podcast is now in its second season! Youtube. Spotify.
5) While I was sick with COVID, I was dreaming about
starting my own Youtube channel. Here it is. It is in English, and I will use it to discuss comics and literature.
As you know I am involved with comics life in Hungary. I feel that there is a change happening and there is a general interest in comics. I have been interviewed 7 times (out of these twice on TV, and once in a Facebook Live, and I also talked about Stan Lee in “Lapozz a 99-re” podast), though not about my work but about the history of comics in Hungary, in the US, and the comics world in Hungary. I have no idea how many people watch cultural programmes on state TV channels in the Hungarian media environment, am really happy that offline and online cultural magazines have opened up towards comics.
6) Finally, here is a list of my publications in 2020:
I start with the academic ones:
I believe that my analysis of Miriam Katin’s graphic memoirs, published in Documenting Trauma (Palgrave Macmillan, 2020) is one of the best chapters I have ever written. This is greatly due to the questions the editors (Candida Rifkind and Dominic Davies) asked me or ideas they suggested elaborating or restructuring. Katin’s work is also part of my book: whereas there I study the embodied nature of its art and of my reading process, here I look at the representations of the maternal body and of the mother tongue.
I was invited to write about Hungarian comics in Comics of the New Europe (Leuven UP, 2020), a collection focusing on Eastern European comics after 1989. This is such an understudied topic! Thanks to the editors, Martha Kuhlman and José Alaniz. My chapter briefly summarizes the history of Hungarian comics and then provides close readings of strips by Gergely Oravecz and Dániel Csordás. Google Books.
I work as a mentor to gifted teenagers at Milestone Institute, and with my mentee, Boglárka Littner, we made a comic. As the title, Lines and Bodies, suggests, this is an argumentative comic related to my research. I learned a lot while discussing with Bogi what these sometimes abstract ideas mean, while figuring out how I could simplify them, and while brainstorming how we could turn this train of thought into a comic. Boglárka is a sensitive and smart artist, I love her illustrations. You can read the comic online: Link.
I also published an academic text in Hungarian: it is on children’s comics, and you can find it here.
My non-academic publications
I wrote one review for TCJ (The Comics Journal) on Swimming in Darkness (Link), two more are coming up in the first quarter of 2021.
At the end of the year an unexpected opportunity found me: I started writing weekly reviews and articles in the magazine 168 óra. Though this work does not allow me to make a living, it allows me to think and write about comics, novels, films, animation, and HBO/Netflix series. Here are the articles I have written. (They are in Hungarian.) My favorite article is about Brian Cox and David Ince’s book and podcast, The Infinite Monkey Cage.
The day has come when I can proudly share with you that my book has been released! I really enjoyed writing it and discussing my ideas at conferences. I just love this topic. I am really happy now!
I am so grateful for the support of my husband and friends and for EAAS for their postgrad research grant to the Billy Ireland Cartoon Library. Without them and it I really could not have written this book.
In this book I examine the role of the body in drawing and reading comics within a single framework. In each chapter I approach a different aspect of embodied interaction with comics (drawing lines; drawing bodies; drawing style; reading bodies and abstract lines; interacting with a book object). This is an interdisciplinary book that is equally inspired by art practice, feminist ethics, and materiality studies.
If you are interested, I’d like to recommend two videos for further info: In this video I discuss my research with Frederick Louis Aldama.
And I made this short video to introduce the basic ideas of my book:
I am honored to be part of Frederick Luis Aldama aka Professor LatinX’s videocast series: Frederick invites comics scholars to talk about how they got interested in reading and researching comics, what they do, what are the most important questions that drive them.
In the video, I start with how I arrived at comics scholarship: at the end of my MA I was given the best advice ever, namely, that I should not start a PhD unless I am absolutely dedicated to my topic and to this path. So for a couple of years I did other things, I travelled, I worked as a teacher – and I found comics. (My MA was about John Keats, the Romantic poet and John Locke’s philosophy of language.) I also talk about the most important aspects of my book as well as some recent publications and briefly about Hungarian comics.
I recommend listening to other episodes of the series. I have learned a lot from them, and I think it is fascinating to learn about how many different aspects of comics people are researching. This videocast is also very personal, and it is nice to get to know scholars a bit.
My video was released some months ago but I forgot to write about it here.
I am happy and proud to show you the first academic comic I co-created: Lines and Bodies.
This is an argumentative piece on some of the ways in which our bodies are involved in reading comics. It draws on theories by Laura U Marks, Robert Vischer, and James Elkins. The text and the art together show that there is more to comics than what meets the eye: in fact, we interpret lines, dynamism, direction, texture, movement based on the experiences of our bodies. These ideas are also found in my book, Comics and the Body, which will come out in November 2020 with the Ohio State University Press.
The artist who illustrated it is Boglárka Littner, a really smart young artist who is my mentee at Milestone Institute, Budapest and who is interested in making comics and sculptures.
I am totally thrilled and mesmerized. I feel flattered by the care and attention of the editors and designers at the Ohio State University Press, and I am particularly grateful to Amanda Weiss, who drew the cover.
The cover of my book represents everything that this book is about: first, the vulnerability of bodies, which includes that the onlooker can also experience the vulnerability of his or her body when looking at other bodies. Second, the line: I adore that this cover uses multiple pens and pencils and plays with the qualities of lines used to draw the body. Third: markmaking by hand is actually a thinking process. Fourth, the background invites touch and haptic perception. I am totally in love.
“The exuberance of the prose and lovely phrasing beautifully offset the topic, which is exceptionally well-researched as well as being very clearly elaborated. The book was a pleasure to read and has the potential to reshape scholarly engagements with the material and affective dimensions of comics reading processes.” —Kate Polak, author of Ethics in the Gutter: Empathy and Historical Fiction in Comics (OSU Press, 2017)
“Eszter Szép’s book provides an analysis of the body that is currently undiscussed in the field, not only filling a gap in existing scholarship but also developing a new lens for analysis that highlights the potential for further research and study.” —Harriet Earle, comics scholar and lecturer
Eszter Szép’s Comics and the Body is the first book to examine the roles of the body in both drawing and reading comics within a single framework. With an explicit emphasis on the ethical dimensions of bodily vulnerability, Szép takes her place at the forefront of scholars examining comics as embodied experiences, pushing this line of inquiry into bold new territory. Focusing on graphic autobiography and reportage, she argues that the bodily performances of creators and readers produce a dialogue that requires both parties to experience and engage with vulnerability, thus presenting a crucial opportunity for ethical encounters between artist and reader. Szép considers visceral representations of bulimia, pregnancy, the effects of STIs, the catastrophic injuries of war, and more in the works of Lynda Barry, Ken Dahl, Katie Green, Miriam Katin, and Joe Sacco. She thus extends comics theory into ethical and psychological territory that finds powerful intersections and resonances with the studies of affect, trauma, gender, and reader response.
I am honored to be invited to talk at the next meeting of the Popular Culture Research Group at the School of English and American Studies at ELTE, Budapest (EASPop for short).
The talk will be in Hungarian, and it addresses my favourite topic, comics and the body. And behold the amazing poster that the group members have made for me based on a Winsor McCay page that I adore!
Eszter Szép 