By Ġorġ Mallia Introduction: Children and Comics Comics have almost always been primarily an entertainment medium. Their appeal to people in general, and children in particular,…
By Daniel Yezbick In the earliest and most celebrated appreciation of George Carlson’s comic book art, Harlan Ellison christens him “a cartoonist of the absurd,” a…
By Sam Hester On March 21, 2006, Margaret Mahy celebrated her 70th birthday, during a weekend of celebration that one publisher called “the weekend New Zealand…
By James Bucky Carter A recent policy statement on multimodal literacies from the National Council of Teachers of English reads: According to Ben McCorkle, “we are…
By Veronique Bragard1 Fables, characterized by their featuring animals and containing a moral, are among the earliest forms of storytelling. With its aim to simultaneously teach…
By Kathy Merlock Jackson and Mark D. Arnold Between 1946 and 1964, over seventy-six million babies were born in America, comprising one of the greatest baby…
By Meredith Collins, Temple University Collaboration complicates classification and ideas of genre. In Neil Gaiman’s text and Charles Vess’s artwork, and in their combination, Stardust exhibits a particular…
By S. Alexander Reed There are remarkably numerous textual cross-pollinations and direct references that writer Neil Gaiman and musician Tori Amos make to one another’s creative…
By James R. Fleming In the immediate aftermath of the September 11th 2001 attacks, many literary and cultural critics pronounced postmodernism,1 as both an artistic and an…
By Clay Smith When assessing Neil Gaiman’s work, Richard Walsh argues that Gaiman’s absolute control of the narrative elements in The Doll House transcends and redefines what…