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…
By Matthew Feltman Enigmatic sphinxes riddling their dreamscape realities, Dave McKean and Neil Gaiman join forces once again, creating MirrorMask, McKean’s feature film directorial debut, scripted by…
By Rodney Sharkey1 I am also aware that we are not yet able to make a survey of the whole of the new acquisitions which these…
By Jon Saklofske There is a lingering irony in the proliferation of academic interest in and acceptance of graphic narratives as “serious” story spaces since Art…