Comics poetry: beyond sequential boundaries

Abstract

Since Will Eisner defined comics as sequential art , critics have continued to employ narrative definitions and linear approaches to the form. As a result, many non-sequential and experimental forms of comics, especially in the field of comics poetry , have been ignored. Consequently, a new model for comics analysis is needed to encompass and address narrative, non-narrative, multi-linear, abstract and experimental developments within the form. In response to narrative assumptions and the lack of non-linear modes of analysis, my practice-led research proposes segmentivity as an alternative model for comics criticism. This concept of segmentivity stems from Rachel Blau DuPlessis attempt to distinguish the components of poetry from narrativity and performativity . By assessing how poetic segments are employed in a myriad of narrative and non-narrative comics case studies, this model of segmentivity enables comics analysis to advance beyond sequential lexicons and limitations, ensuring the relevance of comics theory to contemporary practice. The critical survey of comics within this study includes examples of comics poetry by Dino Buzzati, Kenneth Koch, Alan Moore, Warren Craghead as well as primary interviews with comics poetry practitioners Matt Madden, Bianca Stone, Michael Farrell and Alexander Rothman. The works of these creators evidence the need for a nonsequential model of comics analysis that challenges the dominant understanding of comics as a purely narrative form. Both my critical and creative works focus on the relationship between comics and poetry. Considering comics scholarship is characterised by the closeness of creators and critics, I felt it essential that my creative work engage with the practice of making comics. Accordingly, my creative work develops the comics poetry series, ANEKI, which innovates approaches to comics outside of traditional media and linear panel grid structures. An account of this collaborative process is also framed within the discussion of comics poetry examples. Ultimately, this study broadens approaches to comics creation and criticism, advancing potential modes of analysis and the multimodal possibilities of the form.