The NEH, Racism, Good Editors, and Me

A couple years ago, my friend and fellow cartoonist Tessa Hulls got a gig speaking with the Washington Humanities Speakers Bureau. Her role (which is still ongoing) involves being sent all over the state—from city libraries to rural town halls—to share her talk about women traveling solo in the early 20th century. (A talk written, I should mention, after she’d completed a 5,000-mile solo cycling trip from California to Maine. Bad. Ass.)

Hearing about her experiences with the Bureau was the closest I’d come to seeing what state-level humanities organizations were all about. I’d heard of the National Endowment for the Arts, but never really understood what it did. It turns out that there’s an entirely separate organization—the National Endowment for the Humanities—that Lyndon Johnson signed into law at the same moment in 1965.

The National Endowment for the Humanities established 56 state- and territorial-level humanities organizations all over the country in 1973—including our local branch: Oregon Humanities. These organizations all have marginally different aims, but their overarching goal is using the study of the humanities (defined very broadly) to nurture a society that is thoughtful, creative, equitable, and proactive about engaging with difference. Some organizations focus on grant-giving, others run public discussion groups or programming, and some (like Oregon’s) put out quarterly magazines. The amazing thing about this being a government-funded organization is that the magazine is free to anyone living in the state. Seriously: you give them your address and then they just mail it to you and it’s gorgeous and full of amazing writing and illustration and all kinds of good stuff. This is no fly-by-night operation.

Anyway that’s a mini history lesson about Oregon Humanities. Hopefully it explains why I was thrilled when their editor reached out to me at the end of 2020 about doing a comic on voting rights for the Spring issue. I’ve been cranking away at it over the last few months, doing a ton of research, conducting interviews, and trying to condense, condense, condense so I can cram a bunch of complex policy issues into six scant pages.

I learned an enormous amount about the history of the franchise (aka the right to vote) during this process and found that, as with most topics in U.S. history, the highlights we’re fed in school don’t tell nearly the whole story.

I ended up centering the comic on three key areas: age, immigration, and incarceration. While the organization I wanted to interview about a non-citizen voting bill ended up having to postpone their efforts until the next legislative session, I still had plenty to work with. I took a deep dive through the state’s founding documents, explored voting access wins in recent history, and spoke to advocates about lowering the state’s voting age and securing the vote for people in prison. The resulting story, which comes out in just a few weeks, is dense, but gives a pretty solid overview of the issues at play.

The reason I’m writing this, though, is to document the most valuable part of working on the project.

My friend Sarah Mirk, who’s also contributing a comic to the issue, got assigned to help edit my piece. This was great news, since we’ve worked together before and I admire her skills and ethics immensely. When I turned in the first draft of the script, I was feeling overwhelmed by the amount of information I’d ingested and worried that I wouldn’t be able to do it all justice in such a small number of pages. I was particularly scared to tackle the wide-reaching impact of racism and White Supremacy on these systems. It’s a topic that many of us have engaged with very closely in the last ten months (and beyond), and it can very easily come to feel obvious.

“Of course these systems are founded on rotten policies that disproportionately impact people of color,” said some part of my brain. “Everyone knows that.

So I punted.

I didn’t think I’d punted, but when I look at the first draft of the script? I punted. I turned in a comic that talked about a variety of issues and historical facts and angles, but never explicitly stated that voter disenfranchisement is inextricably entangled with racist policy-making.

That unwillingness to be explicit stemmed from a scarier feeling: “This is so big and I feel like I still have so much to learn—there’s no way I’m capable of doing it right”. It’s a feeling tied to zero-sum thinking and perfectionism (both hallmark principles of White Supremacy—surprise!) that ended up pushing me to elide crucial information.

And Sarah, because she is a great editor, read the first draft and twigged this right away and said “There is a huge piece missing from this story, and I know it’s a lot to engage with and weave in, but I believe you can do this“.

It turns out I just needed permission to try. And (again, because she is a great editor) Sarah had a ton of practical suggestions for quotes, sources, and imagery to include that would make these links and themes clearer. This piece as it stands wouldn’t exist without her.

I’m not saying the comic is now The Best Thing Ever—there’s still so much that had to be left out—but the reason I wanted to write all this up (rather that doing another “Here’s the roughs and here’s the inks and here’s the colors” kind of process post like I usually do) is that I think many of us have probably been in situations like this: moments where we recognize the impact of racism, but worry that we don’t yet have enough knowledge or language or mastery to call it out.

And the role we can play for each other, as editors or just friends with eyeballs looking over a project, is to create trusted relationships where we can encourage one another to lean into that discomfort and practice. It’s very easy to feel like getting this stuff wrong will doom us, but in fact the opposite is true. We don’t get better without being willing to goof it up sometimes.

So that’s a lot of words about relatively few pictures. I’m really looking forward to sharing the whole comic when the magazine launches later this month.


P.S. Go look up your local Humanities organization. I bet you won’t regret it.

Ocean Sciences Meeting ’18

Hello everybody,

I’ve got an amazing opportunity to exhibit at the 2018 Ocean Sciences Meeting here in Portland this week (AKA the most impressive gathering of marine science folks in the country) and I wanted to invite you all to come along. I’ll be displaying original pages from (and giving away copies of) Mappin’ the Floor, the comic I drew during three weeks at sea aboard R/V Falkor last spring.

Fun fact: I relinquished ownership of the original pages once the gig aboard Falkor was over, so they’ve been touring all over the world without me to various nautical events: a film festival in San Francisco, the America’s Cup race in Bermuda, the Bishop Museum in Hawai’i, a sailing festival in Rhode Island…pretty neat!

Even aside from the comics stuff, the films they’re showing as part of this art evening at OSM sound really cool. One of them deals with the Blaschka collection of glass replicas, which I had the chance to see at Harvard a couple years ago. Here are some examples, all mind-blowingly accurate. If you ever get the chance to go see them in person, FOR THE LOVE OF NEPTUNE: GO.

I’m really looking forward to doing an event that’s ocean-first rather than comics-focused. Gonna meet a lot of other aquatic nerds!

So that’s it! Join me this Thursday, February 15th, in the Oregon Convention Center Portland Ballroom at 6pm. No ticket required.

See you there!
Lucy

New Comic: Who IS Wonder Woman, Anyway?

Greetings, friends! I’ve got a new comic in the world!

There’s a lot of talk about Wonder Woman in the world right now, thanks to the new film about her opening this weekend, but who is she really? You can head over to The Nib today to read all about her history as a feminist icon, patriotic symbol, and modern warrior thanks to writer Sarah Mirk, colorist Joey Weiser, and myself! I’m really pleased with the final result of our efforts.

If you dig these comics, you can keep ’em coming by supporting my work on Patreon. (And biggest thanks to those of you who do so already!)

Use your strength for good,

Lucy

New Comic: Sail Cargo Resurgence

Hey friends,

Fittingly, I’m writing this blog post from the deck of the Oliver Hazard Perry, a new tall ship in Rhode Island that I’m currently working aboard as a visiting artist. But that’s secondary to the following exciting news of the day: I’ve got a new comic up on The Nib!

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For the last few months I’ve been researching and illustrating this brief introduction to the modern world of sail cargo—a movement driven by environmentalism, optimism, and countless volunteer hours. There are a surprising number of operations around the world working to convert tall ships into viable cargo-carrying vessels—or build new ones from the ground up.

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It’s a trend I find deeply fascinating, and my only regret was not being able to fit more of my research into this introduction. The sailors working on these vessels are the embodiment of enthusiasm and dedication, and I really enjoyed talking with them during my research.

Of particular interest right now: Sailcargo Inc. are launching their Kickstarter to build a dedicated cargo vessel (Ceiba) from scratch in Costa Rica! Keep an eye on their website for details on the launch.

Fairtransport are also making great strides in building a coalition of sail cargo vessels around the world. Their website has a wealth of information, including vessel tracking and more. View all the ships in their network here.

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Brigantine Tres Hombres, Photo Credit Hajo Olij

Of course there are also efforts being made to implement modern sailing technology on existing container ships at a grander scale. To learn more about the DynaRig technology behind parts of that movement, check out this article. There’s some fascinating stuff afoot, and even though it’s moving slowly, progress is being made.

I’ll have more news after my week aboard the Perry, but until then, enjoy the comic!

Fair winds,

Lucy

New Comic: Greening Islam

I have a new comic up today in collaboration with writer Audrey QuinnSymbolia Magazine, and Showtime’s Years of Living Dangerously TV series. It’s a big honor to be involved with this project, which strives to bring greater awareness to the challenges of climate change through comics journalism and media outreach. These are big, scary topics and I often find myself shying away from them because I feel too small and scared to make any sort of difference. Illustrating a story about someone who’s working to change that through an unexpected avenue was really powerful for me. I hope you enjoy it!

New Comic: Flip the Switch

BlogHeaderSo a while back I hinted that I’d soon be contributing some work to The Nib, Matt Bors’s comics portal over on Medium.com. That day has finally come! I went to check out Float On, the nation’s largest sensory deprivation tank center, and made you a whole comic about it. If you’ve ever wondered what happens to a work-addled freelancer’s brain when you cut off all its access to outside information and stimuli for 90 minutes, this one’s for you.

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Click through to read the whole story on The Nib.

 

“The Secret Life of Gitmo’s Women” Featured on Narratively

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In-depth, human-interest news platform Narratively featured a comic of mine this week. “The Secret Life of Gitmo’s Women” collects the two interviews I illustrated for Symbolia Magazine in collaboration with writer Sarah Mirk early last year. These two stories haven’t been free to read online before now, so head over and take a look. (Note: these comics deal with issues of harassment and sexual assault. Please read with awareness.)

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The comic has also been accepted to this year’s Open Engagement conference in New York, where Laura Sandow (one of the veterans we worked with) will be presenting it in May. Unfortunately it sounds like I won’t be able to make the conference due to conflicting convention arrangements, but I do hope those of you in the New York area can go check it out. More on the Open Engagement homepage.

Symbolia is LIVE!

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The latest issue of Symbolia, the tablet magazine of comics journalism, is OUT!

It’s been almost a year since Sarah Mirk first approached me about illustrating this project, so it’s very exciting to have the full issue out in the open at last. Declassified brings to life the firsthand experiences of two women who served at the Guantánamo Bay naval base circa 2001. From witnessing the shift in detention practices post-9/11, to grappling with sexual assault in the military, their stories are raw and powerful. Here’s a page to whet your appetites.

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The rest of the issue features stories from women around the world dealing with human trafficking, tattoos, military service, immigration, and more. It’s a powerful and diverse showing, and I’m proud to be a part of it.

To read this issue, subscribe to Symbolia: on iPad // via PDF // Kindle Editions.