Dogra, Sapna, ed. Indian Graphic Narratives: Critical Responses. New Delhi: Atlantic, 2024. xx +107 pp. ISBN (paperback): 978-81-269-3824-7.
In the milieu of Indian Writing in English (IWE), the graphic narrative has emerged as a powerful medium, evolving from its humble beginnings as low-brow literature to become a platform for diverse voices and narratives. Indian Graphic Narratives: Critical Responses (2024), edited by Sapna Dogra, presents a captivating journey through the annals of Indian graphic storytelling. In this volume, the editor has curated ten expedient chapters, each of which undertakes an investigative journey into the nuances of the graphic narrative, dissecting its literary merit and cultural significance. The anthology unfolds a narrative mosaic that spans decades, showcasing the evolution of the Indian graphic novel from its inception to its contemporary manifestations. What began as a homage to India’s rich mythological heritage in the pages of Amar Chitra Katha by Ananth Pai has blossomed into a diverse tapestry of storytelling that reflects the complexities of modern Indian society. Post-millennial graphic novels such as Corridor by Sarnath Banerjee, Kari by Amruta Patil, Hush by Pratheek Thomas, and Kashmir Pending by Naseer Ahmed and Saurabh Singh, to name just a few, delve into an array of themes ranging from queer identity and urban loneliness to militancy, environmental degradation, and sexual abuse, offering readers a window into the complex realities of Indian life. As the anthology navigates these various texts, it illuminates the ways in which the Indian graphic novel has evolved as a vehicle for social commentary, cultural critique, and personal expression by giving space to voices from marginalised and disenfranchised communities.
Each of the ten chapters curated in this volume offers unique and astute reflections on the diverse thematic and formal complexities of graphic narratives. For instance, three distinct chapters converge to offer comprehensive insights into Amruta Patil’s seminal work, Kari (2008). The first of the three chapters dedicated to Kari offers a compelling philosophical exploration of the text. Through an existentialist lens, this chapter analyzes the intricacies of Kari’s journey as a de-territorialized self, navigating a landscape marked by cultural dislocation and geographic estrangement. It explores the protagonist’s identity crisis and self-estrangement, both of which reverberate throughout the narrative. The second chapter on Kari presents a captivating exploration of space as a faceted expression within the narrative. Delving into the urban landscape of “smog city,” where the story unfolds, this chapter unveils the complexities of topophrenia by examining the social, metaphysical, and personal dimensions embedded within the spatial dynamics of the text. Central to this analysis is the protagonist’s role as a flâneur, a figure whose leisurely strolls through the city invite a multiplicity of perspectives and interpretations.
The final chapter on Kari explores the lived experiences of individuals from the queer community and offers a critique of heteronormative culture and the problematic portrayal of queerness as deviant. By interrogating the portrayal of queerness within the text, this chapter sheds light on the challenges faced by individuals who exist outside the confines of societal norms, while also celebrating the resilience and agency of marginalised characters like Kari, who refuse to be defined by others’ expectations. This multidimensional approach taken in all three chapters not only underscores the richness and depth of Kari as a text but also highlights the capacity of graphic narratives to engender diverse and nuanced critical responses. By engaging with Patil’s work from various angles, the anthology demonstrates how graphic narratives serve as fertile ground for scholarly inquiry and cultural critique, offering readers a deeper understanding of the complex interplay between text, image, and meaning.
In this anthology, the diverse array of chapters encapsulates a wide spectrum of themes and critical inquiries that reflect the multifaceted nature of the Indian graphic narrative landscape. S. Sri Sakuntala’s chapter on the graphic novel Hush delves into the sensitive and often overlooked subject of psychological trauma resulting from sexual abuse, shedding light on how graphic narratives serve as a powerful medium for depicting and confronting such deeply personal experiences. In the chapter by Sandhya Nayak, the focus shifts towards an examination of the representation of female characters in Indian graphic narratives, tracing their evolution over time. From early depictions characterised by stereotypes and clichés to more nuanced and empowered portrayals, this chapter provides a comprehensive overview of the changing landscape of female representation within the medium. Moreover, two chapters in this volume, by Darakhshan Niyaz and Ritu Pareek respectively, stand out for their analysis of the pedagogical potential of graphic narratives, particularly in the realm of language learning within school curricula. These chapters offer a compelling exploration of how graphic novels can serve as powerful educational tools, engaging students in immersive storytelling experiences while simultaneously enhancing their language skills, particularly for middle and high school students. By integrating graphic narratives into the curriculum, educators can harness the visual and textual elements of the medium to foster a deeper understanding of language and literature among students.
The editor, Sapna Dogra, has also contributed two perceptive chapters to this volume. The first chapter by Dogra delves into the literary technique of anthropomorphism as employed in graphic narratives, with a particular focus on seminal works such as Maus (1986, 1991) and Munnu: A Boy from Kashmir (2015). This chapter embarks on an exploration of why graphic storytellers often opt for anthropomorphic animal characters to convey complex narratives and societal critiques, unravelling the allure and effectiveness of anthropomorphism as a narrative device. By imbuing animal characters with human traits and emotions, graphic storytellers create a unique interspace that both captivates and distances the reader from reality. In her second chapter, Dogra examines the politically charged landscape of Kashmir through the graphic novel Kashmir Pending (2007). This chapter seeks to unravel the complex dynamics of power and control that characterize the Kashmir conflict. Through a detailed analysis of Kashmir Pending, readers are invited to confront the harsh realities faced by the people of Kashmir, grappling with the pervasive presence of state surveillance and the erosion of civil liberties. Central to this exploration is an interrogation of the disciplinary mechanisms deployed by the state to monitor and suppress dissent within the region. The chapter sheds light on the multidimensional ways in which power is wielded and contested in Kashmir, from mass surveillance to arbitrary detention and censorship.
This volume emerges as a pivotal contribution to the evolving discourse surrounding Indian graphic narratives. By curating a diverse range of critical responses, the anthology invites readers to engage with Indian graphic narratives from a multitude of perspectives, each offering unique insights and astute analyses. From existential engagements with identity to critical examinations of socio-political unrest and gender representation, the chapters traverse a wide spectrum of thematic concerns, thus presenting a panoramic view of the dynamic and multilayered landscape of the medium. This volume serves as an invaluable resource for researchers, academicians, and enthusiasts alike, providing a comprehensive overview of the diverse voices and narratives that populate the Indian graphic narrative landscape. Whether delving into the psychological trauma of sexual abuse or unpacking the complexities of regional unrest in Kashmir, readers will find themselves immersed in a thought-provoking journey through the intricacies of Indian graphic narratives. Indian Graphic Narratives: Critical Responses offers more than just a collection of scholarly analyses. It serves as a testament to the transformative power of graphic storytelling to challenge, inspire, and provoke critical discourse. As the medium continues to evolve and expand, this anthology stands as a beacon of insight and inspiration for anyone interested in exploring the vibrant world of Indian graphic narratives.
Sreya Mukherjee, The English and Foreign Languages University, Hyderabad, India