- What Kind of Studies Is Comics Studies?
- Why There Is No “Language of Comics”
- In Box: Rethinking Text in the Digital Age
- What Else Is a Comic? Between Bayeux and <i>Beano</i>
- Reading Spaces: The Politics of Page Layout
- Comics as Art
- The Cartoon on the Comics Page: A Phenomenology
- All By Myself: Single-Panel Comics and the Question of Genre
- Drawing, Redrawing, and Undrawing
- Bakhtinian Laughter and Recent Political Editorial Cartoons
- Columbia and the Editorial Cartoon
- Efficacy of Social Commentary through Cartooning
- Radical Graphics: Australian Second-Phase Comics
- Self-Regulation and Self-Censorship: Comics Creators in Czechoslovakia and Communist Eastern Bloc
- This Is Who I Am: Hybridity and Materiality in Comics Memoir
- Auto/biographics and Graphic Histories Made for the Classroom: <i>Logicomix</i> and <i>Abina and the Important Men</i>
- Ambiguity in Parallel: Visualizing History in <i>Boxers</i> and <i>Saints</i>
- Irony, Ethics, and Lyric Narrative in Miriam Engelberg’s <i>Cancer Made Me a Shallower Person</i>
- Animals in Graphic Narrative
- Disco, Derby, and Drag: The Queer Politics of Marvel’s Dazzler
- The Replacements: Ethnicity, Gender, and Legacy Heroes in Marvel Comics
- Hammer in Hand: Feminist Community Building in Jason Aaron’s <i>Thor</i>
- When Feminism Went to Market: Issues in Feminist Anthology Comics of the 1980s and ’90s
- Children in Comics: Between Education and Entertainment, Conformity and Agency
- I’m Not a Kid; I’m a Shark!: Identity Fluidity in Noelle Stevenson’s Young-Adult Graphic Novels
- Forgetting at the Intersection of Comics and the Multimodal Novel: James Sie’s <i>Still Life Las Vegas</i>
- <i>My Favorite Thing Is Monsters</i>: The Socially Engaged Graphic Novel as a Platform for Intersectional Feminism
- Paper or Plastic? Mapping the Transmedial Intersections of Comics and Action Figures
- Transformative Architectures in Postcolonial Hong Kong Comics
- Adaptation and Racial Representation in Dell/Gold Key TV Tie-ins
- Candy and Drugs for Dinner: <i>Rat Queens</i>, Genre, and Our Aesthetic Categories
- Non-Compliants, Brimpers, and She-Romps: <i>Bitch Planet, Sex Criminals</i>, and Their Publics
- Literary Adaptations in Comics and Graphic Novels
- Comics Studies in America: The Making of a Field of Scholarship?
- Next Issue: Anticipation and Promise in Comics Studies
- Comics Studies as Interdiscipline
Abstract and Keywords
This chapter explores how the cognitive process of forgetting, that is, the absence of memory, is understood in contemporary culture. Scholars of comics studies, multimodality, and narrative theory have often studied the archival functions of comics and the representation of memory in literature across media. This chapter, however, analyzes the ways in which forgetting is constructed at the interface of image and text in James Sie’s novel Still Life Las Vegas (illustrated by Sungyoon Choi) and how this text, a hybrid between comics and the multimodal novel, presents the impossibility of memory retrieval. In so doing, Sie develops a model of forgetting that locates interference and artifice rather than involuntary decay over time as the cause for oblivion. However, by presenting narration itself as a mode of interference and distortion, the novel also suggests that any act of threading memories will contribute to forgetting but that this forgetting is a generative process.
Department of English, California State University, Sacramento
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