The last time I read Damian Duffy and John Ira Jennings’ graphic novel adaptation of Octavia Butler’s Kindred (1979), I zeroed in on the ways that Jennings represents faces and emotion in the text, specifically through Dana, Sarah, and Rufus. In this read through, I noticed the multiple panels with hands, either embracing, playing, or in confrontation. Today, I want to take a moment and look at some of these panels.
Since it has been a while since I have shared an update about our time here in Norway, I thought today would be a good time to do it. From the beginning, we decided to partake in this adventure for what it promised, a once in a lifetime experience for the kids and our family as a whole. We embarked to Norway in hopes of adventure, and we have certainly found it.
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Over the past few posts, I have been discussing how authors such as Frank Yerby, Claude McKay, and Zora Neale Hurston counter western ideals of beauty, specifically ideals of white beauty. Over the next couple of posts, I want to move back a little and look at W.E.B. Du Bois’ double consciousness in relation to this topic and in relation to Hurston’s “How It Feels to be Colored Me!”