Plus, a Stanford free-speech conference organizer smears the Chronicle, inaccurately. ADVERTISEMENT [The Review Logo]( Did someone forward you this newsletter? [Sign up free]( to receive your own copy. The miniature construction that the graphic novelist Phoebe Gloeckner assembled and photographed to illustrate her recent Review [essay]( depicts the author in her home office, surrounded by comic books and teaching a Zoom class. Distressingly, Gloeckner has obscured her own face â the features are smudged into an uncanny blankness, with just the suggestion of a nose and one eye remaining. This spooky erasure reminds me of those paintings of sacred subjects damaged by Dutch Protestant iconoclasts, in which eyes have been crossed out and faces scratched away. Thatâs appropriate, because Gloeckner knows something about the offensive power of images. As she tells it in â[My Cartoonish Cancellation]( she has in the last couple of years become almost unable to teach her course on underground comix â a course sheâd offered successfully for almost twenty years â because the sometimes-grotesque imagery of the comix canon, especially its use of both racial and sexual caricature, has become too upsetting for students today. For Gloeckner, who emerged from the underground-comix scene (the nonstandard spelling refers to a countercultural tradition of small-press, anything-goes comic books) and absorbed its revolt against representational taboos of every kind, the insistence by students that theyâd been subject to â[curriculum-based trauma]( must have been hard to understand. The series of complaints they brought to the Office of Institutional Equity werenât just against her but against the lineage she worked within and had been hired two decades ago to teach. No wonder she rubbed out her features: This is autobiography as defacement. There are a couple of different ways of thinking about Gloecknerâs ordeal. It might look like the most recent blow-up in the newly sensitized college classroom, in which highly charged and politically coded culture wars play out around language and imagery felt to violate new standards of justice regarding identity and emotional vulnerability. Thatâs certainly how it seemed to the students who complained. In this context, Gloecknerâs sins were similar to another member of the Michigan faculty, the composer Bright Sheng. Sheng [ran into trouble]( with his students and the Michigan administration for showing the 1965 film version of Othello, which features Laurence Olivier in blackface. He had wanted to make a point about the use of music in film; offended students felt besieged by the racist imagery. But from another point of view, what happened to Gloeckner looks like merely the freshest instance of a now seventy-year-long moral panic about comic books in particular. The resurgence of that panic has played out elsewhere, too, including in [attempts]( by various school boards in Southern states to remove Art Spiegelmanâs Maus (1986) from secondary-school curricula, based largely on a disturbing image of Spiegelmanâs mother committing suicide in her bath. The panel originally appeared in Spiegelmanâs 1973 âPrisoner on the Hell Planet,â part of the underground-comix anthology [Short Order Comix](. Anxiety about comics exploded in the 1950s, when religious and state authorities worked themselves into a lather over the sinister influences of sensationalistic crime and horror stories on young people. Parents were warned about what the Chicago priest Thomas J. Fitzgerald called the âcrime, disrespect for law, rape, infidelity, perversion, etc.â common to the medium. But as disturbing to authorities as the content of these comics was their exaggerated visual idiom. As Zachary Bampton explains in a [brief history]( the Comics Code Authority â the industryâs regulatory organization, established in response to criticisms like Fitzgeraldâs â took particular care to introduce stylistic constraints. As one article of the CCAâs âCode for Editorial Matterâ puts it, âAll lurid, unsavory, gruesome illustrations shall be eliminated.â Sex was especially worrisome; the head of the CCA insisted on the need âto de-emphasize or reduce the dimensions of the female bustâ in comics, and the Code formalized proscriptions of erotic imagery: âNudity in any form is prohibited"; âsuggestive or salacious illustration or suggestive posture is unacceptable"; âFemales shall be drawn realistically without exaggeration of any physical qualities.â The underground-comix movement emerged in direct response to the strictures of the CCA. With that history in mind, Gloecknerâs critics might seem the arrière-garde of a longstanding and essentially conservative panic over the corrosive effects of comics on the young â but in this case, the young have taken it upon themselves to defend themselves from the corruptions of the image. Gloecknerâs troubles began when she assigned an exercise based on panels from R. Crumbâs âA Gurl"; the girl in question, seen in a tight skirt from behind, has enormously muscled calves and exaggerated buttocks. As Gloecknerâs students put it in their complaint, they âexpressed their discomfort towards the depiction of the female body in the illustration, as they felt it was misogynistic and uncomfortable to draw.â The CCA would have shared the studentsâ disapproval. As this convergence suggests, left meets right in the new iconoclasm. Alison Bechdelâs graphic novel Fun Home has [repeatedly]( come under fire from students who, as a Duke undergraduate said, felt âit was insensitive to people with more conservative beliefs.â Its insensitivity, on the studentâs own [account]( consisted not in its themes or its narrative content â his concerns âhad nothing to do with the ideas presentedâ â but with, specifically, visual representation: âIn the Bible, Jesus forbids his followers from exposing themselves to anything pornographic.â When the book was assigned to first-year cadets at West Point, religious students succeeded in getting the schoolâs inspector general to grant them an exemption. Their copies of Fun Home had pink slips pasted over sexually explicit panels. The administrative ratification of such iconoclastic panics, whatever their political or ideological motivation, will not stimulate the teaching of art or art history. Read Phoebe Gloecknerâs âMy Cartoonish Cancellationâ [here]( and Zachary Bamptonâs âComic Books, Censorship, and Moral Panicâ [here](. For more on Gloeckner, check out Peggy Orensteinâs 2001 New York Times Magazine profile, [here](. And donât miss M.H. Millerâs recent consideration of the controversial art of R. Crumb, [here](. At Stanfordâs Free-Speech Conference, a Lie About The Chronicle A few weeks ago, I [wrote]( about a conference planned at Stanford on the topic of academic freedom â a conference that was initially closed to both reporters and other academics. Within a few days the organizers agreed to stream the conference, which is to their credit. Less creditable: Using the conference to flatly mischaracterize The Chronicle. In his opening remarks, conference co-organizer John Cochrane proclaimed, with evident pride, [that]( âThe Chronicle of Higher Education declared this conference a âthreat to democracy.ââ The Chronicle of Higher Education did not. In an article about the conference, our Stephanie M. Lee [wrote]( this: âAnd to a swath of Stanfordâs faculty, the event is yet another alarming piece of evidence that their elite institution is propping up figures who are threatening democracy and public health.â Sheâs plainly paraphrasing the views of âa swath of Stanford faculty.â I donât know whether Cochraneâs misreading was the result of carelessness or dishonesty, but itâs discouraging to see this sort of distortion around a topic as important as academic freedom, a principle whose premise is the search for truth. ADVERTISEMENT REGISTER NOW [Join us January 9-27]( for a virtual professional development program on overcoming the challenges of the department chair role and creating a strategic vision for individual and departmental growth. [Reserve your spot]( before November 15 and use code EARLYBIRD2023 to save $200. The Latest THE REVIEW | REPORTING [The Cruelty of Faculty Churn]( By James Rushing Daniel [STORY IMAGE]( Term-limited lectureships give scholars a taste of academic life â then yank it away. ADVERTISEMENT THE REVIEW | OPINION [The Moral Force of the Black University]( By Brian Jones [STORY IMAGE]( A 1968 student uprising at the Tuskegee Institute married practical demands with political vision. THE REVIEW | OPINION [10 Ways Colleges Can Diversify After Affirmative Action]( By Richard D. Kahlenberg and John C. Brittain [STORY IMAGE]( There are many options beyond racial preferences. Recommended - Sendakâs âblending of a childâs perspective with the visual vocabulary of âgrown-upâ fine art not only reveals his faith in a childâs ability to deal with complex material, but may also have some bearing on the longevity of his booksâ appeal.â In Artforum, Nicole Rudick [on the first retrospective]( of Maurice Sendakâs art since his death.
- âWe have to remember that it is one of the qualities of greatness that it brings heaven and earth and human nature into conformity with its own vision.â From the archives of the Yale Review, an elegant work of narrative theory by Virginia Woolf: â[How Should One Read a Book?]( (First published in 1926.)
- âCole essays transformation and reconstruction formally, puzzling the shards of his blown-open heart into lyrical testaments.â In The Nation, Walter Muyumba [on a new book]( of essays by Teju Cole. Write to me at len.gutkin@chronicle.com. Yours, Len Gutkin FROM THE CHRONICLE STORE [Diverse Leadership for a New Era - The Chronicle Store]( [Diverse Leadership for a New Era]( Diversity in leadership can help support colleges’ mission as enrollments of low-income and minority students increase. [Order your copy today]( to explore whether colleges are meeting goals they set following the 2020 racial justice movement and implementing best practices to recruit and support an inclusive administration. NEWSLETTER FEEDBACK [Please let us know what you thought of today's newsletter in this three-question survey](. This newsletter was sent to {EMAIL}. [Read this newsletter on the web](. [Manage]( your newsletter preferences, [stop receiving]( this email, or [view]( our privacy policy. © 2022 [The Chronicle of Higher Education](
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