Reads like a graphic novel … except it’s non-fiction

“If you care about the general welfare of women, and all people around the world, this book is for you.” There are quite a few gems in this very, very early review of Threadbare from Portland Book Review, and we couldn’t be more excited to read it!

PBR says the work of comics journalism “reads almost like a graphic novel with a loosely connected plot, except it’s non-fiction. … Otherwise, the drawings and the cited research compel the reader to finish this quick read and feel uneasy in his or her very clothes.” The reviewer even concludes (correctly, according to our research) that, “Despite the belief of some people, anti-trafficking efforts make life harder for sex workers.”

Women don’t read comics, and other false beliefs


The FEMSKT crew and Anne Elizabeth Moore (representing The Ladydrawers) gave a talk at Naisasialiitto Unioni after research residency at Villa Salin called, “Women don’t read comics and other false beliefs.” It was written up, comics-style, by the delightful Hanna-Piritan, more from whom can be seen here.

Read the full version (in Finnish) here. There’s a peeing man in it, so.

Comics Workbook interview

Violet, the super-sleuthin’ pet detective from our Bitch Media series Don’t Be a Dick, graces the cover of the current Comics Workbook Magazine. (Check the crews’ Tumblr here.) She’s only one of many amazing inventions from the mind of Melissa Mendes, who’s interviewed alongside Anne Elizabeth Moore by Zach Mason.

Here’s a clip, on HATERZ:

AEM: As far as pushback, we’ve had, and have, a ton of haters. … What I think people don’t realize, or they would stop expressing any venom toward us at all, is that all that stuff is fuel. The dude who left the comment about stats being the last refuge of people who have nothing to say? Used that in a strip. GT66, who used to troll us with long and nonsensical arguments about … well, it was sort of unclear. Women, or something? That guy was *the best.* I miss him a little bit, because when you hit that wall of hate, the stakes get really clear. You absolutely for sure know that you are on the right path, and then, best part: the angriest people start telling you where not to tread next. Then you go there.

All that stuff has died down some now, and we’re getting to some kind of critical mass, at least about gender and comics (or maybe more accurately, women and comics). There’s clearly a ton more to do: I haven’t seen anything yet that makes me believe the current conversation, which we obviously helped start, will result in permanent change. In the early days—just a few years ago!—it was sort of amazing. All the other folks in the crew had, like, no qualms about any of it. Nicole Boyett, Rachel Swanson—they would stay up all night reading hateful comments about us to each other and laughing. We even did a puppet show of them. Esther Pearl Watson designed most of the puppets from stuff she found on the ground in a field.

MM: I personally I haven’t had any haters (that I know of) on this front—just people being generally confused about when other characters are boys or girls, and one kid being genuinely mind blown by the fact that one of my characters, usually depicted in black and white, had “brown skin”.  Usually it’s kids that are the most honest.  They’re like “Is that a girl or a boy?” And just the fact that they are genuinely, and not hatefully, asking that question about a book they enjoyed makes me feel good.

Ladydrawers: Our Fashion Year (the talkumentary)

Anne Elizabeth Moore’s talk on comics, gender, culture, and labor on August 7 at Gallery 400 will air in a documentary on CAN-TV in Chicago at the following dates and times:

Sunday, August 31st, 10:30 AM, Channel 21
Tuesday, September 2nd, 8:00 AM, Channel 19
Wednesday, September 3rd, 12:00 PM, Channel 21

But you can also watch it from the comfort of your own laptop! Right here on this very website! Enjoy!

Helsingin Sanomat

Yh­dys­val­lois­sa nai­set tie­naa­vat vä­hem­män kuin mie­het – ku­ten meil­lä­kin. Sar­ja­ku­va-a­lal­la ero on suo­ras­taan hui­kea: nai­sen dol­la­ri on vain 27 sent­tiä.

Tä­män sai sel­vil­le Anne Elizabeth Mooren ve­tä­mä La­dyd­ra­wers-­ryh­mä, jo­ka on tut­ki­nut nais­ten ase­maa sar­ja­ku­va-a­lal­la yli nel­jä vuot­ta. Moo­re kä­si­kir­joit­taa ai­he­pii­ris­tä sar­ja­ku­via, joi­ta ryh­män jä­se­net piir­tä­vät.

“Su­ku­puo­li on sar­ja­ku­va-a­lal­la pal­jon kor­keam­pi muu­ri kuin muual­la. On vai­kea sa­noa, mis­tä kai­kes­ta se joh­tuu. Yk­si syy on, et­tä sar­ja­ku­va miel­le­tään yhä vah­vas­ti poi­kien ju­tuk­si”, Moo­re sa­noo.

You may be wondering what this says. If you are not, you are welcome to read the rest of this story here. (From “Sarjakuvakäsikirjoittaja Anne Elizabeth Moore lähti intiaanireservaatista Kambodžaan: Anne Elizabeth Moore kirjoittaa sarjakuvia naisen asemasta,” by Harri Römpötti in the Helsingin Sanomat. Yay awesome!)

The Ladydrawers in the Reader

Thanks to the Chicago Reader, who wrote up a preview of SEX. MONEY. RACE. GENDER. The Ladydrawers (of Chicago, Ill.) last week.

Essentially any stereotype, loophole, prejudice, economic condition, or unwritten rule that can inhibit someone from joining the cultural conversation because of their gender, sexual orientation, race, or economic status is in their line of fire.

The preview includes a quick overview of our very own Delia Jean and her July 18 workshop, Life and Labor.

The collective will also hold workshops in the gallery space—an “experimental-pedagogical” series designed to raise participants’ awareness of the social conditions they live in. Life and Labor, for instance, a workshop led by journalist Sarah Jaffe and cartoonist Delia Jean Hickey, will explore the emotional toll of working in the service industry.

Hickey worked for years as a waitress at Miller’s Pub in the Loop, and used the experience in her comic book series Station in Life (she’ll also be the one hula hooping on opening night). She wanted to look at the impact of “reducing your own status to elevate that of the person you’re serving” on a daily basis, and the drain that has on people’s lives. “You’re stuffed into these emotional circumstances where you’re required to act a certain way,” she says. “What sort of impact does that have on your sense of self or being?”

The piece highlights our Truthout series, Sarah Morton’s really great (and subtle) work from the show, and Melissa Gira Grant’s CA$H KITTY. Read the whole thing here.