in Comics: Making Sense

Postema, Barbara. Narrative Structure

of Fragmenfs. Rochester, NY: RIT Press, 2013. -- $30. 978-1-
933360-95-9.

The theme ofBarbara Postema's remarkable study lies in the subtitle of

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 785

her book. In a roaring flood of rhetoric about comics theory in the last few
years, when I have barelykept myhead above water, it is promising
to find a
scholar finally "making sense." postema's enthusiasm and knowledge or
comics comes across systematicallythroughout this carefully
{esigned book
that unravels the elements ofnarrative structure in comics.
Postema asserts that her "study interrogates comics as comics,in all its
many genres, and with a focus on the formal and material specificities of the
form." She goes on to elaborate that she "seeks to answer questions relating
to how comics create their narratives: what type of signification are evoked in
comics discourse? How does the material form in which a comic exists -- be it
a newspaper strip, comic book, or hardcover graphic novel -- affect its
signification? How do text-image relations alter perceptions of comics as a
visual form -- in fact, can comics be better conceived ofas avisual form or as
a textual-pictorial blend? And bywhat means do comics engage their readers?,,
She describes her approach as "loosely semiotic in its methodology. It
is rooted in the notion of reading as a process of making meaning out of
various kinds of sign, andthe assumption that signs ofmanykinds areevoked
and utilized in comics. comics produce numerous codes to create meaning.
Identifiring these codes and creating an understanding ofhow they signifi, is
the basis of my project."
One of the elements that Postema investigates successfully is ,,gap,,,
which she defines as the "signi$ring function of absence,, in comics. Her
elaborate discussion of this concept is provocative: "This study takes the
concept ofthe gap as a signifying unit in the sequence and theorizes how its
function can be expanded upon, how it can be understood to operate at all
levels of comics signification." She goes into extensive detail with extremely
helpful illustrations to insure that this pivotal term is understood.
Postema expands various narrative theories predominantly by Thierry
Groensteen, Roland Barthes, Scott Mccloud, and will Eisner, but also with
numerous references to single scholarlyworks and over 40 illustrations, largely
from alternative comics. Her choice of illustrations make her explanations
readily clear, ranging from conventional codes in a simple '?eanuts" strip to
the connotational meaning ofobjects in a complex panel from Julie Doucet,s
My New York Diary. Postema brings up an element for discussion, illustrates
it in an example, and argues for or against a common principre or term with
supporting evidence. Her chapter subheadings provide the scope ofher work
in five chapters: Comics Considered, Signification within panels; Layout in
Frames and Gutters; creatingAction through sequence; Image-Text Relations;
and The Process of Narration. I especially found her taxonomy of layout
helpful, which she breaks down into the following formats with several examples
to illustrate the structure: Panels framed byframes, separated by blank space;
one panel per page (with or without frame); several panels per page; frameless
panels; grids; and inserts/insets. She goes on to look at more panel variations

IJOCA, Foll2013
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and considers: "Is it possible to have a comic without separation?" It

is her
constant questioningthat I also applaud, because it forces us to reconsider
the function of form in a narrative.
What I found most appealing about Postema's book is her openness to
disagreement and her broad-minded attitude in examining other opinions,
as

welfas the consequences of accepting one opinion over another. A good

example of this involves the disagreement among critics over the inclusion
of
cartoon gags as comics. Those who argue against inclusion say they fail to
..pass
the sequentiality test." she goes into an extended reflection on the term
'tartoon" as it relates to comics and its use as a broader field that incorporates
it simple,
comics and their creators. She concludes with this summary: 'oTo keep
the verb cartooning can be used as a catchall phrase that includes all the
steps in the creative process of making a comic'"
Another example of her confidence in challenging commonlyaccepted
ideas is in her discussion ofthe debate over silence in comics' She
argue3

successfully that comics do not have to always have that perfect blend of
words and pictures to be regarded as comics, and she presents ideas that
both parties can agree on, like the idea to "think of comics as a form that
is
mainiy driven by tle visual, to which the verbal often adds interest or depth."
what a simple wayof defining commonality in this debate, which then allows
her to extend her argument and provide supporting evidence for the inclusion
of silent comics and concludes thal "nartalion in comics is very much an
image-based process."
Her chapter notes and bibliography are extremely useful' She also
in her
includes two appendixes, "Comics Terminology," which is important
clarification of terms, and "comics History and Genre overview," which is a

less than usefu1 history of comics. I would have preferred an extended list of
terms rather than this brief overview.
After reading this book, I will never underestimate the notion of gap or
absences in comics, and with this understanding, I discovered
a heightened

personal engagement with comics narrative'

Postema has a welcoming writing style that allows her to systematically
delve into theoretical terms without losing the reader. She deals
with some
her logic until I
complex terms and yet, I found myself comfortablyretracing
not only insightful but
understood her manner of seeing things, which was
curiosity and thorough
often instructive. Finally, what I appreciate is Postema's
investigativeworkinshowingusthefascinatingintricaciesofcomics
signifiJtion. With this book, Postematakes the leadwith the next generation
love of
ofcomics scholars, and her painstaking research skilts and genuine
comics assures a promising future for comics scholarship'

David.dBerod

IJOCA, Fall 201i