Darkroom: A Memoir in Black and White

Darkroom: A Memoir in Black and White is an autobiographical comic set during the civil rights movement written by American author Lila Quintero Weaver.[1][2] It was published on March 31, 2012.[3][4][5] The graphic novel explores issues of immigrant identity that was based on the author's life.[6]

Darkroom: A Memoir in Black and White
Page count254 pages
PublisherUniversity of Alabama Press
Original publication
Published in03/01/2012
Issues1
LanguageEnglish
ISBN9780817357146

Overview

Weaver's mother was a painter and her father was a photographer, inspiring the title Darkroom.[7]

In 1961, Weaver immigrates with her family from Buenos Aires to live in Marion, Alabama.[8][9] The comic book describes her experience growing up as a Latina immigrant during the integration period immediately following the outlawing of Jim Crow laws in the Southern United States.[10] She describes her feelings about growing up in a town with racial tension that she didn't know where exactly she belonged and about her personal fight against the racial discrimination surrounding her.[11][12] She also writes her personal account of the night of the Jimmie Lee Jackson murder, which took place near her home. The graphic novel analyzes the connections between race, identity, immigration, and growing up in the United States.[13]

Composition

“Weaver blurs the line between photographs and graphic narrative as potential sources for articulating family history.” (Jorge Santos). The inclusion of these photographs and graphic narratives allows Weaver to mix together the two sources, the photographs serve as the objective truth of what happened at the time. The graphic narratives let Weaver present a unique perspective that is her own, providing a new perspective on a very two-sided historical event. It continues to build emotions on top of the objective truths in the photographs. This emotional aspect is built upon what Weaver experiences and how she reacts to the events around her in school and the riots that would later in the story ensue.

“metacritical awareness of history as an editorial and curative process, simultaneously calling them to question what evidentiary forms, like the photograph or the film reel, we accept as truth.” (Ian Rocksborough-Smith). However, in the same vein that Weaver’s photographs can serve to shed light on the forgotten moments of history, it is important to question the accuracy of these photographs. Including the photographs changes the story’s structure as Weaver is now controlling where the reader looks and is causing the readers to think critically about the history of the Civil Rights movement, wondering what the objective truth is and what her subjective perspective on these events is.

Themes

Racial Identity

“Nevertheless, the artwork also makes it clear that this personal and cultural journey is not the sole focus of the graphic memoir. Prominently centered and carefully set in the foreground, a tightly cropped frame of a young African American couple—holding candles and singing—subtly obstructs the geographical destination of the United States.” (Peterson, Breckenridge). Although the story is about Weaver’s migration to America, she decides to focus on how her racial identity is affected by the Civil Rights movement. As an Argentinean immigrant, Weaver's position within the racial hierarchy was ambiguous, and she often found herself struggling to understand her place in the world. She uses her personal experiences to highlight the ways in which race intersects with other aspects of identity, such as class, nationality, and language. The novel by Lila Quintero Weaver is an autobiography. In an interview with Danny Salter, Weaver describes the book as a memoir(https://youtu.be/3Ju4MSU5Ng8). Weaver describes the book as a fast read. The book is more than a regular novel; it is a graphic novel. Besides being the book's author, Weaver is also the illustrator since she is the artist who draws the pictures illustrated in the book.

           Weaver's mother was also an artist who inspired Weaver's artistic side. An exciting fact told in the story by Weaver is that since she and her brother were not allowed to watch television, their creative side came to life as they spent hours drawing and painting. The personal narrative by Weaver is her narrative as a young Argentinian girl who moves with her family to Marion, Alabama, during the 1960-1970s. Even though Weaver describes herself as "Passing" because she looks white, she still suffers racism when people realize her family is Hispanic. She explains how she stud up to defend others who were suffering racism.

           Besides the remarkable drawings in the novel, one enjoys the narrative of the struggles that some go through to find self-identity. Self-identity seems to be a strong theme in the story. The title of the novel "Darkroom" could be interpreted as a metaphor to describe what was happening in society at the time. The novel has reached out to classrooms. It has also been translated into Spanish by Karina Elizabeth Vazquez.



                                                         


Reception

Some believe that Darkroom is a metaphor for how some are socially blind.[7] Weaver was nominated for the 2012 Ignatz Award for Promising New Talent for Darkroom.[14]

See also

References

  1. "Author Explores Connections Between Immigration, Race". www.samford.edu. Retrieved April 17, 2017.
  2. "Quintero Weaver, Lila | thelatinoauthor.com". thelatinoauthor.com. Retrieved April 17, 2017.
  3. "lila q weaver". lila q weaver. Retrieved April 17, 2017.
  4. "Darkroom". Goodreads. Retrieved April 17, 2017.
  5. Janis Breckenridge and Madelyn Peterson (1978). "Lila Quintero Weaver's Darkroom: a memoir in black and white: Envisioning Equality". Confluencia. 72 (2): 107–108. JSTOR 4349000.
  6. Breckenridge, Janis; Peterson, Madelyn (2013). "Lila Quintero Weaver's "Darkroom: a memoir in black and white": Envisioning Equality". Confluencia. 29 (1): 109–125. JSTOR 43490009.
  7. Rocksborough-Smith, Ian. “Graphic Memories of the Civil Rights Movement: Reframing History in Comics.” Labour, vol. 85, no. 85, Athabasca University Press, 2020, pp. 322–24.
  8. "Lila Quintero Weaver's 'Darkroom': The Jim Crow South Through an Immigrant's Eyes". PublishersWeekly.com. Retrieved April 17, 2017.
  9. "Powerful Images Recollected in Tranquility | Public Books". www.publicbooks.org. July 18, 2012. Retrieved April 17, 2017.
  10. "Darkroom - University of Alabama Press". www.uapress.ua.edu. Retrieved April 17, 2017.
  11. "Comics Herstory: Lila Quintero Weaver". Graphic Policy. March 18, 2016. Retrieved April 17, 2017.
  12. "Book review: 'Darkroom: A Memoir in Black and White'". AL.com. Retrieved April 17, 2017.
  13. "[Darkroom: A Memoir in Black and White]". C-SPAN.org. Retrieved April 17, 2017.
  14. "Ignatz Awards 2012". Retrieved April 18, 2017.

[1][2][3]

  1. Rocksborough-Smith, Ian, and Jorge J. Santos. Labour / Le Travail, vol. 85, 2020, pp. 322–324. JSTOR, https://www-jstor-org.proxy.libraries.rutgers.edu/stable/26976160. Accessed 28 Mar. 2023.
  2. Breckenridge, Janis, and Madelyn Peterson. “Lila Quintero Weaver's ‘Darkroom: a Memoir in Black and White’: Envisioning Equality.” Confluencia, vol. 29, no. 1, 2013, pp. 109–125. JSTOR, http://www.jstor.org.proxy.libraries.rutgers.edu/stable/43490009. Accessed 28 Mar. 2023.
  3. Ana, Jeffrey Santa, et al. “Redrawing the Historical Past: History, Memory, and Multiethnic Graphic Novels.” University of Georgia Press, 2018. Project MUSE muse.jhu.edu/book/58449.
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