...This chapter presents a thank you note from Jacques François Ancelet, a first-year student at the Louisiana State University Medical School in New Orleans, to author, cartoonist, and family friend Lynda Barry. François, along with his brother Jean and fellow classmates, joined the relief efforts...

...This chapter describes Lynda Barry’s definition of herself as an “odd duck” in an already outcast field. Barry is a Filipino-Irish-Norwegian woman in a largely white, male-dominated group of artists. She often indicates her preference for outcasts, noting that she would rather “hang around oddballs...

...This introductory chapter notes that Lynda Barry's works share the theme of passing on creativity. It explains how Barry's work combats neoliberal environments of competition, perfectionism, individualism, and maturity while also breaking down assumptions over good art and bad art. Moreover, her...

...This chapter explains how Lynda Barry's Syllabus does not have a right way to read it because it encourages readers to notice, linger, and reflect on the pages. Barry shares the creative process and pedagogy in Syllabus to help readers achieve a certain state...

...This chapter tackles how Lynda Barry's Syllabus had been taught in the college writing classroom. It starts with the creative personification of the writer's block of three known artists that have been felt by college students. The pedagogy of the Syllabus pushes...

...This chapter covers the influence of Lynda Barry on Elaine Claire Villacorta and her works. It notes the experience of Villacorta attending the Writing the Unthinkable workshop and reading What It Is. Villacorta acknowledges the flamboyant and accessible nature of Barry's paneling...

...Best known for her long-running comic strip Ernie Pook’s Comeek, illustrated fiction (Cruddy, The Good Times Are Killing Me), and graphic novels (One! Hundred! Demons!), the art of Lynda Barry has branched out to incorporate plays, paintings, radio...

...Lynda Barry (b. 1956) is best known for her distinctive style and unique voice, first popularized in her underground weekly comic Ernie Pook's Comeek. Since then, she has published prolifically, including numerous comics, illustrated novels, and nonfiction books exploring...

...This chapter offers an example of how to productively teach Lynda Barry’s graphic narrative One Hundred Demons through the lens of ambiguity, which runs throughout Barry’s coming-of-age comix. Ambiguity of her intended audience (adults vs young adults), of the genre (autobiography...

...This chapter covers the notion of trauma and growth in the works of Lynda Barry. It notes the element of healing role creativity in Barry's comic strips. Barry's fully realized narrative persona of a confident pedagogue is only possible through her shift from fiction to autobiography in her writing...

...This chapter examines Cruddy: An Illustrated Novel written by Lynda Barry through the techniques of diary fiction. It explains the strategies serving to engender thrilling anticipation and demanding active involvement from the audience. Cruddy plays on the porous...

...Leah Misemer interviews influential comic book creator and professor, Lynda Barry, discussing the role of pedagogy within Barry’s classroom practices. Barry’s words here complement the varied nature across the chapters in this section and her diverse array of publications. Barry Lynda comics...

...This chapter compares two different modes of deploying intertextuality in autobiographical writing by analyzing the relationship between textuality and experience in Alison Bechdel’s comic autobiography Fun Home and Lynda Barry’s One! Hundred! Demons!. It first...

...This chapter examines the manifold implications of language’s langue/parole foundation in Lynda Barry’s cartoons. It looks at the kind of strong characterizations, poignant plots, and grim themes in Barry’s work that resonate with Anglophone comics critics’ content...

...This chapter discusses the experience of attending the Writing the Unthinkable workshop of Lynda Barry. It depicts the experience of being given space to reflect on the process of creation and change it into a more energized and meaningful process. As shown through her comic frames, Barry's oeuvre...

...This chapter discusses the attempt of Lynda Barry's What It Is to confront the issue of artistic education and writing. It explains Barry's pedagogy wherein memory and thought must be distinguished from each other. In its pedagogy, What It Is uses somatic...

...This chapter explores the conventions of autobiography in the relation between memory and empathy while referencing Lynda Barry's long-running four-panel comic, Ernie Pook's Comeek. Even though the work is not inherently an autobiography, a narrative in Ernie Pook...

...This chapter explores the notion of class and gender within Lynda Barry's Cruddy: An Illustrated Novel. The world of Cruddy reflects the world of modern capitalism, which is divided between proletarians and the bourgeoisie. The chapter expounds on the literary...

...This chapter presents an introspection of Lynda Barry's Big Idea in comic form. It highlights the compelling aspect of Barry's narrative despite exuding a sense of clandestine adult dread through distinctly unlovely and scratchy pictures and drawings. Good art has been understood...

... diverse and accepted in the 90s, the genesis of the Misfit Lit show, the curation by Fantagraphics, and of the experience visiting the show and gallery. This chapter includes commentary about Lynda Barry and Reed Waller. Image: Misfit Lit catalog cover. Fantagraphics...