1 00:00:05,124 --> 00:00:07,227 WELCOME. 2 00:00:07,227 --> 00:00:08,528 GOOD AFTERNOON. 3 00:00:08,528 --> 00:00:09,562 I'M AT THE NATIONAL INSTITUTES 4 00:00:09,562 --> 00:00:10,129 OF HEALTH. 5 00:00:10,129 --> 00:00:11,397 THANK YOU FOR JOINING US FOR 6 00:00:11,397 --> 00:00:13,633 TODAY'S NATIONAL LIBRARY OF 7 00:00:13,633 --> 00:00:18,371 MEDICINE NLM HISTORY TALK. 8 00:00:18,371 --> 00:00:20,073 THIS ANNUAL SERIES OF PROGRAMS 9 00:00:20,073 --> 00:00:22,408 IS OF NLM AND RELATED TO 10 00:00:22,408 --> 00:00:23,009 HISTORICAL COLLECTIONS FOR 11 00:00:23,009 --> 00:00:25,111 RESEARCH, EDUCATION AND PUBLIC 12 00:00:25,111 --> 00:00:27,113 SERVICE IN BIOMEDICINE AND 13 00:00:27,113 --> 00:00:31,885 SOCIAL SCIENCES AND HUMANITIES 14 00:00:31,885 --> 00:00:34,187 AND THEY RECOGNIZE THE DIVERSITY 15 00:00:34,187 --> 00:00:37,457 OF THE COLLECTIONS WHICH SPAN 16 00:00:37,457 --> 00:00:40,260 COUNTRIES AND A RANGE OF FORMATS 17 00:00:40,260 --> 00:00:41,761 AND ORIGINATE FROM NEARLY EVERY 18 00:00:41,761 --> 00:00:42,896 PART OF THE GLOBE. 19 00:00:42,896 --> 00:00:44,531 MOREOVER IT'S THE VOICES OF 20 00:00:44,531 --> 00:00:46,099 PEOPLE OF COLOR, WOMEN AND 21 00:00:46,099 --> 00:00:47,500 INDIVIDUALS OF A VARIETY OF 22 00:00:47,500 --> 00:00:48,935 CULTURAL AND DISCIPLINARY 23 00:00:48,935 --> 00:00:53,406 BACKGROUNDS WHO VALUE THESE 24 00:00:53,406 --> 00:00:58,211 COLLECTIONS AND USE THEM TO 25 00:00:58,211 --> 00:00:59,479 ADVANCE THEIR RESEARCH, LEARNING 26 00:00:59,479 --> 00:01:03,416 AND FOR THOSE ON TWITTER USE THE 27 00:01:03,416 --> 00:01:05,852 HASHTAG NLM HIS TALK AND FOR 28 00:01:05,852 --> 00:01:07,487 THOSE WHO WISH TO SHARE 29 00:01:07,487 --> 00:01:09,422 QUESTIONS USE THE MY FEEDBACK 30 00:01:09,422 --> 00:01:11,491 BUTTON ON THE VIDEO TO SEND THE 31 00:01:11,491 --> 00:01:13,259 QUESTIONS TO ME WHICH I'LL SHARE 32 00:01:13,259 --> 00:01:14,093 WITH OUR SPEAKER. 33 00:01:14,093 --> 00:01:15,261 TODAY I HAVE THE GREAT PLEASURE 34 00:01:15,261 --> 00:01:19,499 AND PRIVILEGE OF INTRODUCE 35 00:01:19,499 --> 00:01:21,568 DR. SOHA BAYOUMI IN THE HISTORY 36 00:01:21,568 --> 00:01:27,140 OF THE HUMANITIES PROGRAM IN THE 37 00:01:27,140 --> 00:01:28,007 JOHNS HOPKINS UNIVERSITY AT 38 00:01:28,007 --> 00:01:29,542 BALTIMORE TRAINED IN POLITICAL 39 00:01:29,542 --> 00:01:32,078 HISTORY AND HISTORY OF IDEAS AND 40 00:01:32,078 --> 00:01:34,247 WORKS AT THE INTERSECTION OF 41 00:01:34,247 --> 00:01:35,148 HISTORY, POLITICAL THEORY AND 42 00:01:35,148 --> 00:01:38,318 SCIENCE, TECHNOLOGY AND MEDICINE 43 00:01:38,318 --> 00:01:38,551 STUDIES. 44 00:01:38,551 --> 00:01:41,688 GROWING UP IN CAIRO SURROUNDED 45 00:01:41,688 --> 00:01:43,590 BY MEDICINE AND POLITICAL 46 00:01:43,590 --> 00:01:47,160 ACTIVISM BECAME INTERESTED IN 47 00:01:47,160 --> 00:01:51,364 UNDERSTANDING HOW MEDICAL 48 00:01:51,364 --> 00:01:52,198 PROFESSIONALS' LEANS SHAPING 49 00:01:52,198 --> 00:01:53,533 THEIR PRACTICE AND HOW TO IT 50 00:01:53,533 --> 00:01:56,536 SHAPES IN TURN THEIR POLITICAL 51 00:01:56,536 --> 00:01:57,870 AND SOCIAL CHOICES. 52 00:01:57,870 --> 00:01:59,839 DR. BAYOUMI IS PARTICULARLY 53 00:01:59,839 --> 00:02:03,209 INTERESTED IN GENDER STUDIES AND 54 00:02:03,209 --> 00:02:04,210 POST-COLONIAL STUDIES. 55 00:02:04,210 --> 00:02:06,546 AFTER RECEIVING HER B.A. FROM 56 00:02:06,546 --> 00:02:08,414 CAIRO UNIVERSITY SHE COMPLETED 57 00:02:08,414 --> 00:02:12,485 HER GRADUATE STUDIES IN FRANCE 58 00:02:12,485 --> 00:02:14,621 IN PARIS AND CONDUCTED RESEARCH 59 00:02:14,621 --> 00:02:16,656 IN ITALY AND GERMANY. 60 00:02:16,656 --> 00:02:18,825 BEFORE TEACHING AT HOPKINS SHE 61 00:02:18,825 --> 00:02:20,293 TAUGHT AT HARVARD'S DEPARTMENT 62 00:02:20,293 --> 00:02:22,929 OF SCIENCE BETWEEN 2011 AND 63 00:02:22,929 --> 00:02:23,196 2021. 64 00:02:23,196 --> 00:02:25,098 WITH HER RESEARCH LOCATED AT THE 65 00:02:25,098 --> 00:02:28,034 INTERSECTION OF MEDICINE AND 66 00:02:28,034 --> 00:02:30,269 PUBLIC HEALTH AND QUESTIONS OF 67 00:02:30,269 --> 00:02:32,105 HEALTH AND SOCIAL JUSTICE SWELLS 68 00:02:32,105 --> 00:02:36,376 BIO MEDICAL ETHICS AND 69 00:02:36,376 --> 00:02:38,144 MEDICINE-POLITICS NEXUS SHE HAS 70 00:02:38,144 --> 00:02:40,647 PUBLISHED EXTENSIVELY IN HER 71 00:02:40,647 --> 00:02:44,350 FIELD AND FINISHING A BOOK FOR 72 00:02:44,350 --> 00:02:47,086 STANFORD PRESS CO-AUTHORED WITH 73 00:02:47,086 --> 00:02:49,122 AN ANTHROPOLOGIST ON THE ROLES 74 00:02:49,122 --> 00:02:50,923 PLAYED BY DOCTORS IN 75 00:02:50,923 --> 00:02:52,225 REVOLUTIONARY AND 76 00:02:52,225 --> 00:02:53,459 POST-REVOLUTIONARY EGYPT AND 77 00:02:53,459 --> 00:02:54,961 WORKING ON ANOTHER BOOK PROJECT 78 00:02:54,961 --> 00:02:58,364 ON THE SOCIAL ROLES OF DOCTORS 79 00:02:58,364 --> 00:03:02,035 IN POST-COLONIAL EGYPT. 80 00:03:02,035 --> 00:03:02,735 COMPLEMENTING HER TEACHING THE 81 00:03:02,735 --> 00:03:05,304 MEDICINE OF PUBLIC HEALTH AND 82 00:03:05,304 --> 00:03:14,280 HUMANITIES AND IS EDITOR OF THE 83 00:03:14,280 --> 00:03:16,449 ISLAMIC AND MUSLIM STUDIES AND 84 00:03:16,449 --> 00:03:18,618 WILL JOIN US TO DISCUSS THE 85 00:03:18,618 --> 00:03:21,554 FIELD OF RAPID MEDICINE AS THE 86 00:03:21,554 --> 00:03:24,957 MEDIUM OF COMICS AND DISCOURSE 87 00:03:24,957 --> 00:03:27,360 OF HEALTH CARE AND DE CENTERING 88 00:03:27,360 --> 00:03:29,462 WHITE NARRATIVES DURING THE 89 00:03:29,462 --> 00:03:30,229 COVID-19 PANDEMIC. 90 00:03:30,229 --> 00:03:30,697 WELCOME. 91 00:03:30,697 --> 00:03:32,799 THANK YOU FOR JOINING US TODAY. 92 00:03:32,799 --> 00:03:35,501 WE'RE EXCITED TO HEAR YOUR TALK. 93 00:03:35,501 --> 00:03:35,768 THANK YOU. 94 00:03:35,768 --> 00:03:43,676 OVER TO YOU. 95 00:03:43,676 --> 00:03:46,345 >> THANK YOU, JEFF. 96 00:03:46,345 --> 00:03:46,979 I APPRECIATE THE INTRODUCTION 97 00:03:46,979 --> 00:03:47,780 AND THE OPPORTUNITY TO 98 00:03:47,780 --> 00:03:49,982 PARTICIPATE IN THE HISTORY 99 00:03:49,982 --> 00:03:50,183 TALKS. 100 00:03:50,183 --> 00:03:52,385 THIS IS A GREAT MOMENT FOR ME TO 101 00:03:52,385 --> 00:03:54,187 SHARE THE TOPIC I'VE LATELY BEEN 102 00:03:54,187 --> 00:03:55,488 INTERESTED IN. 103 00:03:55,488 --> 00:03:56,889 I'VE BEEN INTERESTED IN THE 104 00:03:56,889 --> 00:03:58,691 TOPIC OF GRAPHIC MEDICINE MANY 105 00:03:58,691 --> 00:04:01,761 YEARS NOW BUT OVER THE LAST 106 00:04:01,761 --> 00:04:03,496 COUPLE OF YEARS WITH THE 107 00:04:03,496 --> 00:04:04,664 COVID-19 PANDEMIC I'VE BEEN 108 00:04:04,664 --> 00:04:06,065 PARTICULARLY INTERESTED IN 109 00:04:06,065 --> 00:04:08,301 THINKING ABOUT HOW THE FIELD IS 110 00:04:08,301 --> 00:04:08,568 CHANGING. 111 00:04:08,568 --> 00:04:09,502 DIFFERENT WAYS IN WHICH THE 112 00:04:09,502 --> 00:04:15,341 FIELD IS CHANGING AND HOW IT IS 113 00:04:15,341 --> 00:04:19,479 ACCOMMODATING OR NOT TO NEW 114 00:04:19,479 --> 00:04:20,913 VOICES AND DIFFERENT VOICES. 115 00:04:20,913 --> 00:04:27,186 SO IN YOUR INTRODUCTION YOU 116 00:04:27,186 --> 00:04:28,721 GRACIOUSLY OFFERED THE BRIEF 117 00:04:28,721 --> 00:04:29,956 DEFINITION OF GRAPHIC MEDICINE. 118 00:04:29,956 --> 00:04:32,592 FOR THOSE WHO ARE NOT FAMILIAR 119 00:04:32,592 --> 00:04:34,694 WITH THE FIELD OF GRAPHIC 120 00:04:34,694 --> 00:04:37,930 MEDICINE, GRAPHIC MEDICINE WAS 121 00:04:37,930 --> 00:04:39,532 DEFINED ACCORDING TO THE GRAPHIC 122 00:04:39,532 --> 00:04:42,568 MEDICINE MANIFESTO PUBLISHED IN 123 00:04:42,568 --> 00:04:44,103 2015 AS THE INTERSECTION BETWEEN 124 00:04:44,103 --> 00:04:47,073 THE MEDIUM OF COMICS AND THE 125 00:04:47,073 --> 00:04:49,842 DISCOURSE OF HEALTH CARE. 126 00:04:49,842 --> 00:04:52,011 THIS IS FROM IS THE INTRODUCTION 127 00:04:52,011 --> 00:04:54,213 TO THE GRAPHIC MEDICINE 128 00:04:54,213 --> 00:04:55,081 MANIFESTO BY PENN STATE 129 00:04:55,081 --> 00:05:00,520 UNIVERSITY PRESS IN 2015. 130 00:05:00,520 --> 00:05:03,022 SO WHAT IS IT ABOUT COMICS THAT 131 00:05:03,022 --> 00:05:05,758 IS INTERESTING IN GENERAL BUT 132 00:05:05,758 --> 00:05:07,059 PARTICULARLY INTERESTING TO 133 00:05:07,059 --> 00:05:08,094 MEDICINE? 134 00:05:08,094 --> 00:05:11,063 WHY IS IT THAT A LOT OF ARTISTS 135 00:05:11,063 --> 00:05:16,002 AND SCHOLARS AND PRACTITIONERS 136 00:05:16,002 --> 00:05:16,702 HEALTH CARE PROVIDERS HAVE BEEN 137 00:05:16,702 --> 00:05:18,638 INTERESTED IN THE POTENTIAL OF 138 00:05:18,638 --> 00:05:19,806 COMICS AND THE DIFFERENT ROLES 139 00:05:19,806 --> 00:05:26,445 PLAYED BY COMICS IN A CLIN CAG 140 00:05:26,445 --> 00:05:27,580 SETTING BUT ALSO IN GENERAL AND 141 00:05:27,580 --> 00:05:29,816 UNDERSTANDING THE CULTURES OF 142 00:05:29,816 --> 00:05:30,783 MEDICINE, IF YOU WILL. 143 00:05:30,783 --> 00:05:32,385 ONE ELEMENT THAT'S BEEN 144 00:05:32,385 --> 00:05:33,319 HIGHLIGHTED A LOT IS THE NOTION 145 00:05:33,319 --> 00:05:34,086 OF ABSTRACTION. 146 00:05:34,086 --> 00:05:37,390 HOW COMICS AS A VISUAL FORMAT AS 147 00:05:37,390 --> 00:05:39,692 A VISUAL ART COMPARED TO OTHER 148 00:05:39,692 --> 00:05:45,064 VISUAL ARTS RELIES A LOT ON 149 00:05:45,064 --> 00:05:45,364 ABSTRACTION. 150 00:05:45,364 --> 00:05:47,500 COMPARED FOR EXAMPLE TO 151 00:05:47,500 --> 00:05:48,000 PHOTOGRAPHY AND EVEN TO 152 00:05:48,000 --> 00:05:53,139 PAINTING. 153 00:05:53,139 --> 00:05:57,577 THE AUTHOR OF "MOM'S CANCER" BY 154 00:05:57,577 --> 00:05:59,745 NOW ONE OF THE ESSENTIAL BOOKS 155 00:05:59,745 --> 00:06:01,814 PART OF THE CLASSICS IF YOU WILL 156 00:06:01,814 --> 00:06:03,482 OF THE CANNON OF GRAPHIC 157 00:06:03,482 --> 00:06:06,819 MEDICINE PUBLISHED IN 2006 AND 158 00:06:06,819 --> 00:06:08,921 WINNER OF THE ISNER AWARD TALKED 159 00:06:08,921 --> 00:06:11,490 A LOT ABOUT ABSTRACTION AND ONE 160 00:06:11,490 --> 00:06:13,593 ASPECT THAT HE HIGHLIGHTED TO 161 00:06:13,593 --> 00:06:16,896 SORT OF SHOWCASE THE MEANINGS 162 00:06:16,896 --> 00:06:17,897 AND THE ROLES PLAYED BY 163 00:06:17,897 --> 00:06:19,498 ABSTRACTION IN COMICS IS BY 164 00:06:19,498 --> 00:06:26,239 THINKING ABOUT CHARLIE BROWN BY 165 00:06:26,239 --> 00:06:27,573 CHARLES SCHULTZ. 166 00:06:27,573 --> 00:06:30,109 THE WAYS IN WHICH CHARLIE 167 00:06:30,109 --> 00:06:32,879 BROWN'S FACE, CHARLIE BROWN'S 168 00:06:32,879 --> 00:06:36,949 HEAD IS REPRESENTED IN VARIOUS 169 00:06:36,949 --> 00:06:39,485 SIMPLISTIC WAYS USING JUST A FEW 170 00:06:39,485 --> 00:06:40,086 LINES. 171 00:06:40,086 --> 00:06:42,355 A CIRCLE AND TWO HALF CIRCLES 172 00:06:42,355 --> 00:06:46,592 FOR THE EARS AND JUST A FEW 173 00:06:46,592 --> 00:06:49,629 LINES SOME WIGGLY LINES FOR A 174 00:06:49,629 --> 00:06:51,898 FROWN, FOR INSTANCE. 175 00:06:51,898 --> 00:06:56,602 BUT HOW CHARLIE BROWN HAS BEEN 176 00:06:56,602 --> 00:07:01,407 ABLE TO ATTRACT US IN MANY WAYS 177 00:07:01,407 --> 00:07:04,410 AND EVEN PUSH US TO EMPATHIZE 178 00:07:04,410 --> 00:07:05,745 WITH HIM TO BREAK OUR HEARTS 179 00:07:05,745 --> 00:07:07,480 SOMETIMES OR TO MAKE US HAPPY OR 180 00:07:07,480 --> 00:07:09,749 IT MAKE US LAUGH. 181 00:07:09,749 --> 00:07:10,716 JUST BECAUSE OF THE AC 182 00:07:10,716 --> 00:07:13,953 DISTRACTION INVOLVED THERE. 183 00:07:13,953 --> 00:07:17,290 THE FACT THAT A LOT OF US CAN 184 00:07:17,290 --> 00:07:20,092 IDENTIFY WITH THE ABSTRACT 185 00:07:20,092 --> 00:07:23,496 FIGURE IS A POINT A LOT OF 186 00:07:23,496 --> 00:07:24,764 COMICS HAVE TALKED A LOT ABOUT. 187 00:07:24,764 --> 00:07:26,866 THE OTHER ELEMENT IS THE CLICHE 188 00:07:26,866 --> 00:07:30,469 OFTEN USED THE IDEA THAT A 189 00:07:30,469 --> 00:07:33,572 PICTURE IS WORTH A THOUSAND 190 00:07:33,572 --> 00:07:36,042 WORDS AND COMICS ARE NOT JUST 191 00:07:36,042 --> 00:07:36,309 PICTURES. 192 00:07:36,309 --> 00:07:40,579 THEY'RE AN ART FORM THAT IS 193 00:07:40,579 --> 00:07:43,482 BASED ON THE COMBINATION OF TEXT 194 00:07:43,482 --> 00:07:46,919 AND IMAGE. 195 00:07:46,919 --> 00:07:51,757 THINK FOR EXAMPLE I'M USING THIS 196 00:07:51,757 --> 00:07:54,193 PAGE FROM LIGHTER THAN MY SHADOW 197 00:07:54,193 --> 00:07:57,930 IN 2015 A GRAPHIC MEMOIR IN 198 00:07:57,930 --> 00:08:00,066 WHICH SHE WRITES ABOUT HER 199 00:08:00,066 --> 00:08:03,502 EXPERIENCE WITH EATING DISORDERS 200 00:08:03,502 --> 00:08:06,038 AND OTHER MENTAL HEALTH ISSUES 201 00:08:06,038 --> 00:08:09,208 AND ON ONE PAGE YOU CAN SEE HER 202 00:08:09,208 --> 00:08:11,377 DEPICTING HER ADULT SELF, HER 203 00:08:11,377 --> 00:08:15,848 CURRENT SELF, IF YOU WILL, AND 204 00:08:15,848 --> 00:08:16,549 HER YOUNGER SELF. 205 00:08:16,549 --> 00:08:19,118 AND THINKING WHO SHE IS IN 206 00:08:19,118 --> 00:08:22,121 RELATION TO HER YOUNGER SELF. 207 00:08:22,121 --> 00:08:24,991 THIS IS THAT WOULD TAKE PAGES 208 00:08:24,991 --> 00:08:28,794 AND PAGES OF TEXT ALONE TO 209 00:08:28,794 --> 00:08:30,529 DESCRIBE IN ORDER TO RELAY THE 210 00:08:30,529 --> 00:08:32,631 MESSAGE TO THE READER BUT USING 211 00:08:32,631 --> 00:08:36,769 THE COMBINATION OF TEXT AND 212 00:08:36,769 --> 00:08:42,108 IMAGES YOU CAN BE VERY CONCISE 213 00:08:42,108 --> 00:08:43,609 AND VERY EFFECTIVE IN RELYING 214 00:08:43,609 --> 00:08:45,611 THE MESSAGES AND CONVEYING THEM 215 00:08:45,611 --> 00:08:51,584 TO THE READER AND VIEWER. 216 00:08:51,584 --> 00:08:55,755 AS IT WAS WROTE, COMICS MAY 217 00:08:55,755 --> 00:08:58,557 CONVEY A STORY IN A MORE 218 00:08:58,557 --> 00:09:00,893 FLEXIBLE WAY AND DUE TO THEIR 219 00:09:00,893 --> 00:09:01,994 VISUAL NATURE ARE MORE 220 00:09:01,994 --> 00:09:04,930 EXPRESSIVE AND ENGAGE THE READER 221 00:09:04,930 --> 00:09:09,568 ON A DEEPER WAY THAN THE WRITTEN 222 00:09:09,568 --> 00:09:12,972 WORD ALONE. 223 00:09:12,972 --> 00:09:14,373 OTHER ELEMENT A LOT OF OBSERVERS 224 00:09:14,373 --> 00:09:16,342 AND COLORS AND EVEN ARTISTS HAVE 225 00:09:16,342 --> 00:09:17,910 INVOKED WHEN IT COMES TO TALKING 226 00:09:17,910 --> 00:09:19,478 ABOUT COMICS AND THE IMPORTANCE 227 00:09:19,478 --> 00:09:23,482 OF COMICS IN THINKING ABOUT 228 00:09:23,482 --> 00:09:24,950 MEDICINE THE FIELD OF GRAPHIC 229 00:09:24,950 --> 00:09:27,153 MEDICINE IS THE IDEA OF CONTROL 230 00:09:27,153 --> 00:09:28,621 ONE'S NARRATIVE. 231 00:09:28,621 --> 00:09:31,257 WHEN SOMEONE IS SICK OR DEALING 232 00:09:31,257 --> 00:09:34,627 WITH A SIGNIFICANT HEALTH 233 00:09:34,627 --> 00:09:36,128 CONDITION THERE'S A LOT OF 234 00:09:36,128 --> 00:09:37,363 VULNERABILITY OFTEN EXPERIENCED 235 00:09:37,363 --> 00:09:39,398 BY THE PERSON IN QUESTION. 236 00:09:39,398 --> 00:09:40,433 SOMETIMES PEOPLE DESCRIBE IT AS 237 00:09:40,433 --> 00:09:43,202 A LOSS OF CONTROL OR EVEN IN 238 00:09:43,202 --> 00:09:48,407 SOME CASES A LOSS OF 239 00:09:48,407 --> 00:09:48,741 INDEPENDENCE. 240 00:09:48,741 --> 00:09:50,476 THE IDEA OF REGAINING THE 241 00:09:50,476 --> 00:09:51,610 ABILITY TO CONTROL ONE'S 242 00:09:51,610 --> 00:09:54,246 NARRATIVE AND ONE'S STORY SEEMS 243 00:09:54,246 --> 00:09:59,085 TO BE EMPOWERING TO MANY PEOPLE 244 00:09:59,085 --> 00:10:02,521 WHO DEAL WITH HEALTH ISSUES OR 245 00:10:02,521 --> 00:10:03,389 SERIOUS ILLNESSES. 246 00:10:03,389 --> 00:10:05,391 THESE ARE THEMES THAT HAVE 247 00:10:05,391 --> 00:10:09,628 INFUSED THE FIELD OF NARRATIVE 248 00:10:09,628 --> 00:10:13,899 MEDICINE SINCE ITS INCEPTION. 249 00:10:13,899 --> 00:10:20,406 IN HER 2018 MEMOIR RACHEL 250 00:10:20,406 --> 00:10:23,175 LINDSEY DEPICTS THE IMPULSE TO 251 00:10:23,175 --> 00:10:27,446 CONTROL ONE'S NARRATIVE AND IN 252 00:10:27,446 --> 00:10:31,717 THE GRAPHIC MEMOIR SHE TALKS 253 00:10:31,717 --> 00:10:33,419 ABOUT HER EXPERIENCE WITH 254 00:10:33,419 --> 00:10:34,753 BIPOLAR DISORDER AND THE 255 00:10:34,753 --> 00:10:35,921 HOSPITALIZATION WHICH WAS NOT 256 00:10:35,921 --> 00:10:39,492 VOLUNTARY IN MANY WAYS AND LIKE 257 00:10:39,492 --> 00:10:42,428 THE DIFFERENT FEELINGS SHE WAS 258 00:10:42,428 --> 00:10:45,264 HAVING AS A RESULT. 259 00:10:45,264 --> 00:10:46,031 PARTICULARLY THE LOSS OF CONTROL 260 00:10:46,031 --> 00:10:47,666 AND INDEPENDENCE. 261 00:10:47,666 --> 00:10:49,502 ONE THING SHE DECIDED TO DO AS 262 00:10:49,502 --> 00:10:53,706 SHE TALKED HOW SHE CAME TO 263 00:10:53,706 --> 00:10:55,908 CREATE THE BOOK SHE TALKED ABOUT 264 00:10:55,908 --> 00:10:57,109 ACCESSING HER HOSPITAL NOTES. 265 00:10:57,109 --> 00:11:00,079 THE NOTES THAT WERE TAKEN BY HER 266 00:11:00,079 --> 00:11:01,614 PSYCHIATRIST AND BY HER 267 00:11:01,614 --> 00:11:06,418 TREATMENT TEAM ABOUT HER AS SHE 268 00:11:06,418 --> 00:11:08,721 WAS EXPERIENCING A MANIC EPISODE 269 00:11:08,721 --> 00:11:10,623 DURING HER HOSPITALIZATION AND 270 00:11:10,623 --> 00:11:12,258 TO ILLUSTRATE THE NOTES USING 271 00:11:12,258 --> 00:11:18,130 HER OWN WAY OF THINK AND 272 00:11:18,130 --> 00:11:19,231 REMEMBERING THAT EXPERIENCE 273 00:11:19,231 --> 00:11:19,765 WHICH WAS DIFFICULT AND 274 00:11:19,765 --> 00:11:21,901 TRAUMATIC FOR HER. 275 00:11:21,901 --> 00:11:24,003 IN TALKING ABOUT THIS AND HER 276 00:11:24,003 --> 00:11:25,838 CHOICES THE ARTISTIC CHOICES SHE 277 00:11:25,838 --> 00:11:30,209 MADE SHE TALKED ABOUT WANTING TO 278 00:11:30,209 --> 00:11:33,179 TAKE CONTROL OF THE NARRATIVE AT 279 00:11:33,179 --> 00:11:35,281 THE MOMENT WHERE SHE FELT 280 00:11:35,281 --> 00:11:36,715 VULNERABLE AND WAS NOT IN THE 281 00:11:36,715 --> 00:11:37,750 DRIVER'S SEAT. 282 00:11:37,750 --> 00:11:40,853 IT TIES INTO THE IDEA OF THE 283 00:11:40,853 --> 00:11:42,655 CATHARTIC FUNCTIONS OF COMICS. 284 00:11:42,655 --> 00:11:44,123 A LOT OF PEOPLE TALK ABOUT 285 00:11:44,123 --> 00:11:49,895 COMICS AS A WAY OF PROCESSING 286 00:11:49,895 --> 00:11:54,900 DIFFICULT EXPERIENCES AND TRYING 287 00:11:54,900 --> 00:11:57,069 TO MAKE SENSE OF ILLNESSES THAT 288 00:11:57,069 --> 00:11:59,238 CAN UP END THE WORLD AS WE KNOW 289 00:11:59,238 --> 00:12:00,940 IT FOR THE PERSON INVOLVED AND 290 00:12:00,940 --> 00:12:06,645 FOR THEIR LOVED ONES. 291 00:12:06,645 --> 00:12:09,615 THINK FOR EXAMPLE OF FUN HOME 292 00:12:09,615 --> 00:12:11,517 THOUGH IT WAS PUBLISHED IN 2006 293 00:12:11,517 --> 00:12:15,221 AND TURNED INTO A MUSICAL TALKS 294 00:12:15,221 --> 00:12:19,491 ABOUT MANY ISSUES APART FROM 295 00:12:19,491 --> 00:12:21,560 ILLNESSES BUT HER DISCUSSION OF 296 00:12:21,560 --> 00:12:26,198 MENTAL ILLNESS IN HER FAMILY 297 00:12:26,198 --> 00:12:27,499 WHETHER HER STRUGGLE WITH OCD 298 00:12:27,499 --> 00:12:29,168 GROWING UP OR HER FATHER'S 299 00:12:29,168 --> 00:12:34,640 DEPRESSION AND ULTIMATE DEATH BY 300 00:12:34,640 --> 00:12:37,409 SUICIDE FUN HOME HAS BEEN 301 00:12:37,409 --> 00:12:38,677 CONSIDERED A CLASSIC IN THE 302 00:12:38,677 --> 00:12:39,645 FIELD OF GRAPHIC MEDICINE AND 303 00:12:39,645 --> 00:12:45,050 WAY FOR HER TO MAKE SENSE OF 304 00:12:45,050 --> 00:12:47,486 THAT VERY TROUBLED PAST AS A 305 00:12:47,486 --> 00:12:51,490 CHILD GROWING UP IN THE FUNERAL 306 00:12:51,490 --> 00:12:57,096 HOME/FUN HOME. 307 00:12:57,096 --> 00:12:59,698 IN ADDITION TO THE CATHARTIC 308 00:12:59,698 --> 00:13:01,734 THERE'S DIDACTIC FUNCTIONS. 309 00:13:01,734 --> 00:13:03,135 THEY'VE BEEN HELPFUL TO 310 00:13:03,135 --> 00:13:04,270 COMMUNICATE FOR HEALTH 311 00:13:04,270 --> 00:13:09,308 COMMUNICATION FOR MEDICAL 312 00:13:09,308 --> 00:13:17,950 COMMUNICATION AND FOR FACIL 313 00:13:17,950 --> 00:13:20,986 FACILITATING IN THE FORM OF 314 00:13:20,986 --> 00:13:22,121 PAMPHLETS FOR INSTANCE, TO 315 00:13:22,121 --> 00:13:24,456 EXPLAIN ISSUES ABOUT DISEASES OR 316 00:13:24,456 --> 00:13:25,958 RAISE AWARENESS ABOUT CERTAIN 317 00:13:25,958 --> 00:13:30,529 RISK FACTORS, ETCETERA. 318 00:13:30,529 --> 00:13:35,501 THIS FROM A DIABETES AFTER 319 00:13:35,501 --> 00:13:37,202 YOU'RE YOUR DECK WHERE SHE WORKS 320 00:13:37,202 --> 00:13:40,205 AMONG OTHER THINGS AS MEDICAL 321 00:13:40,205 --> 00:13:44,677 ILLUSTRATOR AND CARTOONIST AND 322 00:13:44,677 --> 00:13:47,146 HAS WORKED WITH MASS GENERAL 323 00:13:47,146 --> 00:13:50,416 HOSPITAL TO PRODUCE A NUMBER OF 324 00:13:50,416 --> 00:13:54,720 COMICS FOR A WIDER AUDIENCE AND 325 00:13:54,720 --> 00:13:56,155 FOR PATIENTS ABOUT CERTAIN 326 00:13:56,155 --> 00:13:58,324 ISSUES INCLUDING CERTAIN 327 00:13:58,324 --> 00:14:02,227 ILLNESSES LIKE DIABETES FOR 328 00:14:02,227 --> 00:14:05,531 EXAMPLE, CHRONIC CONDITIONS AND 329 00:14:05,531 --> 00:14:06,932 THIS HAS BEEN USED AS AN EXAMPLE 330 00:14:06,932 --> 00:14:09,702 A WAY IN WHICH A COMIC USING 331 00:14:09,702 --> 00:14:11,637 SOMETIMES LEAVE SI OR HUMOR CAN 332 00:14:11,637 --> 00:14:15,441 BE AN EFFECTIVE WAY OF TEACHING 333 00:14:15,441 --> 00:14:16,775 PEOPLE ABOUT MEDICAL ISSUES AND 334 00:14:16,775 --> 00:14:23,115 HEALTH ISSUES. 335 00:14:23,115 --> 00:14:27,486 A LOT OF WHAT WE SEE IN THE 336 00:14:27,486 --> 00:14:30,723 GRAPHIC MEDICINE FIELD CAN BE AS 337 00:14:30,723 --> 00:14:32,791 VISUAL OR GRAPHIC TOPOGRAPHY. 338 00:14:32,791 --> 00:14:35,094 THAT WAS COINED BY MICHAEL GREEN 339 00:14:35,094 --> 00:14:41,433 AND KIMBERLY MYERS TO REFER TO A 340 00:14:41,433 --> 00:14:43,035 SUBGENRE THAT ADDRESSES 341 00:14:43,035 --> 00:14:44,403 PATIENT'S EXPERIENCES OF 342 00:14:44,403 --> 00:14:45,604 ILLNESS. 343 00:14:45,604 --> 00:14:46,739 ILLNESS NARRATIVES IN GRAPHIC OR 344 00:14:46,739 --> 00:14:50,409 VISUAL FORMAT. 345 00:14:50,409 --> 00:14:55,481 AND IN THE GRAPHIC MEDICINE 346 00:14:55,481 --> 00:14:57,649 MANIFESTO THEY DESCRIBE ARTISTS 347 00:14:57,649 --> 00:15:01,754 CREATE THEIR OWN ICONOGRAPHY OF 348 00:15:01,754 --> 00:15:03,355 ILLNESS AND IN DOING SO THEY 349 00:15:03,355 --> 00:15:05,657 COMBINE SUBJECTIVE FEELINGS AND 350 00:15:05,657 --> 00:15:07,259 PERCEPTIONS WITH THE OBJECTIVE 351 00:15:07,259 --> 00:15:07,826 VISUAL REPRESENTATION. 352 00:15:07,826 --> 00:15:12,030 AS WE SAW IN KATIE GREENE FOR 353 00:15:12,030 --> 00:15:13,966 EXAMPLE IN THE LIGHTER THAN MY 354 00:15:13,966 --> 00:15:19,138 SHADOW WE SEE THE IDEA OF 355 00:15:19,138 --> 00:15:20,205 DEPICTING THE OBJECTIVE WORLD 356 00:15:20,205 --> 00:15:22,474 WHILE ON THE SAME PAGE DEPICTING 357 00:15:22,474 --> 00:15:24,943 INNER PERCEPTIONS AND INNER 358 00:15:24,943 --> 00:15:27,479 WORLDS OF THE PATIENT OR THE 359 00:15:27,479 --> 00:15:29,615 PERSON IN QUESTION. 360 00:15:29,615 --> 00:15:35,487 THIS WAS THE IDEA OF CREATING 361 00:15:35,487 --> 00:15:39,491 VISUAL TOPOGRAPHIES AND IT'S 362 00:15:39,491 --> 00:15:40,726 EXPLAINED AS SOMETHING THAT 363 00:15:40,726 --> 00:15:42,494 ALLOWS PATIENTS THAT ALLOWS 364 00:15:42,494 --> 00:15:45,597 PEOPLE WHO ARE LIVING WITH 365 00:15:45,597 --> 00:15:48,534 ILLNESSES TO TAKE CONTROL OF 366 00:15:48,534 --> 00:15:49,168 THEIR NARRATIVE AGAIN. 367 00:15:49,168 --> 00:15:50,636 THEY WRITE THIS WAS 368 00:15:50,636 --> 00:15:51,703 TRADITIONALLY THE DOMAIN OF THE 369 00:15:51,703 --> 00:15:56,642 DOCTOR OR MEDICAL ARTIST WHO 370 00:15:56,642 --> 00:15:58,076 WIELDED POWER BY CONTROLLING AND 371 00:15:58,076 --> 00:16:00,145 STANDARDIZING THE WAY DISEASES 372 00:16:00,145 --> 00:16:01,880 WERE VISUALIZED. 373 00:16:01,880 --> 00:16:03,549 GRAPHIC MEDICINE SEEKS TO 374 00:16:03,549 --> 00:16:06,018 DESTRUCT THE POWER IMBALANCE AND 375 00:16:06,018 --> 00:16:07,453 BELIEVE THOSE BEST POSITIONED TO 376 00:16:07,453 --> 00:16:09,588 REPRESENT ILLNESS AND CARE AND 377 00:16:09,588 --> 00:16:12,357 CAREGIVING ARE THOSE LIVING WITH 378 00:16:12,357 --> 00:16:12,524 IT. 379 00:16:12,524 --> 00:16:16,328 OF COURSE HERE THEY'RE USE THE 380 00:16:16,328 --> 00:16:22,434 TERM WHICH IS RALLYING CRY FOR A 381 00:16:22,434 --> 00:16:24,736 LONG TIME FOR THE DISABILITY 382 00:16:24,736 --> 00:16:31,443 RIGHTS MOVEMENT IN THE 1990s 383 00:16:31,443 --> 00:16:35,481 AUTHOR AND DISABILITY ACTIVIST 384 00:16:35,481 --> 00:16:38,183 WROTE NOTHING ABOUT US WITHOUT 385 00:16:38,183 --> 00:16:42,387 US AND BECAME A RALLYING CRY FOR 386 00:16:42,387 --> 00:16:43,856 MANY IN THE DISABLED COMMUNITY 387 00:16:43,856 --> 00:16:44,790 MAKING SURE THE INPUT OF 388 00:16:44,790 --> 00:16:45,991 DISABLED PEOPLE IS AT THE CENTER 389 00:16:45,991 --> 00:16:47,493 OF LAWS AND POLICIES AND 390 00:16:47,493 --> 00:16:49,328 GUIDELINES AND ACCOMMODATIONS 391 00:16:49,328 --> 00:16:52,998 THAT WOULD WORK BEST FOR THEM 392 00:16:52,998 --> 00:16:57,603 BUT HAS ALSO BEEN A SLOGAN THAT 393 00:16:57,603 --> 00:16:58,737 MOTIVATED MANY CONTROLLING THEM 394 00:16:58,737 --> 00:17:00,172 ABOUT THEIR LIVES, DISABILITIES 395 00:17:00,172 --> 00:17:05,043 OR CHRONIC CONDITIONS. 396 00:17:05,043 --> 00:17:07,112 IN ADDITION TO THE VISUAL TOP AG 397 00:17:07,112 --> 00:17:09,781 GRAPHIES AND THE NARRATIVES OF 398 00:17:09,781 --> 00:17:12,484 ILLNESS OF THOSE PEOPLE LIVING 399 00:17:12,484 --> 00:17:17,422 WITH THE ILLNESSES OR LOVED ONES 400 00:17:17,422 --> 00:17:18,957 IN THE FIELD OF GRAPHIC MEDICINE 401 00:17:18,957 --> 00:17:21,093 WE FIND NARRATIVES WRITTEN BY 402 00:17:21,093 --> 00:17:23,495 THE PROVIDERS THEMSELVES. 403 00:17:23,495 --> 00:17:26,732 FOR EXAMPLE, THE ANNALS OF 404 00:17:26,732 --> 00:17:28,133 INTERNAL MEDICINE SINCE 2013 405 00:17:28,133 --> 00:17:32,437 BASICALLY THEY HAVE BEEN 406 00:17:32,437 --> 00:17:35,507 PUBLISHING A LOT OF COMICS BY 407 00:17:35,507 --> 00:17:39,411 PHYSICIANS AND OTHER HEALTH CARE 408 00:17:39,411 --> 00:17:40,345 PROVIDERS. 409 00:17:40,345 --> 00:17:43,482 MIKE NATTER IS A PHYSICIAN WHO 410 00:17:43,482 --> 00:17:49,855 IS ALSO AN ARTIST AND PUBLISHED 411 00:17:49,855 --> 00:17:53,492 WITH THE ANNALS OF INTERNAL 412 00:17:53,492 --> 00:17:56,795 MEDICINE ABOUT BEING A RESIDENT 413 00:17:56,795 --> 00:17:58,630 AND THE DIFFICULTIES AND CASES 414 00:17:58,630 --> 00:18:01,600 HE ENCOUNTERS AND THE BURNOUT 415 00:18:01,600 --> 00:18:05,270 THAT A HEALTH CARE PROVIDER OR 416 00:18:05,270 --> 00:18:06,672 DOCTOR EXPERIENCES, OBVIOUSLY. 417 00:18:06,672 --> 00:18:09,575 THIS HAS ALL BEEN EXACERBATED 418 00:18:09,575 --> 00:18:11,910 OVER THE COURSE OF THE COVID-19 419 00:18:11,910 --> 00:18:12,311 PANDEMIC. 420 00:18:12,311 --> 00:18:13,946 AND THERE'S ANOTHER POSITION WHO 421 00:18:13,946 --> 00:18:16,148 WRITES FOR THE ANNALS AND 422 00:18:16,148 --> 00:18:19,952 CREATES COMICS FOR THE ANNALS OF 423 00:18:19,952 --> 00:18:22,054 INTERNAL MEDICINE UNDER THE 424 00:18:22,054 --> 00:18:23,522 RUBRIC OF DR. MOM WRITING ABOUT 425 00:18:23,522 --> 00:18:25,090 BEING A MOTHER AND PHYSICIAN AND 426 00:18:25,090 --> 00:18:26,525 THE DEMANDS ON HER TIME, THE 427 00:18:26,525 --> 00:18:29,428 COMPETING DEMANDS ON HER TIME 428 00:18:29,428 --> 00:18:31,496 AND HOW SHE USES SORT OF LIKE 429 00:18:31,496 --> 00:18:33,432 THE DIFFERENT STRUGGLES AND THE 430 00:18:33,432 --> 00:18:36,501 DIFFERENT JOYS OF BEING BOTH A 431 00:18:36,501 --> 00:18:37,603 PHYSICIAN AND PARENT. 432 00:18:37,603 --> 00:18:40,405 AND WILLIAM HAS FAMOUSLY WRITTEN 433 00:18:40,405 --> 00:18:45,944 THE BAD DOCTOR AND THE LADY 434 00:18:45,944 --> 00:18:46,178 DOCTOR. 435 00:18:46,178 --> 00:18:50,082 TWO BOOKS ABOUT PHYSICIANS AND 436 00:18:50,082 --> 00:18:52,818 THEIR PRACTICE IN NORTHERN WALES 437 00:18:52,818 --> 00:18:54,953 IN WHICH THEY'RE PARTICULARLY IN 438 00:18:54,953 --> 00:18:57,022 THE BAD DOCTOR WE SEE HIM 439 00:18:57,022 --> 00:18:58,624 TALKING ABOUT THE DOCTOR'S 440 00:18:58,624 --> 00:19:00,292 STRUGGLE WITH OCD. 441 00:19:00,292 --> 00:19:03,328 THE DOCTORS MENTAL STRUGGLE IN 442 00:19:03,328 --> 00:19:04,029 MANY WAYS AS WELL. 443 00:19:04,029 --> 00:19:09,601 M.K. SURWICK IS A NURSE AND 444 00:19:09,601 --> 00:19:12,371 INSTRUCTOR OF MEDICAL HUMANITIES 445 00:19:12,371 --> 00:19:16,041 AND COMICS WHO WROTE THE STORY 446 00:19:16,041 --> 00:19:18,677 OF TAKING -- WROTE THE BOOK 447 00:19:18,677 --> 00:19:23,482 TAKING TURNS, STORIES FROM HIV 448 00:19:23,482 --> 00:19:27,486 CARE UNIT 371 BASED ON HER 449 00:19:27,486 --> 00:19:31,490 EXPERIENCE WORKING IN THE 450 00:19:31,490 --> 00:19:35,494 CHICAGO MASONIC HOSPITAL 451 00:19:35,494 --> 00:19:36,662 DEDICATED HIV/AIDS PATIENTS IN 452 00:19:36,662 --> 00:19:40,866 THE 1990s AT THE HEIGHT OF THE 453 00:19:40,866 --> 00:19:43,602 AIDS EPIDEMIC AND DURING A 454 00:19:43,602 --> 00:19:47,039 CRUCIAL MOMENT IN THE AIDS 455 00:19:47,039 --> 00:19:48,640 EPIDEMIC WHEN THERE WAS STILL A 456 00:19:48,640 --> 00:19:50,776 LOT OF DEATHS AND THE ANNALS OF 457 00:19:50,776 --> 00:19:53,879 INTERNAL MEDICINE I THINK THIS 458 00:19:53,879 --> 00:19:58,417 WAS THE FIRST COMIC WRITTEN BY 459 00:19:58,417 --> 00:20:05,023 MICHAEL GREENE AND ILLUSTRATED 460 00:20:05,023 --> 00:20:09,594 ABOUT THE EXPERIENCE OF THE 461 00:20:09,594 --> 00:20:13,298 YOUNG INTERN OR BASICALLY THE 462 00:20:13,298 --> 00:20:15,400 DOCTOR REMEMBERING 20 YEARS AGO 463 00:20:15,400 --> 00:20:16,368 WHEN THEY WERE A YOUNG INTERN 464 00:20:16,368 --> 00:20:21,707 AND MAKING A MEDICAL MISTAKE 465 00:20:21,707 --> 00:20:23,608 THAT POTENTIALLY COST SOMEONE 466 00:20:23,608 --> 00:20:26,011 THEIR LIFE AND LIVING WITH THAT. 467 00:20:26,011 --> 00:20:29,347 UNDER THE TITLE MISFIT THE IDEA 468 00:20:29,347 --> 00:20:33,585 OF GUILT, PHYSICIANS GUILT IN 469 00:20:33,585 --> 00:20:41,426 LIVING WITH THAT GUILT. 470 00:20:41,426 --> 00:20:45,597 THE FACT THERE'S VISUAL 471 00:20:45,597 --> 00:20:47,232 TOPOGRAPHIES AND NARRATIVES IN 472 00:20:47,232 --> 00:20:51,169 COMIC FORMAT LED MANY TO THINK 473 00:20:51,169 --> 00:20:52,070 OF THE COMIC'S POTENTIAL TO 474 00:20:52,070 --> 00:20:54,206 BUILD EMPATHY. 475 00:20:54,206 --> 00:20:56,475 FOR US, FOR PATIENTS, FOR 476 00:20:56,475 --> 00:20:57,576 EXAMPLE, READING THE STORIES 477 00:20:57,576 --> 00:21:01,813 WRITTEN BY DOCTORS AND OTHER 478 00:21:01,813 --> 00:21:03,482 HEALTH CARE PROVIDERS AND FOR 479 00:21:03,482 --> 00:21:06,518 PROVIDERS TO UNDERSTAND THE 480 00:21:06,518 --> 00:21:08,353 SUBJECTIVE EXPERIENCES OF 481 00:21:08,353 --> 00:21:09,221 ILLNESS FOR THE PATIENT THROUGH 482 00:21:09,221 --> 00:21:10,555 READING THEIR NARRATIVES AND 483 00:21:10,555 --> 00:21:16,194 READING THEIR COMICS. 484 00:21:16,194 --> 00:21:19,097 IT'S A WAY TO BUILD EMPATHY. 485 00:21:19,097 --> 00:21:21,032 THERE'S ALSO ATTEMPTS TO ADDRESS 486 00:21:21,032 --> 00:21:23,969 THIS MORE DIRECTLY, FOR EXAMPLE, 487 00:21:23,969 --> 00:21:30,509 IN PATRICIA ANDERSON'S COMIC 488 00:21:30,509 --> 00:21:32,077 DIFFICULTY DOCTORS, DIFFICULT 489 00:21:32,077 --> 00:21:32,711 PATIENTS PUBLISHED IN THE 490 00:21:32,711 --> 00:21:35,113 AMERICAN COLLEGE OF RADIOLOGY WE 491 00:21:35,113 --> 00:21:38,250 SEE THE COMIC GOES THIS IS AN 492 00:21:38,250 --> 00:21:44,823 EXCERPT FROM THE COMIC. 493 00:21:44,823 --> 00:21:47,425 WE SEE THE PANELS GOING SIDE BY 494 00:21:47,425 --> 00:21:47,626 SIDE. 495 00:21:47,626 --> 00:21:49,461 ONE SHOWING THE DOCTOR'S SIDE 496 00:21:49,461 --> 00:21:51,163 WHAT IS HAPPENING TO THE DOCTOR 497 00:21:51,163 --> 00:21:52,197 FROM THE DOCTOR'S PERSPECTIVE 498 00:21:52,197 --> 00:21:58,870 AND THE OTHER IS SHOWING THE 499 00:21:58,870 --> 00:22:01,139 PATIENT'S PERSPECTIVE AND THE 500 00:22:01,139 --> 00:22:02,808 LEAD UP TO THE LIVER BIOPSY AND 501 00:22:02,808 --> 00:22:08,547 THE AFTERMATH TO SEE WHAT EACH 502 00:22:08,547 --> 00:22:09,648 PERSON IS THINKING ABOUT AND 503 00:22:09,648 --> 00:22:11,416 WHAT THEY'RE CONCERNED WITH AS A 504 00:22:11,416 --> 00:22:17,155 WAY OF BUILDING EMPATHY AND 505 00:22:17,155 --> 00:22:19,491 BRIDGES. 506 00:22:19,491 --> 00:22:23,962 AND THERE'S A COMIC, WHAT THE 507 00:22:23,962 --> 00:22:24,362 HELL? 508 00:22:24,362 --> 00:22:26,798 WHY'S MY DOCTOR SO LATE IN WHICH 509 00:22:26,798 --> 00:22:34,706 THERE'S THE IDEA OF THE PATIENT 510 00:22:34,706 --> 00:22:35,473 THINKING I'M NOT GETTING WHAT A 511 00:22:35,473 --> 00:22:38,310 NEED AND EXPLAINING FROM THE 512 00:22:38,310 --> 00:22:40,145 DOCTOR'S PERSPECTIVE WHY THEY 513 00:22:40,145 --> 00:22:41,046 SOMETIMES NEED TO SPEND MORE 514 00:22:41,046 --> 00:22:42,714 TIME FROM A PATIENT AND DEMANDS 515 00:22:42,714 --> 00:22:44,216 ON THEIR TIME AND HOW THEY'RE 516 00:22:44,216 --> 00:22:46,151 OVERWORKED IN MANY WAYS AND SOME 517 00:22:46,151 --> 00:22:48,253 HOSPITALS AND PLACES WHERE 518 00:22:48,253 --> 00:22:51,489 THEY'RE WORKING ARE UNDER 519 00:22:51,489 --> 00:22:53,325 STAFFED, ETCETERA. 520 00:22:53,325 --> 00:22:59,931 FROM HERE I WANTED TO TALK ABOUT 521 00:22:59,931 --> 00:23:02,300 THE WAYS IN WHICH GRAPHIC 522 00:23:02,300 --> 00:23:03,535 MEDICINE OVER THE PAST 13 YEARS 523 00:23:03,535 --> 00:23:05,904 OR SO SINCE THE TERM WAS COINED 524 00:23:05,904 --> 00:23:11,476 AND SINCE THE FIRST GRAPHIC 525 00:23:11,476 --> 00:23:18,149 MEDICINE CONFERENCE HELD IN 2010 526 00:23:18,149 --> 00:23:21,586 THE FIELD HAS GAINED A LOT OF 527 00:23:21,586 --> 00:23:28,326 LITH -- LEGITIMACY AND THERE'S A 528 00:23:28,326 --> 00:23:29,895 WEB EXCLUSIVE SECTION ALWAYS 529 00:23:29,895 --> 00:23:33,932 MADE FREE OR OPEN ACCESS FOR ALL 530 00:23:33,932 --> 00:23:36,001 CALLED ANNALS GRAPHIC MEDICINE. 531 00:23:36,001 --> 00:23:39,471 THE FACT THAT ANNALS OF GRAPHIC 532 00:23:39,471 --> 00:23:40,505 MEDICINE PUBLISHED BY THE 533 00:23:40,505 --> 00:23:43,341 COLLEGE OF PHYSICIANS WAS THE 534 00:23:43,341 --> 00:23:45,043 MOST WIDELY CITED MEDICAL 535 00:23:45,043 --> 00:23:48,580 JOURNALS IN THE FIELD SHOWS THE 536 00:23:48,580 --> 00:23:50,882 GROWTH OF THE FIELD AND IMPACT 537 00:23:50,882 --> 00:23:53,685 ON PHYSICIANS AND ON MEDICAL 538 00:23:53,685 --> 00:23:54,786 AUTHORITIES IN GENERAL WHO ARE 539 00:23:54,786 --> 00:23:57,689 SEEING A VALUE IN THIS FORMAT 540 00:23:57,689 --> 00:24:03,295 AND IN THIS GENRE. 541 00:24:03,295 --> 00:24:06,564 BUT ALSO THE FACT THE NLM 542 00:24:06,564 --> 00:24:09,601 RECOGNIZED THIS FIELD AS AN 543 00:24:09,601 --> 00:24:11,736 IMPORTANT FIELD TO DOCUMENT AND 544 00:24:11,736 --> 00:24:12,938 TO BUILD A COLLECTION TO SUPPORT 545 00:24:12,938 --> 00:24:15,540 THE FIELD OF GRAPHIC MEDICINE. 546 00:24:15,540 --> 00:24:18,109 IN 2018 THE NATIONAL LIBRARY OF 547 00:24:18,109 --> 00:24:19,511 MEDICINE LAUNCHED A COLLECTION 548 00:24:19,511 --> 00:24:21,947 OF GRAPHIC MEDICINE AND INCLUDED 549 00:24:21,947 --> 00:24:25,216 AN ONSITE EXHIBIT, A TRAVELLING 550 00:24:25,216 --> 00:24:27,152 EXHIBIT AND ONLINE EXHIBIT AND 551 00:24:27,152 --> 00:24:32,557 CURRICULA FOR HIGH SCHOOL 552 00:24:32,557 --> 00:24:33,591 STUDENTS AND FOR COLLEGE 553 00:24:33,591 --> 00:24:40,365 STUDENTS THE EXHIBIT DEVELOPED Q 554 00:24:40,365 --> 00:24:42,200 RATED BY THE AUTHOR OF ROCK 555 00:24:42,200 --> 00:24:45,170 STEADY AND MARBLES WHICH ARE 556 00:24:45,170 --> 00:24:49,441 CLASSICS IN THE GRAPHIC MEDICINE 557 00:24:49,441 --> 00:24:51,476 CANNON WAS CALLED ILL CONCEIVED 558 00:24:51,476 --> 00:24:57,115 AND WELL DRAWN AND CONTINUES TO 559 00:24:57,115 --> 00:25:00,285 OFFER A LOT OF RESOURCES TO 560 00:25:00,285 --> 00:25:01,586 PEOPLE'S COLORS AND 561 00:25:01,586 --> 00:25:02,354 PRACTITIONERS AND STUDENTS OF 562 00:25:02,354 --> 00:25:09,194 THE FIELD OF GRAPHIC MEDICINE. 563 00:25:09,194 --> 00:25:13,832 TO PUT IT CRUDELY, ONE THING YOU 564 00:25:13,832 --> 00:25:14,499 MIGHT HAVE NOTICED IS A LOT OF 565 00:25:14,499 --> 00:25:19,838 THE NARRATIVES I TALKED ABOUT SO 566 00:25:19,838 --> 00:25:27,379 FAR IT'S NOT A COMPLETE LIST 567 00:25:27,379 --> 00:25:28,613 ABOUT GRAPHIC MEDICINE. 568 00:25:28,613 --> 00:25:29,647 THERE'S A LOT MORE. 569 00:25:29,647 --> 00:25:33,084 IT'S BEEN PREDOMINANTLY WHITE 570 00:25:33,084 --> 00:25:33,485 AND MIDDLE CLASS. 571 00:25:33,485 --> 00:25:34,919 I'M PUTTING IT CRUDELY HERE. 572 00:25:34,919 --> 00:25:43,495 WHY IS GRAPHIC MEDICINE SO 573 00:25:43,495 --> 00:25:46,164 WHITE? 574 00:25:46,164 --> 00:25:47,799 THERE'S LOTS OF REASONS WE THINK 575 00:25:47,799 --> 00:25:53,438 THIS IS THE CASE. 576 00:25:53,438 --> 00:25:55,573 THERE'S THE FACT THAT THERE'S A 577 00:25:55,573 --> 00:25:58,009 LOT OF TIME AND EFFORT NEEDED TO 578 00:25:58,009 --> 00:26:00,678 PRODUCE A GRAPHIC NARRATIVE. 579 00:26:00,678 --> 00:26:02,914 PEOPLE THINK GRAPHIC NARRATIVES, 580 00:26:02,914 --> 00:26:04,115 COMIC BOOKS ARE EASY TO READ. 581 00:26:04,115 --> 00:26:06,885 YOU CAN READ A COMIC BOOK IN A 582 00:26:06,885 --> 00:26:07,752 COUPLE HOURS OR TWO TO THREE 583 00:26:07,752 --> 00:26:14,392 HOURS AND BE DONE WITH IT. 584 00:26:14,392 --> 00:26:15,693 I DON'T. 585 00:26:15,693 --> 00:26:19,097 I DON'T READ THEM THAT QUICKLY. 586 00:26:19,097 --> 00:26:21,599 NOVELS AND COMIC BOOKS ARE A 587 00:26:21,599 --> 00:26:24,235 FORMAT THAT INVITE US TO DELVE 588 00:26:24,235 --> 00:26:29,507 DEEPER AND PAUSE AND SET THE 589 00:26:29,507 --> 00:26:32,777 PACE FOR OUR READING 590 00:26:32,777 --> 00:26:34,345 EXPERIENCING WHAT'S INVOLVED AND 591 00:26:34,345 --> 00:26:37,715 THERE'S A LOT TO UNPACK WHEN 592 00:26:37,715 --> 00:26:41,619 READING GRAPHIC NARRATIVES. 593 00:26:41,619 --> 00:26:42,787 PEOPLE THINK IT SHOULDN'T TAKE 594 00:26:42,787 --> 00:26:43,488 THAT MUCH. 595 00:26:43,488 --> 00:26:46,991 IT ACTUALLY TAKES MANY HOURS TO 596 00:26:46,991 --> 00:26:48,526 PRODUCE EVEN ONE PAGE WITH FOUR 597 00:26:48,526 --> 00:26:51,496 OR SIX PANELS YOU CAN CONSUME IN 598 00:26:51,496 --> 00:26:55,934 A MINUTE. 599 00:26:55,934 --> 00:26:59,137 THIS IS A HUGE OBSTACLE FOR 600 00:26:59,137 --> 00:27:03,475 PEOPLE WHO MAY BE DEALING WITH 601 00:27:03,475 --> 00:27:08,480 ILLNESSES WHO MAY ALREADY BE 602 00:27:08,480 --> 00:27:10,448 DISADVANTAGED OR DEALING WITH A 603 00:27:10,448 --> 00:27:11,583 SIGNIFICANT HEALTH CONDITION. 604 00:27:11,583 --> 00:27:17,322 FOR EXAMPLE, WHEN WE THINK ABOUT 605 00:27:17,322 --> 00:27:27,832 A LOT OF THE NOVELS ON BREAST 606 00:27:27,832 --> 00:27:29,367 CANCER AND ONLY CHOOSING FOUR TO 607 00:27:29,367 --> 00:27:30,168 ILLUSTRATE. 608 00:27:30,168 --> 00:27:33,404 THEY WERE ALL PRODUCED BY WHITE 609 00:27:33,404 --> 00:27:35,607 WOMEN AND THOUGH THEY'RE MORE 610 00:27:35,607 --> 00:27:37,275 LIKELY TO DEVELOP BREAST CANCER 611 00:27:37,275 --> 00:27:42,547 THAN BLACK, HISPANIC AND ASIAN 612 00:27:42,547 --> 00:27:46,784 WOMEN BLACK WOMEN GET MORE 613 00:27:46,784 --> 00:27:47,752 ADVANCED STAGE AND MORE 614 00:27:47,752 --> 00:27:48,486 AGGRESSIVE BREAST CANCER AND 615 00:27:48,486 --> 00:27:51,689 MORE LIKELY TO DIE SO WHY IS IT 616 00:27:51,689 --> 00:27:57,529 WE MOSTLY SEE WHITE MIDDLE-CLASS 617 00:27:57,529 --> 00:27:57,829 NARRATIVES? 618 00:27:57,829 --> 00:27:59,397 I THINK IT'S BECAUSE IT'S HARD 619 00:27:59,397 --> 00:28:03,768 FOR ME TO THINK THAT IT WOULD BE 620 00:28:03,768 --> 00:28:09,574 AS EASY FOR A BLACK SINGLE 621 00:28:09,574 --> 00:28:14,212 MOTHER WHOSE WORKING SEVERAL 622 00:28:14,212 --> 00:28:15,980 JOBS IN ORDER TO MAKE ENDS MEET 623 00:28:15,980 --> 00:28:19,384 TO FIND THE TIME TO REFLECT AND 624 00:28:19,384 --> 00:28:23,922 WRITE AND PROCESS AND WRITE 625 00:28:23,922 --> 00:28:24,856 ABOUT HER EXPERIENCE WITH BREAST 626 00:28:24,856 --> 00:28:27,926 CANCER AND THEN FIND A PUBLISHER 627 00:28:27,926 --> 00:28:29,994 WILLING TO DO THAT. 628 00:28:32,931 --> 00:28:36,301 76% OF THE PUBLISHERS IN THE 629 00:28:36,301 --> 00:28:38,870 COUNTRY ARE WHITE AND THERE'S I 630 00:28:38,870 --> 00:28:40,638 TENDENCY TO PRIVILEGE WHITE 631 00:28:40,638 --> 00:28:42,807 MIDDLE CLASS NARRATIVES AND 632 00:28:42,807 --> 00:28:43,741 STORIES AS A RESULT. 633 00:28:43,741 --> 00:28:46,211 ADDITIONALLY, THERE'S THE STIGMA 634 00:28:46,211 --> 00:28:47,212 OF SHARING. 635 00:28:47,212 --> 00:28:50,982 IN HIS 1963 CLASSIC STIGMA NOTES 636 00:28:50,982 --> 00:28:53,551 ON THE MANAGED OF SPOILED 637 00:28:53,551 --> 00:28:55,486 IDENTITY IT'S EXPLAINED HOW 638 00:28:55,486 --> 00:28:58,623 STIGMA FUNCTIONS AS A MEANS OF 639 00:28:58,623 --> 00:29:00,458 FORMAL SOCIAL CONTROL END QUOTE. 640 00:29:00,458 --> 00:29:03,628 STIGMA IS SOCIALLY PRODUCED AND 641 00:29:03,628 --> 00:29:05,430 FOR BLACK INDIGENOUS AND OTHER 642 00:29:05,430 --> 00:29:08,099 PEOPLE OF COLOR, THE RACIAL 643 00:29:08,099 --> 00:29:09,601 STIGMA COMBINED WITH THE STIGMA 644 00:29:09,601 --> 00:29:12,136 OF ILLNESS TO PRODUCE A 645 00:29:12,136 --> 00:29:15,039 CONDITION IN WHICH BIPOC 646 00:29:15,039 --> 00:29:16,107 INDIVIDUALS ARE COMPELLED TO 647 00:29:16,107 --> 00:29:19,477 KEEP THEIR WOES PRIVATE OR TO 648 00:29:19,477 --> 00:29:20,745 ONLY SHARE THEM WITH DIFFERENT 649 00:29:20,745 --> 00:29:23,481 KIN WHEN A LOT OF THE AILMENTS 650 00:29:23,481 --> 00:29:26,117 AFFLICTING POPULATIONS OF COLOR 651 00:29:26,117 --> 00:29:27,885 ARE CONSTANTLY STIGMATIZED AS 652 00:29:27,885 --> 00:29:30,922 LIFESTYLE DISEASES ARRIVING FROM 653 00:29:30,922 --> 00:29:33,057 MISGUIDED NOTIONS THESE ARE THE 654 00:29:33,057 --> 00:29:38,763 RESULT OF LIFE CHOICES, DIET, 655 00:29:38,763 --> 00:29:41,366 EXERCISE, SMOKING, ETCETERA. 656 00:29:41,366 --> 00:29:48,106 FEW PEOPLE OF COLOR WOULD FIND 657 00:29:48,106 --> 00:29:50,675 SPACES TO SHARE THIS WITHOUT 658 00:29:50,675 --> 00:29:53,745 JUDGMENT AND THERE'S WHO ENGAGES 659 00:29:53,745 --> 00:29:57,749 IN CONFESSIONAL NARRATIVES. 660 00:29:57,749 --> 00:29:59,917 AND WESTERN SOCIETIES IN THE 661 00:29:59,917 --> 00:30:04,289 HISTORY OF SEXUALITY, WESTERN 662 00:30:04,289 --> 00:30:06,557 SOCIETIES ESTABLISH CONFESSION 663 00:30:06,557 --> 00:30:09,594 AS THE RITUAL OF TRUTH. 664 00:30:09,594 --> 00:30:13,031 WE'VE BEEN A SINGULARLY 665 00:30:13,031 --> 00:30:13,965 CONFESSING SOCIETY AND WESTERN 666 00:30:13,965 --> 00:30:17,435 MAN IS A CONFESSIONAL ANIMAL AND 667 00:30:17,435 --> 00:30:18,436 THERE'S CONFLATION BETWEEN 668 00:30:18,436 --> 00:30:21,773 WESTERN AND WHITE IN THE CONTEXT 669 00:30:21,773 --> 00:30:24,309 AND WAS NOT KNOWN TO TAKE RACE 670 00:30:24,309 --> 00:30:26,144 INTO ACCOUNT IN MEANINGFUL WAYS. 671 00:30:26,144 --> 00:30:29,347 SO WHERE CONFESSION IS NO LONGER 672 00:30:29,347 --> 00:30:33,584 TIED TO THE CHRISTIAN ROOTS OF 673 00:30:33,584 --> 00:30:36,521 GUILT BUT TO NEW FORMS OF 674 00:30:36,521 --> 00:30:37,655 SUBJECTIVITY AND COMING OUT. 675 00:30:37,655 --> 00:30:40,491 THE IDEA OF COMING OUT WHETHER 676 00:30:40,491 --> 00:30:46,030 IT'S IN THE QUEER CONTEXT OR 677 00:30:46,030 --> 00:30:49,233 COMING OUT IN THE DISABILITY 678 00:30:49,233 --> 00:30:49,934 CONTEXT. 679 00:30:49,934 --> 00:30:51,569 THEY BECOME SECULAR CONFESSIONAL 680 00:30:51,569 --> 00:30:53,905 PRACTICES AND TECHNIQUES THAT 681 00:30:53,905 --> 00:30:55,306 MARK MODERN SUBJECTIVITY WHICH 682 00:30:55,306 --> 00:31:00,845 ARE VALUED FOR THEIR ABILITY TO 683 00:31:00,845 --> 00:31:02,613 PRODUCE TRUTH. 684 00:31:02,613 --> 00:31:04,449 AND DESCRIBE HOW CONFESSION 685 00:31:04,449 --> 00:31:05,516 PERMEATES ALL FIELD OF SOCIAL 686 00:31:05,516 --> 00:31:07,485 LIFE. 687 00:31:07,485 --> 00:31:09,587 JUSTICE, MEDICINE, EDUCATION, 688 00:31:09,587 --> 00:31:12,290 FAMILY AND LOVE RELATIONS. 689 00:31:12,290 --> 00:31:17,128 THE MOST ORDINARY AFFAIRS OF 690 00:31:17,128 --> 00:31:19,697 EVERYDAY LIFE. 691 00:31:19,697 --> 00:31:20,832 CONFESSIONAL WRITING HE 692 00:31:20,832 --> 00:31:23,568 DESCRIBES HOW TECHNIQUES OF THE 693 00:31:23,568 --> 00:31:25,136 CARE OF THE SELF SURPASS THE 694 00:31:25,136 --> 00:31:31,476 ORAL RITUALS OF CONFESSIONS TO 695 00:31:31,476 --> 00:31:33,611 THE WRITTEN AS THE SELF BECAME 696 00:31:33,611 --> 00:31:35,847 SOMETHING TO WRITE ABOUT A THEME 697 00:31:35,847 --> 00:31:39,484 FOR OBJECT/SUBJECT FOR WRITING 698 00:31:39,484 --> 00:31:43,488 ACTIVITY. 699 00:31:43,488 --> 00:31:47,492 AND WRITES THE PRIVATE DIARIES 700 00:31:47,492 --> 00:31:49,560 AND NARRATIVES OF THE SELF AND 701 00:31:49,560 --> 00:31:51,262 SO ON CANNOT BE UNDERSTOOD 702 00:31:51,262 --> 00:31:52,497 UNLESS IT'S PUT IN THE GENERAL 703 00:31:52,497 --> 00:31:53,931 FRAMEWORK OF THE PRACTICES OF 704 00:31:53,931 --> 00:31:54,699 THE SELF. 705 00:31:54,699 --> 00:31:56,934 PEOPLE HAVE BEEN WRITING ABOUT 706 00:31:56,934 --> 00:31:57,635 THEMSELVES FOR 2,000 YEARS BUT 707 00:31:57,635 --> 00:32:04,742 NOT IN THE SAME WAY. 708 00:32:04,742 --> 00:32:09,947 IN THE ART OF CONFESSION FROM 709 00:32:09,947 --> 00:32:11,983 ROBERT LOWELL AND IN A CHAPTER 710 00:32:11,983 --> 00:32:15,486 CALLED THE UNBEARABLE WHITENESS 711 00:32:15,486 --> 00:32:20,825 OF THE CONFESSIONAL, HE WRITES 712 00:32:20,825 --> 00:32:22,527 HOW CONFESSION IS BOTH 713 00:32:22,527 --> 00:32:26,531 PRIVILEGED IN ITS PUREST FORM, 714 00:32:26,531 --> 00:32:30,935 STRAIGHT WHITE CIS MALE 715 00:32:30,935 --> 00:32:32,370 PROTESTANT PRIVILEGE. 716 00:32:32,370 --> 00:32:33,471 SAID WHO CAN WORK WITH 717 00:32:33,471 --> 00:32:35,506 CONFIDENCE IN A CONFESSIONAL 718 00:32:35,506 --> 00:32:37,141 MODE WHO ONCE DONE SO WILL BE 719 00:32:37,141 --> 00:32:38,543 RECEIVED BY THE PUBLIC AS 720 00:32:38,543 --> 00:32:38,910 CONFESSIONAL. 721 00:32:38,910 --> 00:32:41,012 MORE THAN THAT, WHO WILL BE 722 00:32:41,012 --> 00:32:43,247 CELEBRATED FOR CON FEFG? 723 00:32:43,247 --> 00:32:45,850 -- CONFESSING? 724 00:32:45,850 --> 00:32:50,388 AND HE RELIES ON MICHAEL NATO 725 00:32:50,388 --> 00:33:00,965 GARCIA'S IN THE AUTOBIO GRAPHY 726 00:33:00,965 --> 00:33:03,034 AND THE EXPECTATIONS IMPOSED ON 727 00:33:03,034 --> 00:33:06,370 BLACK SUBJECTS ARE ALSO SO MUCH 728 00:33:06,370 --> 00:33:07,271 APART OF PERSONAL EXPERIENCE 729 00:33:07,271 --> 00:33:09,574 THEY BECOME INTEGRAL TO ONE'S 730 00:33:09,574 --> 00:33:14,479 STORY. 731 00:33:14,479 --> 00:33:17,815 THIS IS BETTER WELL EXEMPLIFIED 732 00:33:17,815 --> 00:33:19,450 IN JAMES BALDWIN'S WORK. 733 00:33:19,450 --> 00:33:24,489 MANY HIGHLIGHTS HIM AS AN 734 00:33:24,489 --> 00:33:27,024 EXAMPLE OF THE BLACK LITERARY 735 00:33:27,024 --> 00:33:28,025 TRADITION AND IT WAS DESCRIBED 736 00:33:28,025 --> 00:33:33,598 HOW BLACK WRITING POSITS THE 737 00:33:33,598 --> 00:33:37,668 INDIVIDUAL I OF THE BLACK AUTHOR 738 00:33:37,668 --> 00:33:41,839 AND THE COLLECTIVE "I" OF THE 739 00:33:41,839 --> 00:33:43,474 RACE AND THE "I" WHICH IS 740 00:33:43,474 --> 00:33:49,013 SINGULAR ONLY BY GRAMMAR, IS THE 741 00:33:49,013 --> 00:33:50,515 "I" OF WITNESS AND TESTIMONY. 742 00:33:50,515 --> 00:33:52,283 HE WRITES I'M AN WITNESS TO 743 00:33:52,283 --> 00:33:53,851 WHENCE I CAME, WHERE I CAME, 744 00:33:53,851 --> 00:33:55,086 WITNESS TO WHAT I'VE SEEN AND 745 00:33:55,086 --> 00:33:58,422 THE POSSIBILITIES THAT I THINK I 746 00:33:58,422 --> 00:33:58,823 SEE. 747 00:33:58,823 --> 00:34:05,997 THIS IS A DIFFERENT "I" FROM THE 748 00:34:05,997 --> 00:34:07,465 SINGULAR "I" AND SAID I PICK THE 749 00:34:07,465 --> 00:34:11,369 COTTON AND I CARRY TO MARKET AND 750 00:34:11,369 --> 00:34:13,504 I BUILT THE RAILROADS UNDER 751 00:34:13,504 --> 00:34:15,506 SOMEONE ELSE'S WHIP FOR NOTHING. 752 00:34:15,506 --> 00:34:20,745 IT GOES TO EXPLAIN WHY IN MY 753 00:34:20,745 --> 00:34:22,580 VIEW TAKEN THE CONFESSIONAL 754 00:34:22,580 --> 00:34:25,850 ASPECT OF GRAPHIC MEDICINE FOR 755 00:34:25,850 --> 00:34:27,218 GRANTED IS PROBLEMATIC AND 756 00:34:27,218 --> 00:34:31,489 SOMETHING WE NEED TO QUESTION 757 00:34:31,489 --> 00:34:33,291 AND NEED TO INVESTIGATE WHEN WE 758 00:34:33,291 --> 00:34:35,493 THINK OF WHY CONFESSIONAL 759 00:34:35,493 --> 00:34:36,460 NARRATIVES ARE SO WHITE. 760 00:34:36,460 --> 00:34:38,796 WHY GRAPHIC MEDICINE AS A FIELD 761 00:34:38,796 --> 00:34:44,535 IN GENERAL IS SO WHITE AND SO 762 00:34:44,535 --> 00:34:49,073 MIDDLE CLASS. 763 00:34:49,073 --> 00:34:52,343 ENTER THE COVID-19 PANDEMIC. 764 00:34:52,343 --> 00:34:54,078 IT HAS SPURRED AN EXPLOSION OF 765 00:34:54,078 --> 00:34:56,013 COMICS IN PRINT AND IN THE WEB. 766 00:34:56,013 --> 00:35:03,487 COMICS THAT PORTRAY ASPECTS OF 767 00:35:03,487 --> 00:35:06,791 WHAT MANY CALL IN THE ARTICLE 768 00:35:06,791 --> 00:35:09,560 COVIDITY A COIN TERMED TO DENOTE 769 00:35:09,560 --> 00:35:12,997 INDIVIDUAL AND COLLECTIVE 770 00:35:12,997 --> 00:35:13,731 PHILOSOPHICAL, MATERIAL AND WIDE 771 00:35:13,731 --> 00:35:17,401 RANGING RESPONSES TO THE 772 00:35:17,401 --> 00:35:18,603 COVID-19 PANDEMIC. 773 00:35:18,603 --> 00:35:24,008 WE SEE COVID COME DOING ALL 774 00:35:24,008 --> 00:35:28,112 SORTS OF THINGS AUTOBIOGRAPHICAL 775 00:35:28,112 --> 00:35:29,580 MOMENTS OF CARING SOMEONE FOR 776 00:35:29,580 --> 00:35:30,414 COVID AND THE DIFFERENT SYMPTOMS 777 00:35:30,414 --> 00:35:31,849 ONE EXPERIENCES. 778 00:35:31,849 --> 00:35:35,319 WE FIND COMICS SHOWING PEOPLE'S 779 00:35:35,319 --> 00:35:36,621 RESISTANCE AND RESILIENCE AND 780 00:35:36,621 --> 00:35:41,659 THE WAYS IN WHICH THEY ARE 781 00:35:41,659 --> 00:35:45,596 COPING COLLECTIVELY THIS IS 782 00:35:45,596 --> 00:35:46,998 DEPICTING WHAT PEOPLE WERE DOING 783 00:35:46,998 --> 00:35:49,200 IN WUHAN DURING LOCKDOWN OR 784 00:35:49,200 --> 00:35:51,202 SHOWING WHAT'S HAPPENING INSIDE 785 00:35:51,202 --> 00:35:55,072 SPACES OFTEN UNSEEN DURING THE 786 00:35:55,072 --> 00:35:59,310 PANDEMIC LIKE E.R.s OR I.C.Us 787 00:35:59,310 --> 00:36:01,812 AND DEPICTING THE CLINICAL 788 00:36:01,812 --> 00:36:03,314 SPACES AND THE TOLL COVID HAS 789 00:36:03,314 --> 00:36:04,682 TAKEN ON HEALTH CARE WORKERS AND 790 00:36:04,682 --> 00:36:07,785 ON PATIENTS AND FAMILIES. 791 00:36:07,785 --> 00:36:11,689 THESE ARE ALL EXAMPLES OF THAT 792 00:36:11,689 --> 00:36:15,593 OR THE IDEA OF FAMILIES AWAY 793 00:36:15,593 --> 00:36:19,797 FROM LOVED ONES AS THEY RECEIVED 794 00:36:19,797 --> 00:36:21,599 TREATMENT AND THE DECISION 795 00:36:21,599 --> 00:36:25,670 AROUND TREATMENT. 796 00:36:25,670 --> 00:36:27,471 TALK ABOUT TOPICS THAT HAVE 797 00:36:27,471 --> 00:36:29,340 TAKEN A BACK SEAT DURING THE 798 00:36:29,340 --> 00:36:30,374 HEIGHT AND THE BEGINNING OF THE 799 00:36:30,374 --> 00:36:33,310 PANDEMIC LIKE MENTAL HEALTH, FOR 800 00:36:33,310 --> 00:36:35,479 EXAMPLE AND SOMETHING FOR PEOPLE 801 00:36:35,479 --> 00:36:37,682 WITH ANXIETY FOR INSTANCE OR OB 802 00:36:37,682 --> 00:36:41,285 RECEIVING COMPULSIVE DISORDER, 803 00:36:41,285 --> 00:36:41,552 SOMETHING. 804 00:36:41,552 --> 00:36:44,889 SOMETHING AS SIMPLE AS GOING TO 805 00:36:44,889 --> 00:36:47,458 THE STORE AND WHAT THAT NIGHT 806 00:36:47,458 --> 00:36:49,894 ENTAIL OR INDUCING HUMOR TO 807 00:36:49,894 --> 00:36:51,429 INTRODUCE LEVITY TO OTHERWISE 808 00:36:51,429 --> 00:36:55,499 AND DISTURBING SITUATIONS 809 00:36:55,499 --> 00:36:59,837 WHETHER IT'S ISOLATION OR HAVING 810 00:36:59,837 --> 00:37:02,440 COVID OR BEING AWAY FROM LOVED 811 00:37:02,440 --> 00:37:02,740 ONES. 812 00:37:02,740 --> 00:37:05,209 THESE COMICS USE HUMOR AND 813 00:37:05,209 --> 00:37:05,743 LEVITY. 814 00:37:05,743 --> 00:37:06,444 EDUCATIONAL COMICS HAVE PLAYED 815 00:37:06,444 --> 00:37:07,578 AN IMPORTANT ROLE AND WE'VE SEEN 816 00:37:07,578 --> 00:37:13,284 A RISE IN THOSE DURING THE 817 00:37:13,284 --> 00:37:15,586 PANDEMIC WHETHER EXPLAINING HOW 818 00:37:15,586 --> 00:37:21,425 THE VARIOUS MUTATES OR DEBUNKING 819 00:37:21,425 --> 00:37:23,494 MYTHS AROUND THE SAFETY OF 820 00:37:23,494 --> 00:37:24,628 VACCINATIONS DURING PREGNANCY OR 821 00:37:24,628 --> 00:37:27,331 THINGS LIKE HOW TO USE A 822 00:37:27,331 --> 00:37:27,998 PLAYGROUND IN A PANDEMIC. 823 00:37:27,998 --> 00:37:30,468 THINGS AS SIMPLE AS THAT OR WHAT 824 00:37:30,468 --> 00:37:32,737 DOES IT MEAN TO WATCH YOUR HANDS 825 00:37:32,737 --> 00:37:33,604 FOR 20 SECONDS. 826 00:37:33,604 --> 00:37:42,713 WHAT'S THAT LOOK LIKE? 827 00:37:42,713 --> 00:37:44,782 OR THINKING ABOUT PREVIOUS 828 00:37:44,782 --> 00:37:48,486 PANDEMICS AND HOW THEY COMPARE. 829 00:37:48,486 --> 00:37:49,153 PUTTING STATISTICS AND 830 00:37:49,153 --> 00:37:54,792 HISTORICAL IDEAS IN CONTEXT IN 831 00:37:54,792 --> 00:37:57,161 RELATION TO THE PANDEMIC IN A 832 00:37:57,161 --> 00:37:59,463 GRAPHIC OR VISUAL FORMAT AND 833 00:37:59,463 --> 00:38:05,970 THERE'S COMICS FOR CHILDREN AND 834 00:38:05,970 --> 00:38:06,670 N.P.R. PUBLISHED SEVERAL 835 00:38:06,670 --> 00:38:09,907 TARGETING CHILDREN AND THIS 836 00:38:09,907 --> 00:38:15,246 EXPLAINED THE COVID-19 OR THE 837 00:38:15,246 --> 00:38:16,680 SARS COV2 VIRUS AND WHAT IT IS. 838 00:38:16,680 --> 00:38:18,516 YOU MUST HAVE HEARD OF THAT AT 839 00:38:18,516 --> 00:38:22,787 THE BEGINNING OF THE PANDEMIC. 840 00:38:22,787 --> 00:38:24,155 WHAT IS THIS? 841 00:38:24,155 --> 00:38:25,856 OR THINGS LIKE WHAT SHOULD WE 842 00:38:25,856 --> 00:38:26,123 DO? 843 00:38:26,123 --> 00:38:27,324 HOW DO YOU PROCESS YOUR FEELINGS 844 00:38:27,324 --> 00:38:28,025 AROUND THIS? 845 00:38:28,025 --> 00:38:31,428 YOU MUST BE FEELING WORRIED, 846 00:38:31,428 --> 00:38:33,597 SCARES, FRUSTRATED. 847 00:38:33,597 --> 00:38:39,270 HOW TO PROCESS THAT. 848 00:38:39,270 --> 00:38:41,505 THE GRAPHIC MEDICINE WEBSITE 849 00:38:41,505 --> 00:38:42,039 DOCUMENTED A LOT OF THESE 850 00:38:42,039 --> 00:38:46,544 COVID-19 COMICS. 851 00:38:46,544 --> 00:38:50,114 A NEW PHENOMENON I'M ARGUING 852 00:38:50,114 --> 00:38:51,949 HERE IS COVID-19 COMICS PRESENT 853 00:38:51,949 --> 00:38:53,284 A MUCH MORE SIGNIFICANT 854 00:38:53,284 --> 00:38:54,518 DIVERSITY OF CREATORS AND 855 00:38:54,518 --> 00:38:57,254 NARRATIVES THAT TOUCH ON THE 856 00:38:57,254 --> 00:38:59,523 LIVES AND EXPERIENCES OF BIPOC 857 00:38:59,523 --> 00:39:01,826 INDIVIDUALS AND COMMUNITIES AND 858 00:39:01,826 --> 00:39:05,029 OTHER MARGINALIZED IDENTITIES. 859 00:39:05,029 --> 00:39:07,731 TAKE FOR INSTANCE THIS COMIC 860 00:39:07,731 --> 00:39:10,334 THAT WAS PRODUCED, SERIALIZED 861 00:39:10,334 --> 00:39:12,670 ONLINE AND COLLECTED IN A 862 00:39:12,670 --> 00:39:15,940 COLLECTION CALLED CORONA COMICS 863 00:39:15,940 --> 00:39:19,143 THE SERIES IS CALLED TRIBAL 864 00:39:19,143 --> 00:39:22,213 CORONA COMICS WHERE AN ARTIST 865 00:39:22,213 --> 00:39:24,582 AND MEMBER OF THE WINNEBAGO 866 00:39:24,582 --> 00:39:27,484 TRIBE OF NEBRASKA IN 867 00:39:27,484 --> 00:39:30,020 COLLABORATION WITH BOB HALL A 868 00:39:30,020 --> 00:39:31,755 FAMOUS ARTIST AND WRITER WHO 869 00:39:31,755 --> 00:39:34,959 WORKED FOR MARVEL AMONG OTHER 870 00:39:34,959 --> 00:39:39,930 BIG COMIC PUBLISHERS WRITES THE 871 00:39:39,930 --> 00:39:43,400 COMIC THAT WRITES QUESTIONS 872 00:39:43,400 --> 00:39:45,102 RELATED TO PANDEMIC AND THE 873 00:39:45,102 --> 00:39:47,504 SETTLER COLONIAL AND TRIBAL 874 00:39:47,504 --> 00:39:48,606 MEDICINE THROUGH THE 875 00:39:48,606 --> 00:39:51,475 FIGURE/GHOST OF PHYSICIAN AND 876 00:39:51,475 --> 00:39:59,483 FORMER REFORMER, SUSAN LEFLESH 877 00:39:59,483 --> 00:40:01,318 LECUT AS ONE OF THE FIRST 878 00:40:01,318 --> 00:40:03,487 INDIGENOUS WOMEN TO EARN A 879 00:40:03,487 --> 00:40:05,422 MEDICAL DEGREE OR THIS COMIC 880 00:40:05,422 --> 00:40:08,559 THAT WAS PUBLISHED BY THE NIB BY 881 00:40:08,559 --> 00:40:14,098 AN ENROLLED MEMBER OF THE TRIBE 882 00:40:14,098 --> 00:40:19,036 OF OKLAHOMA AND A NAVAJO WRITER 883 00:40:19,036 --> 00:40:21,572 FOR INDIAN COUNTRY TODAY ABOUT 884 00:40:21,572 --> 00:40:22,940 THE IMPACT OF THE COVID PANDEMIC 885 00:40:22,940 --> 00:40:31,081 ON THE NAVAJO NATION. 886 00:40:31,081 --> 00:40:39,990 AND A COMIC ON HOW TO HAVE A 887 00:40:39,990 --> 00:40:47,398 POW-WOW AND WHAT EMERGES FROM 888 00:40:47,398 --> 00:40:51,468 OPPRESSION AND THE MEANINGS OF 889 00:40:51,468 --> 00:40:52,937 EPIDEMIC AND THE CHANGES 890 00:40:52,937 --> 00:40:55,472 VALENCES OF HAVING A POW-WOW 891 00:40:55,472 --> 00:40:59,209 DURING A PANDEMIC. 892 00:40:59,209 --> 00:41:02,846 OR THIS COMIC PUBLISHED BY THE 893 00:41:02,846 --> 00:41:05,549 LIBBY A FILIPINO AMERICAN QUEER 894 00:41:05,549 --> 00:41:07,217 COMIC ARTIST WHO LIVES IN QUEENS 895 00:41:07,217 --> 00:41:09,687 AND WROTE THE COMIC ABOUT THE 896 00:41:09,687 --> 00:41:13,023 HOSPITAL WHICH SERVES MOSTLY 897 00:41:13,023 --> 00:41:14,758 BIPOC MIGRANT AND INCARCERATED 898 00:41:14,758 --> 00:41:16,193 FOLKS DURING THE PANDEMIC AND 899 00:41:16,193 --> 00:41:18,929 HOW THE LACK OF RESOURCES AND 900 00:41:18,929 --> 00:41:21,765 UNDER FUNDING CONTRIBUTED TO 901 00:41:21,765 --> 00:41:23,067 DISMAL OUTCOMES THERE. 902 00:41:23,067 --> 00:41:25,202 AND THE PHRASE THAT WAS HEAVED 903 00:41:25,202 --> 00:41:30,441 ON THE NEW YORK GOVERNOR, ANDREW 904 00:41:30,441 --> 00:41:33,777 CUOMO ON THE PANDEMIC AND THE 905 00:41:33,777 --> 00:41:36,580 COMICS SHED LIGHT ON THE WAYS 906 00:41:36,580 --> 00:41:39,650 LIKE POLICIES LIKE HIS LEFT THE 907 00:41:39,650 --> 00:41:44,788 CITY AND THE MOST IMPOVERISHED 908 00:41:44,788 --> 00:41:47,491 AND MARGINALIZED PARTS OF THE 909 00:41:47,491 --> 00:41:54,865 CITY UNPREPARED AND THERE'S 910 00:41:54,865 --> 00:41:59,136 COMICS BLACK CREATORS AND 911 00:41:59,136 --> 00:42:00,504 CREATORS OF COLOR AND THE SUMMER 912 00:42:00,504 --> 00:42:03,474 OF 2020 AND THE SYSTEMIC RACISM 913 00:42:03,474 --> 00:42:06,076 AND THE TWIN PANDEMIC OF COVID 914 00:42:06,076 --> 00:42:09,580 AND WHITE SUPREMACY AND HOW IN 915 00:42:09,580 --> 00:42:12,049 THE COMIC FOR EXAMPLE WHICH 916 00:42:12,049 --> 00:42:16,487 TALKS ABOUT ONE OF THE 917 00:42:16,487 --> 00:42:17,755 ORGANIZERS OF BLACK LIVES 918 00:42:17,755 --> 00:42:19,023 MATTERS SAID RACISM HAS KILLED 919 00:42:19,023 --> 00:42:20,057 MORE PEOPLE THAN COVID-19. 920 00:42:20,057 --> 00:42:25,429 THE WORK OF AN ACTIVIST IS THAT 921 00:42:25,429 --> 00:42:26,930 OF AN ESSENTIAL WORKER AND NOT A 922 00:42:26,930 --> 00:42:28,699 QUESTION TO IF WE'RE GO OUT AND 923 00:42:28,699 --> 00:42:34,171 PROTEST AND ORGANIZE, IT WAS 924 00:42:34,171 --> 00:42:41,478 HOW. 925 00:42:41,478 --> 00:42:45,582 AND THE STORY OF A BROTHER WHO 926 00:42:45,582 --> 00:42:46,884 WAS KILLED BY BALTIMORE POLICE 927 00:42:46,884 --> 00:42:48,685 AND HER ORGANIZING WORK DESPITE 928 00:42:48,685 --> 00:42:50,287 HAVING ALL SORTS OF CONCERNS 929 00:42:50,287 --> 00:42:51,488 ABOUT HER HEALTH AND THE HEALTH 930 00:42:51,488 --> 00:42:56,460 OF HER FAMILY WHO HAVE 931 00:42:56,460 --> 00:42:57,127 UNDERLYING HEALTH CONDITIONS AND 932 00:42:57,127 --> 00:42:59,396 PARTICULARLY VULNERABLE TO GO 933 00:42:59,396 --> 00:43:03,500 OUT AND PROTEST AND ORGANIZE 934 00:43:03,500 --> 00:43:11,341 DURING THE COVID-19 PANDEMIC. 935 00:43:11,341 --> 00:43:14,812 AND ESSENTIAL WORKERS MOST OF 936 00:43:14,812 --> 00:43:16,547 WHOM WHO ARE PEOPLE OF COLOR 937 00:43:16,547 --> 00:43:18,615 DYING AT TWO AND A HALF TIMES 938 00:43:18,615 --> 00:43:21,585 THE RATE OF WHITE AMERICANS. 939 00:43:21,585 --> 00:43:24,521 THE STORY OF LALANI FROM 940 00:43:24,521 --> 00:43:26,924 MARYLAND AND HER MOTHER WHO 941 00:43:26,924 --> 00:43:33,163 AFTER LALANI DIED WHO WORKED AT 942 00:43:33,163 --> 00:43:35,666 GIANT AND SAID AFTER HER DEATH 943 00:43:35,666 --> 00:43:39,069 GIANT FOODS MAILED THE FAMILY 944 00:43:39,069 --> 00:43:43,240 HER FINAL PAYCHECK FOR $20.46 945 00:43:43,240 --> 00:43:46,376 AND ISSUES RELATED TO RACISM AND 946 00:43:46,376 --> 00:43:48,445 ANTI-ASIAN RACISM AND ANTI-ASIAN 947 00:43:48,445 --> 00:43:50,414 HATE WE'VE SEEN DURING THE 948 00:43:50,414 --> 00:43:51,415 PANDEMIC HAS BEEN A CRUCIAL 949 00:43:51,415 --> 00:43:55,486 TOPIC IN MANY OF THE COMICS 950 00:43:55,486 --> 00:44:01,658 PRODUCED BY ASIAN CREATE EORS F 951 00:44:01,658 --> 00:44:04,695 EXAMPLE THIS ONE TALKS ABOUT 952 00:44:04,695 --> 00:44:06,363 BEING ON PUBLIC TRANSIT WHILE 953 00:44:06,363 --> 00:44:09,600 ASIAN OR THIS WOMAN TALKING 954 00:44:09,600 --> 00:44:11,135 ABOUT COMFORT FOOD AND HOW SHE'S 955 00:44:11,135 --> 00:44:14,071 BEEN RESORTING TO COMFORT FOOD 956 00:44:14,071 --> 00:44:15,806 DURING THE PANDEMIC AND NOT ONLY 957 00:44:15,806 --> 00:44:18,842 BECAUSE OF COMFORT BUT NO LONGER 958 00:44:18,842 --> 00:44:20,777 FELT AT TIME WHILE WRITING THAT 959 00:44:20,777 --> 00:44:22,079 IN THE SUMMER OF 2020 DIDN'T 960 00:44:22,079 --> 00:44:24,882 FEEL COMFORTABLE GOING TO HER 961 00:44:24,882 --> 00:44:27,484 LOCAL GROCERY STORE AND ONLY 962 00:44:27,484 --> 00:44:29,419 FELT COMFORTABLE IN ASIAN SUPER 963 00:44:29,419 --> 00:44:31,889 MARKETS BECAUSE OF THE 964 00:44:31,889 --> 00:44:33,590 ANTI-CHINESE RACISM AND HATRED 965 00:44:33,590 --> 00:44:35,159 TOWARDS ASIAN PEOPLE. 966 00:44:35,159 --> 00:44:38,061 SHE SAYS FOR NOW I'LL FIND 967 00:44:38,061 --> 00:44:40,230 COMFORT IN THE FOOD OF MY 968 00:44:40,230 --> 00:44:40,664 PEOPLE. 969 00:44:40,664 --> 00:44:41,431 QUESTIONING THINGS LIKE THE 970 00:44:41,431 --> 00:44:48,539 MEANING OF A BUBBLE OR HAVING 971 00:44:48,539 --> 00:44:50,040 THE WHITE CENTRIC NOTION OF A 972 00:44:50,040 --> 00:44:53,243 FAMILY AS A NUCLEAR FAMILY, A 973 00:44:53,243 --> 00:44:59,183 SMALL NUCLEAR FAMILY YOU LIVE 974 00:44:59,183 --> 00:45:00,651 WITH AND NOT SEEING ANYONE ELSE 975 00:45:00,651 --> 00:45:03,487 HAS BEEN QUESTIONED BY PEOPLE OF 976 00:45:03,487 --> 00:45:06,223 COLOR. 977 00:45:06,223 --> 00:45:09,560 THIS COMIC WHERE SHE TALKS TO 978 00:45:09,560 --> 00:45:15,098 HER GRANDMA EXPECTING HER TO 979 00:45:15,098 --> 00:45:21,939 VISIT AND TO BE WITH HER AND 980 00:45:21,939 --> 00:45:24,641 EXPLAINING HOW SHE CANNOT VISIT 981 00:45:24,641 --> 00:45:28,011 AND HOW IT TUGS AT PEOPLE IN 982 00:45:28,011 --> 00:45:28,779 COMMUNITIES OF COLOR DIFFERENT 983 00:45:28,779 --> 00:45:31,481 THAN THEY ARE FOR WHITE 984 00:45:31,481 --> 00:45:37,221 FAMILIES. 985 00:45:37,221 --> 00:45:41,058 A PLAQUE COMIC ARTIST TALKED 986 00:45:41,058 --> 00:45:42,025 ABOUT GIVING BIRTH AT THE HEIGHT 987 00:45:42,025 --> 00:45:44,261 OF THE PANDEMIC AND BEING 988 00:45:44,261 --> 00:45:44,528 ISOLATED. 989 00:45:44,528 --> 00:45:46,296 NOT HAVING ANYONE EVEN HER 990 00:45:46,296 --> 00:45:48,966 PARTNER BE ALLOWED TO BE THERE 991 00:45:48,966 --> 00:45:52,469 AND THE IDEA THAT THE FIRST TIME 992 00:45:52,469 --> 00:45:55,505 FOR HER BABY TO SEE HER FACE 993 00:45:55,505 --> 00:46:00,244 WHILE SHE WAS MASKED AND HOW 994 00:46:00,244 --> 00:46:03,347 THAT WAS VERY SAD AND EVEN 995 00:46:03,347 --> 00:46:04,548 THINGS LIKE PEOPLE OF COLOR 996 00:46:04,548 --> 00:46:06,817 BEING ACROSS BORDERS. 997 00:46:06,817 --> 00:46:08,385 THINKING INTERNATIONALLY AS 998 00:46:08,385 --> 00:46:08,685 WELL. 999 00:46:08,685 --> 00:46:11,221 THINKING ABOUT PEOPLE OF THE 1000 00:46:11,221 --> 00:46:12,089 GLOBAL MAJORITY. 1001 00:46:12,089 --> 00:46:13,223 HERE FOR EXAMPLE THEY WRITE 1002 00:46:13,223 --> 00:46:19,029 ABOUT BEING SEPARATED FROM HER 1003 00:46:19,029 --> 00:46:23,800 SIGNIFICANT OTHER WORKING IN 1004 00:46:23,800 --> 00:46:27,471 MALAYSIA AND THE ONE BRIDGE THAT 1005 00:46:27,471 --> 00:46:31,208 CONNECTS THE COUNTRY WAS CLOSED 1006 00:46:31,208 --> 00:46:33,010 MEANT THEY COULDN'T SEE EACH 1007 00:46:33,010 --> 00:46:33,910 OTHER FOR MONTHS AND MONTHS 1008 00:46:33,910 --> 00:46:35,078 THOUGH THEY WERE ONLY SEPARATED 1009 00:46:35,078 --> 00:46:40,117 BY A FEW MILES. 1010 00:46:40,117 --> 00:46:45,455 OR FOR EXAMPLE IN FROM BRAZIL 1011 00:46:45,455 --> 00:46:49,426 WRITING ABOUT BOLSONARO AND HIS 1012 00:46:49,426 --> 00:46:50,360 MISHANDLING OF THE PANDEMIC. 1013 00:46:50,360 --> 00:46:57,601 THERE'S SO MANY WAYS IN WHICH WE 1014 00:46:57,601 --> 00:47:00,504 SEE AUTHORS AND ARTISTS WRITING 1015 00:47:00,504 --> 00:47:02,072 ABOUT THIS UNPRECEDENTED FOR THE 1016 00:47:02,072 --> 00:47:04,074 FIELD OF GRAPHIC MEDICINE. 1017 00:47:04,074 --> 00:47:05,776 THESE ARE JUST SOME OF THE 1018 00:47:05,776 --> 00:47:10,881 COVERS OF SOME OF THE WORKS I 1019 00:47:10,881 --> 00:47:11,615 HAVE USED HERE. 1020 00:47:11,615 --> 00:47:12,549 THERE'S SO MANY MORE. 1021 00:47:12,549 --> 00:47:15,485 I WANT TO LEAVE YOU WITH A 1022 00:47:15,485 --> 00:47:18,689 COUPLE THOUGHTS. 1023 00:47:18,689 --> 00:47:23,894 ONE THOUGHT IS AND WHY ARE WE 1024 00:47:23,894 --> 00:47:25,796 SEEING MORE CREATORS OF COLOR IN 1025 00:47:25,796 --> 00:47:27,597 THE FIELD OF GRAPHIC MEDICINE? 1026 00:47:27,597 --> 00:47:31,802 ONE I THINK IS THE PUBLIC NATURE 1027 00:47:31,802 --> 00:47:32,502 OF COVID-19. 1028 00:47:32,502 --> 00:47:34,471 THE EMPHASIS HERE HAS BEEN 1029 00:47:34,471 --> 00:47:37,808 DISPLACED FROM THE CONFESSIONAL, 1030 00:47:37,808 --> 00:47:40,944 WHICH I'VE DISCUSSED ALREADY TO 1031 00:47:40,944 --> 00:47:43,447 SOMETHING ELSEWHERE THE "I" HERE 1032 00:47:43,447 --> 00:47:47,351 EVEN WHEN PEOPLE ARE WRITING THE 1033 00:47:47,351 --> 00:47:48,518 "I" A DIFFERENT "I" THAT 1034 00:47:48,518 --> 00:47:53,924 COMBINED THE INDIVIDUAL AND THE 1035 00:47:53,924 --> 00:48:00,964 COLLECTIVE IN WAYS THAT WERE 1036 00:48:00,964 --> 00:48:03,467 UNPRECEDENTED AND THE TWIN 1037 00:48:03,467 --> 00:48:06,370 PANDEMICS OF COVID-19 AND 1038 00:48:06,370 --> 00:48:09,573 SYSTEMIC RACISM OR THE RECKONING 1039 00:48:09,573 --> 00:48:11,575 WITH THE PANDEMIC OF WHITE 1040 00:48:11,575 --> 00:48:13,009 SUPREMACY AND SYSTEMIC RACISM 1041 00:48:13,009 --> 00:48:15,579 WHICH PROMPTED PEOPLE TO FIND 1042 00:48:15,579 --> 00:48:24,654 WAYS IN WHICH WRITING ABOUT THE 1043 00:48:24,654 --> 00:48:29,559 COVID-19 PANDEMIC CAN BE AN 1044 00:48:29,559 --> 00:48:34,664 INVITATION TO WHITE HOW 1045 00:48:34,664 --> 00:48:39,436 COMMUNITIES OF COLOR AND 1046 00:48:39,436 --> 00:48:40,637 INEQUALITY WAS EXACERBATED 1047 00:48:40,637 --> 00:48:41,171 DURING THE PANDEMIC. 1048 00:48:41,171 --> 00:48:43,140 I WANT TO LEAVE YOU WITH A 1049 00:48:43,140 --> 00:48:48,779 COUPLE OF OBSERVATIONS. 1050 00:48:48,779 --> 00:48:50,847 ONE IS THAT A LOT OF THESE 1051 00:48:50,847 --> 00:48:52,149 COMICS WERE PUBLISHED ONLINE OR 1052 00:48:52,149 --> 00:48:54,584 PART OF EDITED ANTHOLOGIES OR 1053 00:48:54,584 --> 00:49:03,427 BOTH. 1054 00:49:03,427 --> 00:49:05,395 BUT NONE WERE SINGLE MONOGRAPHS 1055 00:49:05,395 --> 00:49:07,864 PUBLISHED IN PRINT, ETCETERA. 1056 00:49:07,864 --> 00:49:11,468 I MENTIONED THE FACT THAT 7 6% 1057 00:49:11,468 --> 00:49:15,405 OF PUBLISHERS AND EDITORS WHERE 1058 00:49:15,405 --> 00:49:15,605 WHITE. 1059 00:49:15,605 --> 00:49:18,809 ONE OF THE WHITEST INDUSTRIES OR 1060 00:49:18,809 --> 00:49:21,378 SECTORS THERE IS AND THAT'S A 1061 00:49:21,378 --> 00:49:22,779 HUGE OBSTACLE AND SOMETHING TO 1062 00:49:22,779 --> 00:49:23,079 THINK ABOUT. 1063 00:49:23,079 --> 00:49:25,982 PUBLISHING ONLINE HAS BEEN EASY 1064 00:49:25,982 --> 00:49:28,351 OR HAS BEEN MORE ACCESSIBLE TO A 1065 00:49:28,351 --> 00:49:33,590 LOT OF PEOPLE BUT THE OTHER WAYS 1066 00:49:33,590 --> 00:49:35,492 IN WHICH PEOPLE CAN BECOME PART 1067 00:49:35,492 --> 00:49:39,296 OF THE CANNON IS PUBLISHING THE 1068 00:49:39,296 --> 00:49:40,797 BOOK LENGTH GRAPHIC NARRATIVES 1069 00:49:40,797 --> 00:49:43,567 WHICH HAS NOT BEEN POSSIBLE SO 1070 00:49:43,567 --> 00:49:46,169 FAR FOR A LOT OF BIPOC CREATORS. 1071 00:49:46,169 --> 00:49:48,972 ANOTHER THING IS THAT WE'RE 1072 00:49:48,972 --> 00:49:51,241 SEEING A MORE EXPANSIVE VIEWS OF 1073 00:49:51,241 --> 00:49:52,242 GRAPHIC MEDICINE. 1074 00:49:52,242 --> 00:49:54,811 OF MEDICINE AND GRAPHIC MEDICINE 1075 00:49:54,811 --> 00:49:57,581 THAT PUSHES THE FIELD TO 1076 00:49:57,581 --> 00:50:01,885 THINKING BEYOND THE CLINICAL. 1077 00:50:01,885 --> 00:50:05,422 IT IS EMBODYING A VIEW OF SOCIAL 1078 00:50:05,422 --> 00:50:07,824 MEDICINE THAT UNDERSTANDS 1079 00:50:07,824 --> 00:50:09,192 DISCOURSE WITHIN A WIDER 1080 00:50:09,192 --> 00:50:12,729 POLITICAL AND SOCIAL CONTEXT. 1081 00:50:12,729 --> 00:50:17,601 AND THEN THERE ARE DIFFERENT 1082 00:50:17,601 --> 00:50:19,202 SUBJECTIVITIES AND THE 1083 00:50:19,202 --> 00:50:20,837 COLLECTIVE "I" IS DOMINANT EVEN 1084 00:50:20,837 --> 00:50:23,473 WHEN ONE IS SHARING A PERSONAL 1085 00:50:23,473 --> 00:50:26,243 EXPERIENCE IT'S OFTEN AN 1086 00:50:26,243 --> 00:50:28,211 EXPERIENCE REPRESENTATIVE OF A 1087 00:50:28,211 --> 00:50:31,314 WIDER COMMUNITY OR WIDER CONCERN 1088 00:50:31,314 --> 00:50:32,849 SHARED BY MANY AND THEN TO 1089 00:50:32,849 --> 00:50:35,385 CONCLUDE I WANT TO CALL ON THE 1090 00:50:35,385 --> 00:50:36,920 ETHOS OF GRAPHIC MEDICINE FROM 1091 00:50:36,920 --> 00:50:38,788 THE GRAPHIC MEDICINE MANIFESTO 1092 00:50:38,788 --> 00:50:43,493 THAT I THINK WILL HELP US PUSH 1093 00:50:43,493 --> 00:50:45,595 THIS FORWARD SO THAT THESE 1094 00:50:45,595 --> 00:50:49,766 INFLUENCES ARE NOT A TRANSIENT 1095 00:50:49,766 --> 00:50:50,800 PHENOMENON AS A RESULT OF THE 1096 00:50:50,800 --> 00:50:52,536 COVID-19 PANDEMIC BUT WILL 1097 00:50:52,536 --> 00:50:55,472 HOPEFULLY HAVE A LASTING IMPACT 1098 00:50:55,472 --> 00:50:57,407 ON THE FIELD. 1099 00:50:57,407 --> 00:51:00,610 IN GRAPHIC MEDICINE MANIFESTO 1100 00:51:00,610 --> 00:51:01,545 THE EDITORS WRITE GRAPHIC 1101 00:51:01,545 --> 00:51:03,179 MEDICINE IS A MOVEMENT FOR 1102 00:51:03,179 --> 00:51:03,413 CHANGE. 1103 00:51:03,413 --> 00:51:05,682 THE CHALLENGE IS THE DOMINANT 1104 00:51:05,682 --> 00:51:07,450 METHODS OF SCHOLARSHIP IN HEALTH 1105 00:51:07,450 --> 00:51:11,187 CARE OFFERING A MORE INCLUSIVE 1106 00:51:11,187 --> 00:51:12,622 PERSPECTIVE OF ILLNESS, 1107 00:51:12,622 --> 00:51:13,957 DISABILITY AND CAREGIVING AND 1108 00:51:13,957 --> 00:51:14,457 BEING CARED FOR. 1109 00:51:14,457 --> 00:51:17,594 THANK YOU VERY MUCH FOR TAKING 1110 00:51:17,594 --> 00:51:19,496 THE TIME AND WELCOME YOUR 1111 00:51:19,496 --> 00:51:22,132 QUESTIONS. 1112 00:51:22,132 --> 00:51:23,466 >> THANK YOU VERY MUCH FOR A 1113 00:51:23,466 --> 00:51:24,401 FASCINATING TALK. 1114 00:51:24,401 --> 00:51:26,937 WE HAVE TIME FOR A FEW QUESTIONS 1115 00:51:26,937 --> 00:51:31,074 THOUGH WE'VE RECEIVED MANY. 1116 00:51:31,074 --> 00:51:33,109 I'VE TAKEN THE LIBERTY OF 1117 00:51:33,109 --> 00:51:34,277 COMBINING A FEW OF THEM. 1118 00:51:34,277 --> 00:51:36,046 LET ME JUST SAY SEVERAL PEOPLE 1119 00:51:36,046 --> 00:51:37,113 HAVE WRITTEN IN. 1120 00:51:37,113 --> 00:51:40,183 THANK YOU FOR THE INTERESTING 1121 00:51:40,183 --> 00:51:41,051 TALK. 1122 00:51:41,051 --> 00:51:43,587 IS THERE AN ONLINE REPOSITORY 1123 00:51:43,587 --> 00:51:47,157 FOR GRAPHIC MEDICINE? 1124 00:51:47,157 --> 00:51:53,597 YES, GRAPHIC MEDICINE DOT-ORG. 1125 00:51:53,597 --> 00:51:57,367 GO THERE RIGHT NOW, RUN, DON'T 1126 00:51:57,367 --> 00:51:57,601 WALK. 1127 00:51:57,601 --> 00:51:59,436 IT'S NOT EXHAUSTIVE BUT THEY'RE 1128 00:51:59,436 --> 00:52:00,070 COMPILING A LOT OF WORKS THAT 1129 00:52:00,070 --> 00:52:02,772 COME OUT AND THERE'S THE GRAPHIC 1130 00:52:02,772 --> 00:52:05,642 MEDICINE PODCAST WHICH YOU CAN 1131 00:52:05,642 --> 00:52:10,814 ALSO FIND LINKS TO ON THE 1132 00:52:10,814 --> 00:52:14,618 WEBSITE AND I MENTIONED THEY'RE 1133 00:52:14,618 --> 00:52:16,553 COMPILING THE COMICS UNDER THE 1134 00:52:16,553 --> 00:52:17,053 COVID-19 COMICS RUBRIC. 1135 00:52:17,053 --> 00:52:23,493 >> THANK YOU. 1136 00:52:23,493 --> 00:52:25,228 ANOTHER INDIVIDUAL WRITES THANK 1137 00:52:25,228 --> 00:52:27,263 YOU FOR YOUR TALK ON THE UNDER 1138 00:52:27,263 --> 00:52:28,965 STUDIED TOPIC AND THE ABILITY TO 1139 00:52:28,965 --> 00:52:31,434 CONVEY CONCEPTS THROUGH A 1140 00:52:31,434 --> 00:52:33,536 COMBINATION OF TEXT AND IMAGES. 1141 00:52:33,536 --> 00:52:35,271 WHEN WE WANT TO TRANSLATE THESE 1142 00:52:35,271 --> 00:52:39,209 WORKS TO OTHER LANGUAGES HOW DO 1143 00:52:39,209 --> 00:52:42,379 WE ENSURE THE IMAGE COMPONENT 1144 00:52:42,379 --> 00:52:43,813 TRANSLATES AS WELL AS THE TEXT? 1145 00:52:43,813 --> 00:52:45,582 ARE THERE EXAMPLES OF GRAPHIC 1146 00:52:45,582 --> 00:52:46,683 MEDICINE BOOKS BEING 1147 00:52:46,683 --> 00:52:48,785 SUCCESSFULLY TRANSLATED AND WELL 1148 00:52:48,785 --> 00:52:51,287 RECEIVED IN MULTIPLE LANGUAGES 1149 00:52:51,287 --> 00:52:51,921 AND CULTURES? 1150 00:52:51,921 --> 00:52:55,291 >> THAT'S A GREAT QUESTION. 1151 00:52:55,291 --> 00:52:59,629 TRANSLATION IS ALWAYS TRICKY. 1152 00:52:59,629 --> 00:53:01,231 OBVIOUSLY ADDING ANOTHER ELEMENT 1153 00:53:01,231 --> 00:53:02,332 THE ELEMENT OF THE VISUAL ADDS 1154 00:53:02,332 --> 00:53:03,500 ANOTHER LAYER. 1155 00:53:03,500 --> 00:53:09,472 IN SOME WAYS IT CAN FACILITATE 1156 00:53:09,472 --> 00:53:10,607 THE TRANSLATION. 1157 00:53:10,607 --> 00:53:12,275 IN SOME WAYS THEY'RE AN AID TO 1158 00:53:12,275 --> 00:53:12,976 UNDERSTANDING WHAT'S GOING ON 1159 00:53:12,976 --> 00:53:19,482 PARTICULARLY WHEN THE VISUALS 1160 00:53:19,482 --> 00:53:21,885 ARE UNIVERSAL BUT IN OTHER WAYS 1161 00:53:21,885 --> 00:53:27,257 CAN ADD A LAYER OF CONFUSION IF 1162 00:53:27,257 --> 00:53:28,858 THEY'RE NOT READILY TRANSLATABLE 1163 00:53:28,858 --> 00:53:33,596 OR LEGIBLE IN OTHER CULTURES OR 1164 00:53:33,596 --> 00:53:36,399 IN DIFFERENT CONTEXTS. 1165 00:53:36,399 --> 00:53:39,169 THERE'S MANY THAT HAVE BEEN 1166 00:53:39,169 --> 00:53:44,007 TRANSLATE FROM ENGLISH AND TO 1167 00:53:44,007 --> 00:53:45,675 ENGLISH. 1168 00:53:45,675 --> 00:53:50,547 ONE OF THE MOST IMPORTANT ARE 1169 00:53:50,547 --> 00:53:54,184 EPILEPTIC BY A FRENCH CREATOR OF 1170 00:53:54,184 --> 00:53:56,753 COMIC ARTISTS AND THEN THERE ARE 1171 00:53:56,753 --> 00:53:58,788 MANY GRAPHIC NOVELS TRANSLATED 1172 00:53:58,788 --> 00:54:02,292 ON TO OTHER LANGUAGES SUCH AS 1173 00:54:02,292 --> 00:54:04,627 FOR EXAMPLE THE STORY OF MY TITS 1174 00:54:04,627 --> 00:54:06,896 BY JENNIFER HADEN TRANSLATED TO 1175 00:54:06,896 --> 00:54:08,565 ENGLISH AND WILL BE TRANSLATED 1176 00:54:08,565 --> 00:54:15,472 TO OTHER LANGUAGES AS WELL. 1177 00:54:15,472 --> 00:54:17,674 MARBLES, ETCETERA. 1178 00:54:17,674 --> 00:54:21,711 THERE'S A LOT OF GRAPHIC NOVELS 1179 00:54:21,711 --> 00:54:23,446 AND THERE'S THE SPANISH WHICH IS 1180 00:54:23,446 --> 00:54:29,819 THE SISTER WEBSITE TO GRAPHIC 1181 00:54:29,819 --> 00:54:32,655 MEDICINE WHICH HIGHLIGHTS WORDS 1182 00:54:32,655 --> 00:54:37,360 PRODUCED IN SPANISH AND IS ALSO 1183 00:54:37,360 --> 00:54:39,963 PRODUCING ORIGINAL WORK FOR THE 1184 00:54:39,963 --> 00:54:41,798 SPANISH SPEAKING WORLD. 1185 00:54:41,798 --> 00:54:43,466 I HOPE THAT ANSWERS THE 1186 00:54:43,466 --> 00:54:43,733 QUESTION. 1187 00:54:43,733 --> 00:54:44,100 >> YES. 1188 00:54:44,100 --> 00:54:45,435 I WANT TO RESERVE THE FEW 1189 00:54:45,435 --> 00:54:47,303 MINUTES WE HAVE LEFT FOR TWO 1190 00:54:47,303 --> 00:54:47,971 QUESTIONS. 1191 00:54:47,971 --> 00:54:49,839 ONE ABOUT THE PAST AND ONE ABOUT 1192 00:54:49,839 --> 00:54:50,340 THE FUTURE. 1193 00:54:50,340 --> 00:54:53,409 SEVERAL PEOPLE HAVE WRITTEN IN 1194 00:54:53,409 --> 00:54:55,378 OBSERVING THAT EDUCATIONAL AND 1195 00:54:55,378 --> 00:54:57,580 DIDACTIC COMICS ABOUT MEDICAL 1196 00:54:57,580 --> 00:54:59,816 CONDITIONS WRITTEN BY MEDICAL 1197 00:54:59,816 --> 00:55:02,819 PROVIDERS OR PATIENTS GO BACK TO 1198 00:55:02,819 --> 00:55:04,621 AT LEAST THE 1950s AND WERE 1199 00:55:04,621 --> 00:55:05,822 COMMON BY THE 1960s. 1200 00:55:05,822 --> 00:55:08,858 THE FIRST QUESTION IS CAN YOU 1201 00:55:08,858 --> 00:55:13,997 SAY MORE ABOUT THE WAYS IN WHICH 1202 00:55:13,997 --> 00:55:17,867 THE FORMAL FIELD OF GRAPHIC 1203 00:55:17,867 --> 00:55:22,806 MEDICINE DIFFERENTIATES ITSELF 1204 00:55:22,806 --> 00:55:25,141 OR ACKNOWLEDGES THE DIDACTIC 1205 00:55:25,141 --> 00:55:28,077 COMICS FROM THE 1950s, '60s AND 1206 00:55:28,077 --> 00:55:29,846 '70s AND WHERE DO YOU SEE THE 1207 00:55:29,846 --> 00:55:32,148 FIELD OF GRAPHIC MEDICINE GOING 1208 00:55:32,148 --> 00:55:39,055 IN THE NEXT DECADE TO TWO 1209 00:55:39,055 --> 00:55:39,289 DECADES. 1210 00:55:39,289 --> 00:55:46,529 >> GREAT QUESTIONS. 1211 00:55:46,529 --> 00:55:48,698 IN TERMS OF THE PAST THERE'S 1212 00:55:48,698 --> 00:55:54,337 LIBRARIANS AND A WHOLE LOT OF 1213 00:55:54,337 --> 00:55:56,506 LIBRARIANS IN THE FIELD OF 1214 00:55:56,506 --> 00:55:58,541 GRAPHIC MEDICINE ARE THE ONES 1215 00:55:58,541 --> 00:56:01,711 PARTICULARLY KEEN ON DOCUMENTING 1216 00:56:01,711 --> 00:56:05,548 THE HISTORY OF THE FIELD EVEN 1217 00:56:05,548 --> 00:56:07,483 BEFORE IT WAS CALLED GRAPHIC 1218 00:56:07,483 --> 00:56:07,817 MEDICINE. 1219 00:56:07,817 --> 00:56:13,022 THE DIFFERENT WAYS IN WHICH 1220 00:56:13,022 --> 00:56:15,491 VISUAL NARRATIVES AND PICTORIAL 1221 00:56:15,491 --> 00:56:17,227 DEPICTIONS WERE USED TO 1222 00:56:17,227 --> 00:56:17,961 COMMUNICATE CERTAIN IDEAS OR 1223 00:56:17,961 --> 00:56:20,964 EDUCATE THE PUBLIC, ETCETERA IN 1224 00:56:20,964 --> 00:56:24,868 THE FIELD OF MEDICINE. 1225 00:56:24,868 --> 00:56:26,569 SO I THINK IN PARTICULAR 1226 00:56:26,569 --> 00:56:30,506 LIBRARIANS AND ARCHIVISTS ARE 1227 00:56:30,506 --> 00:56:31,474 INTERESTED IN THAT UNCOVERING 1228 00:56:31,474 --> 00:56:37,814 THE LONGER HISTORY OF THE FIELD 1229 00:56:37,814 --> 00:56:38,715 AND TRYING TO MAKE SENSE IN THE 1230 00:56:38,715 --> 00:56:40,483 WAYS THE FIELD HAS CHANGED OR 1231 00:56:40,483 --> 00:56:48,358 NOT OVER THE DECADES. 1232 00:56:48,358 --> 00:56:52,195 AS FOR THE FUTURE OF THE FIELD. 1233 00:56:52,195 --> 00:56:55,231 AS SOMEONE IN THE FIELD OF 1234 00:56:55,231 --> 00:56:56,532 HISTORY, I'M ALWAYS LOATHE TO 1235 00:56:56,532 --> 00:56:58,835 COMMENT ON FUTURE WORK. 1236 00:56:58,835 --> 00:57:02,005 WE DON'T MAKE FOR GREAT 1237 00:57:02,005 --> 00:57:04,540 PROGNOSTICATORS OR PREDICTORS 1238 00:57:04,540 --> 00:57:07,543 BUT I HOPE THE FIELD WILL GAIN 1239 00:57:07,543 --> 00:57:11,481 MORE POPULARITY AND GAIN EVEN 1240 00:57:11,481 --> 00:57:13,683 MORE LEGITIMACY, IF YOU WILL, 1241 00:57:13,683 --> 00:57:14,884 THOUGH I DON'T REALLY LIKE THE 1242 00:57:14,884 --> 00:57:15,451 TERM. 1243 00:57:15,451 --> 00:57:18,922 THE IDEA OF BEING TAKEN 1244 00:57:18,922 --> 00:57:19,489 SERIOUSLY. 1245 00:57:19,489 --> 00:57:21,291 I CAN REMEMBER IT'S BEEN MAYBE 1246 00:57:21,291 --> 00:57:26,829 SEVEN OR EIGHT YEARS AGO NOW I 1247 00:57:26,829 --> 00:57:27,764 FIRST OFFERED THE IDEA OF 1248 00:57:27,764 --> 00:57:28,731 TEACHING A COURSE IN THE 1249 00:57:28,731 --> 00:57:30,500 DEPARTMENT OF HISTORY OF SCIENCE 1250 00:57:30,500 --> 00:57:32,001 THAT WOULD INCLUDE PRIMARILY 1251 00:57:32,001 --> 00:57:33,603 TALKING ABOUT GRAPHIC MEDICINE 1252 00:57:33,603 --> 00:57:37,307 AND BEING MET WITH PEOPLE'S 1253 00:57:37,307 --> 00:57:39,309 SCRATCHING THEIR HEADS AS TO 1254 00:57:39,309 --> 00:57:40,944 LIKE WHAT IS THIS? 1255 00:57:40,944 --> 00:57:43,579 ARE YOU TEACHING COMICS? 1256 00:57:43,579 --> 00:57:48,084 AND I'M LIKE, YEAH AND PEOPLE 1257 00:57:48,084 --> 00:57:51,487 BEING SKEPTICAL UNTIL I SHOWED 1258 00:57:51,487 --> 00:57:53,289 THE WEBSITE AND THERE'S AN 1259 00:57:53,289 --> 00:57:55,725 ANNUAL CONFERENCE AND PEOPLE WHO 1260 00:57:55,725 --> 00:57:57,460 WRITE IN A SCHOLARLY WAY ABOUT 1261 00:57:57,460 --> 00:58:00,396 THIS AND NOW PEOPLE ARE 1262 00:58:00,396 --> 00:58:01,631 ACCEPTING THIS MORE READILY AS 1263 00:58:01,631 --> 00:58:04,233 AN IMPORTANT WAY OF THINKING 1264 00:58:04,233 --> 00:58:06,869 ABOUT THE WORLD AND EVEN IN A 1265 00:58:06,869 --> 00:58:09,072 SCHOLARLY WAY AND EVEN THINKING 1266 00:58:09,072 --> 00:58:14,277 ABOUT COMICS AND MY COLLEAGUE 1267 00:58:14,277 --> 00:58:16,679 CO-AUTHORED RECENTLY PUBLISHED 1268 00:58:16,679 --> 00:58:20,216 AN ARTICLE IN MEDICAL 1269 00:58:20,216 --> 00:58:21,284 ANTHROPOLOGY QUARTERLY ABOUT THE 1270 00:58:21,284 --> 00:58:23,486 MULTI-MODALITY OF CITATION AND 1271 00:58:23,486 --> 00:58:25,822 THE POLITICS OF CITATION USING 1272 00:58:25,822 --> 00:58:26,055 COMICS. 1273 00:58:26,055 --> 00:58:31,728 THINKING ABOUT COMICS EVEN AS A 1274 00:58:31,728 --> 00:58:34,831 SCHOLARLY SOURCE AS AN IMPORTANT 1275 00:58:34,831 --> 00:58:36,899 WAY FOR PEOPLE TO ARCHIVE THEIR 1276 00:58:36,899 --> 00:58:38,601 LIVES ALSO IN WAYS. 1277 00:58:38,601 --> 00:58:40,003 WHEN WE THINK OF DIVERSIFYING 1278 00:58:40,003 --> 00:58:41,504 THE COVID ARCHIVE I THINK THIS 1279 00:58:41,504 --> 00:58:44,841 IS ONE OF THE WAYS IN WHICH WE 1280 00:58:44,841 --> 00:58:46,376 CAN THINK ABOUT PEOPLE DEPICTING 1281 00:58:46,376 --> 00:58:50,613 THEIR LIVES IN VISUAL WAYS AND 1282 00:58:50,613 --> 00:58:56,019 USING GRAPHIC NARRATIVES AS AN 1283 00:58:56,019 --> 00:58:58,521 IMPORTANT WAY FOR EVERYBODY 1284 00:58:58,521 --> 00:58:59,689 WHETHER THEY'RE IN THE FIELD OF 1285 00:58:59,689 --> 00:59:00,990 GRAPHIC MEDICINE OR OUTSIDE THE 1286 00:59:00,990 --> 00:59:04,160 FIELD AND TAKE THE PRODUCTION 1287 00:59:04,160 --> 00:59:04,627 SERIOUSLY. 1288 00:59:04,627 --> 00:59:09,966 I THINK AND AT LEAST THAT'S MY 1289 00:59:09,966 --> 00:59:14,504 HOPE AND THE MOMENT WE'RE 1290 00:59:14,504 --> 00:59:15,471 WITNESSING THEY WANT TO END WITH 1291 00:59:15,471 --> 00:59:17,907 IT'S HAD A HUGE IMPACT ON THE 1292 00:59:17,907 --> 00:59:21,711 FIELD AND ON WHAT WE'RE SEEING 1293 00:59:21,711 --> 00:59:23,679 AND ON WHAT COUNTS AS GRAPHIC 1294 00:59:23,679 --> 00:59:23,946 MEDICINE. 1295 00:59:23,946 --> 00:59:29,218 IN WAYS MORE INCLUSIVE OF 1296 00:59:29,218 --> 00:59:31,454 DIVERSE VOICES, DIVERSE WAYS OF 1297 00:59:31,454 --> 00:59:36,492 REPRESENTING THE WORLD THAT ARE 1298 00:59:36,492 --> 00:59:41,397 NOT NECESSARY ILY ALIGNED WITH E 1299 00:59:41,397 --> 00:59:44,801 CLASSICAL WAYS REFLECTIVE OF 1300 00:59:44,801 --> 00:59:48,137 WHITE MIDDLE CLASS MORALITY BUT 1301 00:59:48,137 --> 00:59:50,306 ARE EXPANSIVE AND PUSHING THE 1302 00:59:50,306 --> 00:59:53,743 FIELD FORWARD. 1303 00:59:53,743 --> 00:59:57,180 I HOPE THE FIELD WILL EMBRACE 1304 00:59:57,180 --> 01:00:00,783 VOICES AND DIVERSIFY THE CANNON, 1305 01:00:00,783 --> 01:00:01,084 IF YOU WILL. 1306 01:00:01,084 --> 01:00:03,486 >> THANK YOU, DR. BAYOUMI AND I 1307 01:00:03,486 --> 01:00:05,121 BELIEVE YOUR TALK WILL ENCOURAGE 1308 01:00:05,121 --> 01:00:06,956 MANY WHO ARE WATCHING TO EMBRACE 1309 01:00:06,956 --> 01:00:08,958 THE FIELD OF GRAPHIC MEDICINE IF 1310 01:00:08,958 --> 01:00:12,161 NOT VISIT THE WEBSITES YOU'VE 1311 01:00:12,161 --> 01:00:13,629 MENTIONED, PICK UP SOME OF THE 1312 01:00:13,629 --> 01:00:15,031 MATERIAL AND STUDY IT AND 1313 01:00:15,031 --> 01:00:18,301 CONTINUE TO LEARN MORE ABOUT IT, 1314 01:00:18,301 --> 01:00:20,736 BE FASCINATED BY IT AND ENGAGE 1315 01:00:20,736 --> 01:00:23,473 IT IN ALL THE COMPLEXITY AND 1316 01:00:23,473 --> 01:00:26,242 OPPORTUNITY YOU DESCRIBED. 1317 01:00:26,242 --> 01:00:27,944 THANK YOU VERY MUCH AND ALSO 1318 01:00:27,944 --> 01:00:30,446 THANK YOU VERY MUCH FOR 1319 01:00:30,446 --> 01:00:31,514 MENTIONING NLM'S TRAVELLING 1320 01:00:31,514 --> 01:00:32,615 EXHIBITION ON GRAPHIC MEDICINE 1321 01:00:32,615 --> 01:00:36,252 AND THE ORIGIN OF THAT PROJECT 1322 01:00:36,252 --> 01:00:38,387 BEGAN WITH A CONVERSATION WITH 1323 01:00:38,387 --> 01:00:43,526 MY FORMER COLLEAGUE PATRICIA 1324 01:00:43,526 --> 01:00:45,928 DRUY TALKED TO ME ABOUT THIS AND 1325 01:00:45,928 --> 01:00:49,565 I SAT SCRATCHING MY HEAD AND A 1326 01:00:49,565 --> 01:00:53,202 TESTIMONY TO THE LEADERSHIP AND 1327 01:00:53,202 --> 01:00:54,537 VISION IN COOPERATION AND WE NOW 1328 01:00:54,537 --> 01:00:58,708 ARE ENGAGED IN THAT COLLECTING 1329 01:00:58,708 --> 01:01:02,278 ROBUSTLY, REFLECTING CULTURE, 1330 01:01:02,278 --> 01:01:04,614 SOCIETY AND MEDICINE AND ALL OF 1331 01:01:04,614 --> 01:01:06,282 ITS COMPLEXITY AND CHALLENGES WE 1332 01:01:06,282 --> 01:01:07,483 FACE IN THE AREA. 1333 01:01:07,483 --> 01:01:08,117 THANK YOU VERY MUCH FOR YOUR 1334 01:01:08,117 --> 01:01:08,985 PRESENTATION TODAY. 1335 01:01:08,985 --> 01:01:10,720 THANK YOU FOR PREPARING IT AND 1336 01:01:10,720 --> 01:01:11,254 FOR ENGAGING WITH US. 1337 01:01:11,254 --> 01:01:12,922 WE WISH YOU ALL THE BEST AND 1338 01:01:12,922 --> 01:01:14,123 LOOK FORWARD TO KEEPING IN 1339 01:01:14,123 --> 01:01:14,323 TOUCH. 1340 01:01:14,323 --> 01:01:15,124 THANK YOU VERY MUCH. 1341 01:01:15,124 --> 01:01:16,325 >> THANK YOU VERY MUCH. 1342 01:01:16,325 --> 01:01:16,893 I APPRECIATE YOU. 1343 01:01:16,893 --> 01:01:19,495 I APPRECIATE THE OPPORTUNITY. 1344 01:01:19,495 --> 01:01:22,465 TAKE CARE. 1345 01:01:22,465 --> 01:01:23,833 >> HAVE A GOOD AFTERNOON. 1346 01:01:23,833 --> 01:01:25,168 THANK YOU ALL FOR WATCHING. 1347 01:01:25,168 --> 01:01:25,568 BYE-BYE. 1348 01:01:25,568 --> 01:01:30,606 >> I'LL MENTION OUR NEXT TALK IS 1349 01:01:30,606 --> 01:01:32,608 GOING TO BE BY DR. WAYNE SINGH 1350 01:01:32,608 --> 01:01:33,843 ON MAY 11. 1351 01:01:33,843 --> 01:01:37,146 JOIN US TO SUNE IN AND WATCH 1352 01:01:37,146 --> 01:01:39,382 DR. SINGH'S TALK ON COVID 1353 01:01:39,382 --> 01:01:41,184 MEDICINE IN TAIWAN AND WE LOOK 1354 01:01:41,184 --> 01:01:44,220 FORWARD TO WELCOMING HIM AND 1355 01:01:44,220 --> 01:01:45,888 THANK DR. BAYOUMI FOR HER GREAT 1356 01:01:45,888 --> 01:01:47,123 PRESENTATION THIS AFTERNOON. 1357 01:01:47,123 --> 01:01:48,658 THANK YOU ALL FOR WATCHING AND 1358 01:01:48,658 --> 01:01:49,825 PLEASE TUNE IN IN THE FUTURE FOR 1359 01:01:49,825 --> 01:01:50,293 FUTURE HISTORY TALKS. 1360 01:01:50,293 --> 01:02:00,293 BYE-BYE.