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Mark McKinney and Hervé (Baru) Baruleau

This is the second portion of an interview with Hervé Barulea, or Baru, one of the most accomplished French cartoonists living today, conducted at his home in France on 15 July 2011. The first part of the interview was published in European Comic Art 4.1 (fall 2011), 213-237. Baru talks here about a broad range of important topics, including autobiography, the roles of work and leisure in his comics, boxing (his focus in two comics), the society of the spectacle, representations of women and minorities in comics, the heritage of classic French and Belgian comics (series such as Tintin, Yves-le-Loup ['Ivan-the-Wolf'] and Spirou) and the clear-line drawing style, experimentation by Oubapo, space, his drawing style and techniques for making comics, his current and future projects, his former teaching position in the Ecole des beaux-arts in Nancy, and the relationship of comics to fine art.

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Mark McKinney and Hervé (Baru) Barulea

Hervé Barulea (b. 1947), known as Baru, is a French cartoonist of Italian and Breton heritage, who has spent much of his life in the metalworking region around Nancy, in northeastern France, his birthplace. He outlines his approach to comics, beginning with his vision of comics as essentially being images that speak to primal human urges. He finds this kind of imagery today mainly in American movies and novels, but not so much in American comics. He describes his tenure as president of the Festival International de la Bande Dessinée ['International Festival of Comics'] in Angoulême in January 2011, after having won the grand prize for his career's work in comics at the same festival in 2010. Baru then speaks of his approach to history and current events in his comics. He outlines how he has depicted immigrants of European and African heritage in his comics, and then explains why he has often returned to the Algerian War. Baru ends this first half of the interview by describing his views of the French Communist Party, and explaining his critical depiction of it in Les années Spoutnik ['The Spoutnik Years'].

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Hervé (Baru) Barulea, Michelle Bumatay, Carla Calargé, Sébastian Conard, Tom Lambeens, and Fabrice Leory

Notes on contributors

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Hervé (Baru) Barulea, Bart Beaty, Annabelle Cone, Pierre Fresnault-Deruelle, and Richard Scully

Notes on contributors

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Clément Baloup

In this artist's statement, originally written for a keynote lecture given at the American Bande Dessinée Society conference held at Miami University (Oxford, Ohio) on 3 November 2012, Clément Baloup recounts his artistic trajectory through comics, moving from his experience as a comics reader to his art work as a professional cartoonist. He speaks about other cartoonists who influenced his work, ranging from Baru to Baudoin, Mazzuchelli to Miller, and Sacco to Spiegelman. He then describes three aspects of his comics about the Vietnamese and their history: the stories that he has created, his research and writing process, and the cartooning techniques involved in making each book.

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Autobiographical Innovations

Edmond Baudoin's Éloge de la poussière

Matthew Screech

The article analyses Éloge de la poussière ['In Praise of Dust'] (1995), an autobiographical bande dessinée by French cartoonist Edmond Baudoin (1942-). The work is compared with autobiographical writings by Jean-Jacques Rousseau, Michel Leiris and Roland Barthes, Alberto Giacometti's approach to painting, and comics by Baru, Hergé, Hugo Pratt, Jacques de Loustal and Philippe Paringaux. It is argued that Éloge de la poussière is a non-linear autobiography that uses collage to suggest connections that readers may choose to make. The article examines how the book thematises the fallibility of memory, the tension between confession and self-censorship, the relationship between art and reality, and difficulty of ending an autobiography.

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Jorge Catala-Carrasco, Richard Graham, Olga Nowak, and Sandra Rousseau

artistic predecessors. For instance, in chapter 4 he analyses Baru's borrowings from Hergé, the father of Tintin. Not unlike Baru, many of the artists discussed in the book have already appeared in the previous volumes written by McKinney and as a

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Laurence Grove

the sexual liberation of the 1960s, and gender issues are raised by the work of Baru or Enki Bilal (discussed in 1999) and the experience of homophobia and the marginalisation of sexual minorities by that of Fabrice Neaud (discussed in 2003

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Hieronymus Purwanta

] Kontras, Satu Dekade: Keberhasilan Reformasi TNI Terbebani Paradigma Orde Baru (Jakarta: Komisi Untuk Orang Hilang dan Korban Tindak Kekerasan, 2008). 8 Rabasa and Haseman, The Military , 125. 9 Falk Pingel, UNESCO Guidebook on Textbook Research and

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Black October

Comics, Memory, and Cultural Representations of 17 October 1961

Claire Gorrara

Baru, Jean-Marie Thévenet and Daniel Ledran’s Le Chemin de l’Amérique (Paris: Casterman, 1990) as a comparable comic book treatment. Otherwise, McKinney refers to edited comic book collections and anthologies that have been published to coincide with