Noomin Diane (EDT) - Drawing Power: Womens Stories of Sexual Violence, Harassment, and Survival

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Table of Contents

Guide

WOMENS STORIES OF SEXUAL VIOLENCE, HARASSMENT, AND SURVIVAL

ABRAMS COMICARTS NEW YORK

A COMICS ANTHOLOGY

EDITED BY DIANE NOOMIN

INTRODUCTION BY ROXANE GAY

CONTRIBUTOR CREDITS

All text and illustrations are copyright their respective creators. All rights reserved.

Diane Noomin (11); Ebony Flowers

(28); Lenora

Yerkes (42); Sarah Allen Reed

(61); Marcela Trujillo

(75); Kendra

Josie Kirkpatrick (83); Ajuan

Mance (99);

Liz Mayorga (109); Joyce Farmer

(125);

Carta Monir (140); Kelly

Phillips (153); Wallis

Eates (177);

Ilana Zeffren (185); Georgiana

Goodwin (193); Kaylee Rowena

(205);

Sarah Firth (218); Carol

Tyler (236);

Marguerite Dabaie (249).

Editors: Ashley Albert and Maya Bradford

Designer: Max Temescu

Managing Editor: Amy Vreeland

Production Manager: Alison Gervais

Library of Congress Control Number 2018966473

ISBN 978-1-4197-3619-3

Compilation copyright 2019 Diane Noomin

Cover illustration copyright 2019 Sabba Khan

Case illustration copyright 2019 Soizick Jaffre

Introduction copyright 2019 Roxane Gay

Preface copyright 2019 Diane Noomin

Half title illustration copyright 2019 Meg OShea

Published in 2019 by Abrams ComicArts, an imprint of ABRAMS. All rights reserved.

No portion of this book may be reproduced, stored in a retrieval system, or transmitted

in any form or by any means, mechanical, electronic, photocopying, recording,

or otherwise, without written permission from the publisher.

Abrams ComicArts books are available at special discounts when purchased in quantity

for premiums and promotions as well as fundraising or educational use. Special editions

can also be created to specification. For details, contact specialsales@abramsbooks.com

or the address below.

Abrams ComicArts is a registered trademark of Harry N. Abrams, Inc.

eISBN 978-1-68335-673-8

ABRAMS The Art of Books
195 Broadway, New York, NY 10007
abramsbooks.com

FOR ANITA HILL

CONTENTS

INTRODUCTION

by Roxane Gay

viii

THE CONDITIONS OF OUR CULTURE

IT HAS BEEN MORE THAN A YEAR SINCE THE #METOO HASHTAG WENT VIRAL,

capitalizing on the work of Tarana Burke to create a space in our cultural discourse

for women and men to talk about the ways in which they have survived sexual

harassment and assault. In that time, a great deal has been written about #MeToo,

and though change may be slow, the arc toward justice imperceptible, we are at

least talking about this epidemic of misconduct and predation, the inadequacy

of the justice system, and the pain too many have endured at the hands of people

who feel entitled to others bodies without consent or consideration.

As a writer, words are everything to me. There is a real power in shaping and

reshaping language to make sense of and to articulate my place in the world. I

am able to say This is what I have experienced and This is what I know and, most

important, This is who I am.

When I was twelve years old, I was gang raped by several young men. Sometimes

I write around this truth. I try to temper the language I use; I try to lessen the

gravity of what I went through because the truth is so ugly. The words I need to

use to convey that truth are so ugly. Those young men took something from me and

left me hollowed. I kept that secret for many years because the trauma stunned

me into silence. For too long, I was mired in shame and guilt and a profound sense

of violation. These feelings festered inside of me but, thankfully, I had words to

hold on to, to help me make sense of what happened. I read anything I could get

my hands on hoping I might learn the why of this terrible thing, and why I let

it happen. I read to find other people who had endured similar experiences. I

learned that I didnt, in fact, let anything happen to me and that the shame was

theirs, not mine. And, eventually, I wrote, first using fiction as a thin veil for

testimony, and then nonfiction. I used words to tell the truth, to add to the body

of literature that made my survival possible. I wrote and I said, I, too, know what

it is like to experience sexual violence and to find yourself irrevocably changed in

mind and body.

I use language, more than anything, to explore powerhow it is wielded, how

it is abused, what it feels like to lose and gain power, what it feels like to be

and feel powerful. I cannot help but think about power because, once upon a

time, I was robbed of my power, and it has taken nearly three decades to gain

a semblance of that power back. Now, every time I tell my story, I am powerful.

Every time someone shares that my story has helped them make sense of their

own experience, I am powerful. I try not to take it for granted. I try not to be the

kind of person who becomes so consumed by power that I wield it irresponsibly.

There are means, beyond language, for people to make sense of and articulate

their place in the world, and visual communication is one such way. Designer and

brand expert Debbie Millman says that the condition of our visual communication

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