Julie Doucet: It's Amazing I'm Able to Make a Living

Tuesday, 22 November 2011 03:41 By Anne Elizabeth Moore and Aidan Koch, Truthout | Graphic Journalism
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This week in Ladydrawers, we continue hearing from one of the most important and talented female comics artists in North America—Julie Doucet. As she told us in the first installment, she left the industry after twelve years of drawing comics not because she was forced out for any visible acts of sexism, but because the "all-boys crowd" and personal jealousies had started to drain. Her personal narrative may not be atypical—so begins to create a disturbing overall picture of how structural inequities affect individual creators in unseen ways. What is atypical is how her renown in comics only grew once she stopped drawing them.

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Aidan Koch

Aidan Koch is an artist currently working out of Portland, OR. Her first graphic novella, The Whale was released in October 2010. She is currently scheming up new books, playing music non-stop, and setting forth for wild adventures.

Anne Elizabeth Moore

Anne Elizabeth Moore is a USC Annenberg/Getty Arts Journalism Fellow, Weinberg Fellow at the Newberry Library, a Fulbright scholar, and the author of several award-winning non-fiction books including Unmarketable (The New Press, 2007) and Cambodian Grrrl (2011). Co-editor and publisher of now-defunct Punk Planet and the founding editor of the Best American Comics series from Houghton Mifflin, Moore teaches at the School of the Art Institute of Chicago. She contributes criticism to The New Inquiry, The Baffler, N+1p and many others and writes a monthly comic strip for Truthout called Ladydrawers on gender, labor, and culture. Her latest book from Cantankerous Titles, New Girl Law, was called “A post-empirical, proto-fourth-wave feminist memoir” by Bust Magazine.

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