1. Introduction: Documenting Trauma in Comics

This introduction unpacks some of the many complex connections between trauma, comics, and documentary form. It begins by theorising trauma as a ‘sticky’ concept that troubles disciplinary boundaries, before suggesting that comics such as Art Spiegelman’s Maus (1980–1991) have played a significant role in the active production—rather than simply reflection or reification—of cultural and academic conceptions of trauma. It then turns to a critical overview of Caruthian and other hegemonic models of trauma, combining this with brief outlines of each of the book’s chapters to show how they seek to unsettle a dominant ‘trauma paradigm’, or to divert away from a recognised ‘trauma aesthetic’. In its final section, the introduction emphasises the important contributions made by efforts to decolonise trauma studies, exploring how several of this book’s contributors are informed by and continuing this important work, especially through their re-evaluation of the figure of the witness. The introduction concludes by drawing out and reiterating the book’s overarching contention: that comics are a generative force at the core of trauma itself, moulding and melding it into new shapes that might provide new models for working it through in the future.