{"id":637,"date":"2026-06-27T13:08:11","date_gmt":"2026-06-27T13:08:11","guid":{"rendered":"https:\/\/relocationacrossamerica.com\/?p=637"},"modified":"2026-06-27T13:08:11","modified_gmt":"2026-06-27T13:08:11","slug":"the-best-graphic-memoirs-of-the-year-so-far-offer-hope-and-humanity","status":"publish","type":"post","link":"https:\/\/relocationacrossamerica.com\/?p=637","title":{"rendered":"The best graphic memoirs of the year (so far) offer hope and humanity"},"content":{"rendered":"

Earlier this year, my favorite place to buy graphic novels didn\u2019t have the book I was looking for, and I thought, No worries, I\u2019ll see if my second-favorite place to buy graphic novels has it<\/em>. And then I got a little verklempt: We have never been this spoiled for choice. Though they are now the third best-selling genre in North America (behind general fiction and romance), the legitimization of the nonfiction graphic novel as a literary form is relatively new. Beyond the brisk sales, they\u2019re among the most popular titles in elementary-school libraries, they win Pulitzer Prizes and National Book Awards, and they get adapted into movies and streaming shows.<\/p>

Read more Right-wing media turns to Supreme Court after democratic socialist wave<\/a><\/p>\n

The now\u2013expansive embrace of graphic novels makes the recent death of \u201cPersepolis\u201d creator Marjane Satrapi earlier this month feel like even more of a blow. Satrapi\u2019s 2003 memoir of growing up in Iran during and after the country\u2019s 1979 revolution became one of the genre\u2019s first blockbuster hits, one of the most widely read (and widely challenged) graphic novels of all time. Earlier this year, \u201cPersepolis\u201d became a metanarrative as well, with the publication of \u201cWake Now in the Fire,\u201d an account of an attempt to pull the book from Chicago public schools and the student uprising that followed.<\/p>\n

The one downside of this abundance, of course, is that I can only read so many of them. In the first half of 2026, these five have stayed with me.<\/p>\n

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(Gallery Books)<\/span> \u201cAnxietyland\u201d<\/p><\/div>\n

\u201cAnxietyland\u201d by Gemma Correll<\/h2>\n

British comic artist Gemma Correll, whose work has appeared everywhere from The New Yorker to tote bags bearing the legend \u201cPugs Not Drugs,\u201d had a very rough 2018. Her days, normally full of project deadlines, began splintering into insomnia, panic attacks and alcohol-intensive self-medication. When she eventually checks herself into a hospital for treatment, her experience of life in Anxietyland, the world\u2019s most unpleasant theme park, casts the reader back into a time before people addressed (or even acknowledged) mental health \u2014 when we took the ride and held on tight.<\/p>\n

\u201cAnxietyland\u201d takes readers through a childhood in which Correll\u2019s shyness and introversion were treated like machinery malfunctions; a young adulthood that introduced her to alcohol as an all-purpose balm; and an adulthood in which years of bottled-up dysregulation finally explodes. Each chapter ventures a little deeper into Anxietyland, where the harrowing attractions include the Emotional Rollercoaster, the Worry-Go-Round, the Magical Thinking Show and Hangxiety Falls. Correll\u2019s tidy writing and illustrations pop off the two-color pages \u2014 blue to denote the past, red as Correll finds her way out of Anxietyland with the help of outpatient talk therapy, mental health walks, and two needy pugs. The book\u2019s 400 pages of honest, funny and absurd storytelling seem to fly by.<\/p>\n

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(Andrews McMeel Publishing)<\/span> \u201cEmotional Support Animals\u201d<\/p><\/div>\n

\u201cEmotional Support Animals: Anonymous Fuzzball Comics + Workbook\u201d by <\/b>Nicole J. Georges<\/b>\n<\/b><\/h2>\n

\u201cEmotional Support Animals\u201d is a departure from Georges\u2019 previous narrative books like 2103\u2019s \u201cCalling Dr. Laura: A Graphic Memoir\u201d and 2017\u2019s \u201cFetch: How a Bad Dog Brought Me Home,\u201d in that it\u2019s pulled from her life, but she doesn\u2019t depict herself in the beehived, horn-rimmed, vintage-dressed way fans are familiar with. Rather, the book shares lessons she\u2019s taken from years of therapy in the form of well-dressed animals dropping pearls of compassionate wisdom. A beagle in a bandana muses, \u201cDisappointing someone is not the same as hurting them.\u201d A cat in a sharp green suit says, \u201cYou don\u2019t forgive someone because they deserve forgiveness. You forgive them because you need peace.\u201d A walrus with a mug of tea recalls, \u201cI used to be pathologically accommodating. I\u2019d make other people a priority and myself optional.\u201d<\/p>\n

The project originally began as a daily exercise for Georges: Draw a favorite animal and have it deliver an insight gleaned from individual therapy, grief support groups, and other spaces where reframing unhelpful patterns and negative self-talk with a clarifying sentence or reminder can make all the difference. Each of its 10 chapters \u2014 among them \u201cBoundaries,\u201d \u201cGrief,\u201d \u201cSelf-Worth\u201d and \u201cFear and Anxiety\u201d \u2014 includes worksheets (based on the ones Georges drew for herself daily during pandemic isolation) meant to prompt readers to slow down, identify stressors, and take notice of the world around them. (\u201cWhat is out of your control today?\u201d \u201cWhat is in your control today?\u201d), along with encouragement to treat self-portraiture as an emotional exercise rather than a static rendering. (\u201cDraw a self-portrait that reflects your emotion. Note: You do not have to be human.\u201d)<\/p>\n

There\u2019s a Lynda Barry-esque generosity to the book, a desire to help others understand themselves and rewrite longstanding scripts that are no longer helpful. (Raise your hand if you feel personally attacked by the affirmation: \u201cI don\u2019t need to achieve anything to be lovable.\u201d) Therapeutic language \u2014 even the occasional platitude \u2014 can sound a lot less judgemental when it comes from a turtlenecked alligator or a frog in stripes rather than a stranger taking notes on a legal pad, and Georges\u2019 community-minded spirit comes through in every image.<\/p>\n

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(Fantagraphics)<\/span> \u201cThe End of the Arab of the Future\u201d<\/p><\/div>\n

\u201cThe End of the Arab of the Future\u201d by Riad Sattouf\n<\/b><\/h2>\n

If you\u2019re a French-language reader of Riad Sattouf\u2019s award-winning series \u201cThe Arab of the Future,\u201d there are 6 volumes. Its English-language publication stalled after the series was dropped by its original publisher, which means it\u2019s been a wait for readers since the last book\u2019s nail-biting final panels.\u00a0The first volume of the final two books, repackaged by Fantagraphics as \u201cThe End of the Arab of the Future,\u201d was published last month.<\/p>\n

Confusing? A little: Those who haven\u2019t read the first 4 will open \u201cThe End of the Arab of the Future\u201d and find themselves hurled directly into an unfolding family emergency: Vol. 4 closed with Sattouf\u2019s Syrian father and French mother ending their marriage \u2014 and his father absconding to Syria with the family\u2019s savings and his baby brother, Fadi. As his mother\u2019s grief and legal battles to get Fadi home worsen her mental health, Sattouf\u2019s own life is upended by high school, hormones, heartbreak \u2014 and a nagging uncertainty. The latter is the hangover from a peripatetic childhood defined and dominated by his charismatic father, a once-idealistic scholar whose dreams of a Arab utopia soured into authoritarian megalomania. And though the elder Sattouf is minimally present in the book, his shadow looms over the narrative.<\/p>

Read more Haitians in Springfield meet legal status fears with unity<\/a><\/p>\n

As an artist, Sattouf relishes dark absurdity; as a character, Riad is irresistible even when he\u2019s prickly and judgmental, which is often. But the writer\/artist\u2019s flair for dark absurdity and self-referential flourishes makes watching him go through the stages of a disaffected adolescence in the early 1990s \u2014 exploring weird art, having crushes, listening to Nirvana\u2019s \u201cNevermind\u201d over and over \u2014 the best kind of teenage flashback.<\/p>\n

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(Little, Brown Ink)<\/span> \u201cBad Kid\u201d<\/p><\/div>\n

\u201cBad Kid: My Life As a \u2018Troubled Teen’\u201d by <\/b>Sofia Szamosi <\/b><\/h2>\n

Before the horror stories began leaking out of the billion-dollar troubled-teen industry, many parents truly thought they were doing the right thing by letting grown men abduct their teenagers in the wee hours of the morning and drive them hours away from their homes and families into the wilderness. Before Paris Hilton came forward to testify on Capitol Hill about the sadistic conditions of these ostensibly corrective facilities, many parents believed they were sending their unruly children to the civilian version of military school \u2014 places that would toughen them up and put them on the right path via \u201cScared Straight\u201d style tactics.<\/p>\n

Sofia Szamosi was 13 the first time she was sent to one of these places, 16 the second, and the experiences were the same: They stripped her of autonomy and dignity, encouraged her to narc on her fellow \u201cclassmates\u201d to curry favor with staff, and left her unable to trust anyone who claimed to have her best interests in mind. \u201cBad Kid\u201d renders the punitive harshness and raw despair of these facilities in tones of black, white and red, and depicts the lives of its young captives as a learned pantomime of penitence: \u201cEat. Sleep. Pretend to be fixed. Repeat,\u201d reads one panel.<\/p>\n

What did Szamosi do to deserve the label of \u201cbad kid\u201d? Not much: Like so many adolescents written off as intractable, Szamosi grew up with a parent who saw their own unresolved trauma in standard rebellious experimentation with alcohol, drugs, ditching school and resisting authority. Her hard-won understanding that breaking and bullying kids has nothing to do with healing them makes the message on which she ends the book both powerful and bittersweet: \u201cWe are all so much more than what we\u2019ve done . . . those things are part of our stories, but they do not define us.\u201d<\/p>\n

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(Black Dog & Leventhal)<\/span> \u201cBury Me Already (It\u2019s Nice Down Here)\u201d<\/p><\/div>\n

\u201cBury Me Already (It\u2019s Nice Down Here)\u201d by <\/b>Julia Wertz<\/b>\n<\/b><\/h2>\n

Julia Wertz has been chronicling her life, her passions, her family and her coping mechanisms in busy, emotionally complex comics for two decades \u2014 first in her serial comic \u201cThe Fart Party,\u201d and later in full-length, Eisner-nominated books like \u201cDrinking at the Movies\u201d and \u201cThe Infinite Wait.\u201d \u201cBury Me Already\u201d throws a sudden cross-country move, a pregnancy, a pandemic and a few other life-changing events into the mix in her latest compendium of long-form stories, stick-figure sketches, and three-panel gags.<\/p>\n

Wrestling with the impacts of motherhood on a creative life is always a rich vein to tap for women writers and artists, and though Wertz never felt she was in danger of losing her identity or her drive to create comics, she navigated the first, COVID-constrained year with her husband and newborn son with frazzled epiphanies about her body, her capacity for love and her frequent need to just lie down. \u201cI get feedback sometimes like, \u2018Oh, her work is just about having a kid now.\u2019 Well, a.) Of course it is. I just birthed a human being. I\u2019m not going to pretend I didn\u2019t do the craziest thing that humans do. But, b.) I make art about my life. So it\u2019s just a natural progression of things,\u201d she said in a recent interview with Salon.<\/p>\n

The diary comics of interactions between stick-figure depictions of Wertz and her son, Felix, will resonate with anyone who has ever drowsed through days with a newborn. The loop of nursing and diaper changes and sleeping and bolting awake to do it all again. The frequent pantslessness. The nerve-shredding sense of being half-asleep yet constantly alert. The displaced feeling that a process we\u2019ve always been told is natural and instinctual is anything but.<\/p>\n

In Wertz\u2019s case, everything unfamiliar about new parenthood was amplified by no longer living in her beloved New York City, the source of her inspiration (and some of her funniest stories) for more than a decade. Northern California, where she grew up, offers less hectic living, with family nearby and a proper house rather than an illegal basement sublet. (\u201cEvery day I wake up, and I\u2019m like, I would just love to go for a walk in the city. That\u2019s all I want to do. And then I have to go for a walk in nature, in the trees, and it\u2019s so boring.\u201d) \u201cBury Me Already\u201d is Wertz at her best, with immersive panels and unbeatable comic timing.<\/p>

Read more Why Democrats are running against the \u201cEpstein class\u201d<\/a><\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

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