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In his study Storycraft, the veteran American journalist Jack Hart asks the following questions about reportage, memoir and other forms of nonfiction writing that proceed from the first-person perspective of their author: 'Where's the storyteller standing? What can he see and hear? Whose story is it, anyway?' (Hart, 2021, Storycraft: The complete guide to writing narrative nonfiction (p. 39). University of Chicago Press). The questions are suggestive of the formal and creative decisions reportage practitioners must make, but also of their ethical obligations to fairly represent their human subjects, especially if they are vulnerable, underprivileged and/or marginalized. The hinting at viewpoint – 'whose story...' – might also make us think about how identity is constructed from the stories we tell about ourselves and about our interactions with the world. This paper addresses all these issues primarily, though not exclusively, through the prism of Coast of Teeth, a practice-based visual and textual reportage project we completed in late 2022. [ABSTRACT FROM AUTHOR]

A comic book, a graphic research paper, an experiment in image and text – ‘Steal This History’ explores the 1960s (or ‘Sixties’) as it has appeared in various historical and commemorative discourses. For more than forty years, the Sixties has been discussed and debated in the U.S. public sphere. Its political and cultural legacy continues to excite conflict and disagreement. The following pages provide a multi-perspective account of the Sixties that combines allusions to historical events with personal reflection, poetic imagery, symbol and metaphor. Influenced by the ideas of Hayden White, Alun Munslow, Robert A. Rosenstone and others, we became fascinated by the potential of the image as a conduit for innovative, challenging, self-conscious histories. ‘Steal This History’ builds on these ideas and explores ways of developing a graphic philosophy of history. There is no attempt, here, to provide a comprehensive account of the Sixties, nor to cite every key event, person or movement. Rather, what follows is a partial collection of ideas. We hope readers will enjoy the piece, and that it might spark a dialogue on future directions for graphic historiography. [ABSTRACT FROM PUBLISHER]