Category: Analysis

Source: The Conversation – Global Perspectives – By Tinashe Mushakavanhu, Assistant Professor, Harvard University

When the announcement of Chimamanda Adichie Ngozi’s latest novel Dream Count was made, it was regarded as a major event in African literature. The internationally celebrated Nigerian writer had not published a novel in the past 12 years, and her long-awaited return stirred both anticipation and speculation. In the post-COVID context in which the book comes, so much has changed in the world.

The first leg of her three city homecoming book tour coincided with my stay in Lagos as a curatorial fellow at Guest Artist Space Foundation, dedicated to facilitating cultural exchange and supporting creative practices. After Lagos, Chimamanda took the tour to Nigeria’s capital city Abuja and finally Enugu, where she was born and grew up.

Read more:
Chimamanda Ngozi Adichie’s new book Dream Count explores love in all its complicated messiness

As a scholar of African literature, I arrived here in search of literary Lagos. But my attachment to the city may also just be romantic, a nostalgia born out of years of reading about it in fiction. No doubt, Lagos is a city of imagination and creativity.

Chimamanda’s book event was a reminder that literary celebrity, when it happens in Africa, can exist on its own terms. It’s rooted in a popular imaginary that embraces both the writer and the spectacle.

Lagos superstar

The launch in Lagos took place at a conference centre on the evening of Friday 27 June. The MUSON is a multipurpose civic auditorium located in the centre of Lagos Island which can accommodate up to 1,000 guests. And on this night, the auditorium was packed.

When I arrive, the scene outside is buzzing. A crowd gathers in front of a large canvas banner bearing a radiant image of the author. It’s more than just decoration; it’s a backdrop. It is an occasion for the selfie, a digital marker that you were there. There is even a hashtag for this: #dreamcountlagos. People take turns posing in front of it, curating their presence in the frame of Chimamanda’s aura.

The atmosphere is festive, electric. And yet beneath the surface shimmer is something more urgent: a hunger for story, for presence, for return. Perhaps that explains why people come not just to witness, but to be counted.

Inside the lobby, piles of Chimamanda’s books are neatly arranged on long tables. People are not just buying a copy. They are buying several in the hope that the author will autograph them. The sight is striking, almost surreal. In many parts of the continent, a book launch is often a quiet affair. Writers are lucky to sell a handful of copies. But this is something else entirely. This is not just a book launch, it is a cultural moment.

It would have been easy to mistake the event for a political townhall. There was a VIP section reserved for the who’s who of Lagos, but those class distinctions easily dissolved into the collective energy of the room. The auditorium was filled with genuine enthusiasm.

Even after a delay of more than an hour, when Chimamanda finally walked in, she was met with rapturous applause. She wore a bright yellow dress, an Instagrammable outfit, suited for the many fans who rushed forward to take selfies with her. Chimamanda, no doubt, is as much a fashion icon as she is a literary figure.

On stage, she was joined by media personality Ebuka Obi-Uchendu, widely known as the host of the reality TV show Big Brother Africa. But here, he was also something more intimate: the author’s friend. Chimamanda even credited him with being a “great reader”. This is a rare compliment in a literary world that often separates celebrity from critical engagement.

Their conversation was relaxed and full of laughter, offering the audience both intimacy and insight. Chimamanda addressed the question that had lingered for years: her decade-long silence. She spoke candidly of writer’s block, of the grief that came with losing both her parents in quick succession, and how that loss eventually reignited her desire to write.

Dream Count, she explained, is shaped by that rupture. It is one of the major post-COVID novels from Africa, and centres on the lives of four women. It is a book about love, friendship and independence.

Africans do read

When she spoke about her characters on stage, it was as though she was talking about relatives that the audience recognised. They responded by shouting out the characters’ names, to the delight of the author.

When I asked people about the launch afterwards, many said that it was a very Nigerian event – big, colourful, exuberant, festive. It was indeed a celebration that felt communal, even joyous. It was also a public demonstration of how literature can still command space and attention, not just in private reading rooms or crammed bookstores, but on a civic scale.

Read more:
Lagos fashion: how designers make global trends uniquely Nigerian

This was a remarkable event because it defied the tired cliché that Africans do not read. People, mostly young, came out in their hundreds. They bought books, they took selfies with their “favourite” author, they screamed the names of fictional characters as though greeting friends.

But more significant was Chimamanda’s choice to work with a local publisher, Narrative Landscape Press, which produced the Nigerian edition of Dream Count that is now available and accessible locally, at the same time as its release in Europe and North America. That alone is a radical act.

In returning to Nigeria to launch her book, Chimamanda also disrupts the assumption that African literary prestige must only be validated abroad. Even though she belongs to a cohort of African writers shaped by the diaspora, she actively insists on presence – on homecoming – not as simply nostalgia, but as active engagement.

Of course, Chimamanda is an exception. Her stature as a global literary figure, combined with her deep connection to home, allows her to move between worlds with remarkable ease. Few writers command the kind of multigenerational, cross-class attention she does. I found myself wishing though that more book launches could carry this same sense of occasion, of meaning, of return. That they could gather people in such numbers, not just to celebrate the writer, but to affirm the African book as something still worth gathering for.

And perhaps that is what made this book launch unforgettable: not just the celebrity or the spectacle, but the sense that literature still matters here, and that it belongs to the people.

Tinashe Mushakavanhu does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Chimamanda’s Lagos homecoming wasn’t just a book launch, it was a cultural moment – https://theconversation.com/chimamandas-lagos-homecoming-wasnt-just-a-book-launch-it-was-a-cultural-moment-261112

Source: The Conversation – Global Perspectives – By Are Skeie Hermansen, Professor of Sociology, University of Oslo

As many countries grapple with ageing populations, falling birthrates, labour shortages and fiscal pressures, the ability to successfully integrate immigrants is becoming an increasingly pressing matter.

However, our new study found that salaries of immigrants in Europe and North America are nearly 18% lower than those of natives, as foreign-born workers struggle to access higher-paying jobs. To reach this conclusion, we analysed the salaries of 13.5 million people in nine immigrant-receiving countries: Canada, Denmark, France, Germany, the Netherlands, Norway, Spain, Sweden and the United States. Data was taken from the period of 2016 to 2019.

Immigrants in these countries earned less primarily because they were unable to access higher-paying jobs. Three-quarters of the migrant pay gap was the result of a lack of access to well-paid jobs, while only one-quarter of the gap was attributed to pay differences between migrant and native-born workers in the same job.

The high-income countries we examined in Europe and North America all face similar demographic challenges, with low fertility rates resulting in an ageing population and labour shortages. Pro-natalist policies are unlikely to change this demographic destiny, but sound immigration policies can help.

Across these countries with vastly different labour market institutions and immigrant populations, a common theme emerged: countries are not making good use of immigrants’ human capital.

Stark regional differences

We found that immigrants earn 17.9% less than natives on average, although the pay gap varied widely by country. In Spain, a relatively recent large-scale receiver of immigrants, the pay gap was over 29%. In Sweden – a country where many employed immigrants find work in the public sector – it was just 7%. These results don’t include immigrants who are unemployed or in the informal economy.

Where immigrants were born also mattered. The highest average overall pay gaps were for immigrants from sub-Saharan Africa (26.1%) and the Middle East and North Africa (23.7%). For immigrants from Europe, North America and other Western countries, the difference in average pay compared to natives was a much more modest 9%.

Our results suggest that the children of immigrants faced substantially better earning prospects than their parents. For the countries where second-generation data was available – Canada, Denmark, Germany, Netherlands, Norway and Sweden – the gap narrowed over time, and the children of immigrants had a substantially smaller earnings gap, earning an average of 5.7% less than workers with native-born parents.

The struggle to access higher-paying jobs

Beyond quantifying the gap, we wanted to understand the roots of pay disparities. To create better policies, it is important to know whether immigrants are paid less than natives when they’re doing the same job in the same company, or whether these differences arise because immigrants typically work in lower-paying jobs.

By a wide margin, we found that immigrants end up working in lower-paying industries, occupations and companies; three-quarters of the gap was due to this type of labour-market sorting. The pay gap for the same work in the same company was just 4.6% on average across the nine countries.

These differences represent a failure of immigration policy to incorporate immigrants, as immigrants are relegated to jobs where they cannot contribute to their full potential. Our analyses rule out that the lack of access to higher-paying jobs simply reflects a difference in skill between immigrants and native-born workers. We also found that the size of the pay gap and the key role of unequal access to well-paid jobs is similar for immigrants with and without a university education.

This means that the immigrant-native pay gap in large part represents a market inefficiency and policy failure, with significant social consequences for both immigrants and immigrant-receiving countries.

Leer más:
What Britons and Europeans really think about immigration – new analysis

Policy implications

Although equal pay for equal work policies may seem like a viable solution, they won’t close the immigrant pay gap. This is because they only help those who have already secured work, but immigrants face barriers to employment that begin long before even applying for a job. This includes convoluted processes to validate university degrees or other qualifications, and exclusion from professional networks.

The policy focus should therefore be on improving access to better jobs.

To make this happen, governments should invest in programmes such as language training, education and vocational skills for immigrants. They should ensure immigrants have early access to employment information, networks, job-search assistance and employer referrals. They should implement standardised and transparent recognition of foreign degrees and credentials, helping immigrants to access jobs matching their skills and training.

This is particularly important for Europe as it races to attract – and retain – skilled immigrants who may be having second thoughts about the US in the Trump era. In the European Union, around 40% of university-educated non-EU immigrants are employed in jobs that do not require a degree, an underutilisation of skills known as brain waste.

Some countries are already taking steps to remedy this. Germany’s Skilled Immigration Act – which took effect in 2024 – allows foreign graduates to work while their degrees are being formally recognised. In 2025, France reformed its Passeport Talent permit to attract skilled professionals and address labour shortages, especially in healthcare.

These kinds of policies help ensure that foreign-born workers can contribute at their full capacity, and that countries can reap the full benefits of immigration in terms of productivity gains, higher tax revenue and reduced inequality.

If immigrants can’t get access to good jobs, their skills are underutilised and society loses out. Smart immigration policy doesn’t end at the border – it starts there.

Are Skeie Hermansen has received funding from the European Research Council (ERC) under the European Union’s
Horizon 2020 research and innovation programme (grant agreement no. 851149), the Research Council of Norway (grant 287016), and the Center for Advanced Study at The Norwegian Academy of Science
and Letters (Young CAS grant 2019/2020).

Marta M. Elvira receives funding from the Spanish Ministry of Science and Innovation, grant PID2020-
118807RB-I00/AEI /10.13039/501100011033

Andrew Penner no recibe salario, ni ejerce labores de consultoría, ni posee acciones, ni recibe financiación de ninguna compañía u organización que pueda obtener beneficio de este artículo, y ha declarado carecer de vínculos relevantes más allá del cargo académico citado.

– ref. Immigrants in Europe and North America earn 18% less than natives – here’s why – https://theconversation.com/immigrants-in-europe-and-north-america-earn-18-less-than-natives-heres-why-261188

Source: The Conversation – Global Perspectives – By Leigh Carriage, Senior Lecturer in Music, Southern Cross University

Connie Francis dominated the music charts in the late 1950s and early 1960s with hits like Stupid Cupid, Pretty Little Baby and Don’t Break the Heart That Loves You.

The pop star, author and actor has died at 87, and will be remembered for recording the soundtrack songs of post-World War II America.

An early life of music

Francis was born Concetta Rosa Maria Franconero in Newark, New Jersey, to Italian immigrant parents. At a very early age, Francis was encouraged to take accordion and singing lessons, compete in talent shows, and later she would perform occasionally on the children’s production Star Time Kids on NBC, remaining there until she was 17.

Within these early recordings you can hear her style begin to develop: her tone, great pitching, her versatility in vocal range. Her vocal delivery is technically controlled and stylistically structured, often nuanced – and even at this early stage demonstrating such power coupled with an adaptability for a broad range of repertoire.

At 17, Francis signed a contract with MGM Records.

One of her early recordings was the song Who’s Sorry Now?, written by Ted Snyder with lyrics by Bert Kalmar and Harry Ruby in 1923. Her version was released in 1957 and struggled to get noticed.

The following year, Francis appeared with the ballad on American Bandstand. This performance exposed Francis’ talent for interpretation and her ability to bridge the teen and adult fanbase.

The song would become a hit.

It’s useful to listen to the original version to gain more insight into Francis’ vocal approach and styling. The original is an instrumental song of its time, with light whimsical call and response motives in a foxtrot feel.

But in Francis’ version, she demonstrates her ability to revitalise a late 1950s pop music aesthetic. In an emotional delivery she croons her own rendition, with the country styling elements of Patsy Cline.

The voice of a generation

Following Who’s Sorry Now?, Stupid Cupid (1958), Where The Boys Are (1960, the titular song of a feature film starring Francis) and Lipstick on Your Collar (1959) became the soundtrack songs of post-war America.

Francis was supported with songs penned by the some of the best songwriters from the Brill Building, a creative collective in Manhattan that housed professional songwriters, working with staff writers Edna Lewis and George Goehring.

In 1960, Francis released her hit Everybody’s Somebody’s Fool written by Jack Keller and Howard Greenfield. It was a teeny-bopper classic, and she became the first women to top the Billboard Hot 100.

Styled after some of the other greats of the time – such as Frank Sinatra (1915–98), Dean Martin (1917–95) and Louis Prima (1910–70) – Francis’ performance on the Ed Sullivan show highlighted her connection to her Italian heritage and ability to draw from a broad repertoire.

On the show, she performed Mama and La Paloma. Each performance is very carefully styled, a thoughtful approach to dynamics, sung in both English and Italian.

Don’t Break the Heart That Loves You, a number one hit from 1962, features Francis’ gorgeous crooning harmonies. Then, the song breaks down into an earnest spoken part and finishes with a powerful belted vocal part of long notes.

The song is full of confidence and hope.

Away from the microphone

Francis had two key roles in films, starring in Where the Boys Are (1960) and the comedy Follow the Boys (1963).

She was an author of two books. The second, Who’s Sorry Now?, became a New York Times bestseller.

Francis was involved with humanitarian causes. She was particularly involved with Women Against Rape, following her own violent rape in 1974, and the Valour Victims Assistance Legal Organisation, dedicated to supporting the legal rights of crime victims. A lesser known song in her repertoire, fitting to include here, is her version of Born Free from 1968.

As a singer, Francis worked at her craft and transitioned effortlessly from one genre to another, performing for over five decades. She will be remembered as a trailblazing solo artist, leaving a strong legacy in popular music culture.

She was the voice of one generation when she was a star. And in her final year she became the voice of a new generation as Pretty Little Baby, released in 1962, went viral on TikTok, with more than 1.4 million videos using her voice to share stories of their lives.

Leigh Carriage does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Connie Francis was the voice of a generation and the soundtrack of post-war America – https://theconversation.com/connie-francis-was-the-voice-of-a-generation-and-the-soundtrack-of-post-war-america-261467

Source: The Conversation – Global Perspectives – By Theresa Larkin, Associate Professor of Medical Sciences, University of Wollongong

US President Donald Trump has been diagnosed with “chronic venous insufficiency” after experiencing some mild swelling in his lower legs.

According to a letter the White House published from the president’s doctor, the condition is common and not harmful, and the 79-year-old “remains in excellent health”.

But what is chronic venous insufficiency? What causes it, and can it lead to other health problems? Let’s take a look.

A disease of the veins

Veins are the blood vessels that carry de-oxygenated blood from all parts of the body to the heart.

Chronic venous insufficiency is a disease of the veins and mostly affects the legs.

When someone has this condition, it becomes more difficult for the blood to flow back to the heart. In other words, blood pools in the legs, rather than travelling up easily through the legs, pelvis and abdomen to the heart.

Blood pooling in the legs creates increased pressure in the veins in the legs and feet. This can cause swelling (called oedema), skin discolouration, varicose veins, and even skin ulcers (the skin stretches because of the increased pressure and becomes weak and can tear).

What causes chronic venous insufficiency?

There are several potential causes of chronic venous insufficiency, including damaged valves inside the veins in the legs.

When we’re standing, blood has to flow back to the heart from the legs against gravity. Veins have valves inside them which ensure this one-way flow and stop blood from running back the wrong way.

When valves in the veins – either the deeper veins or those closer to the skin’s surface – are damaged, this allows blood to flow backwards and pool in the legs.

Damage to the inside lining of the vein wall can also cause chronic venous insufficiency. When the lining is damaged, it becomes less smooth and blood cells can stick to the wall and build up. This can block the inside of the vein and impede the return of blood to the heart. Smoking is a major cause of this, though it also happens naturally with age.

Physical compression of a vein in the pelvis from the outside can also be a factor. Pregnancy, obesity or a tumour can push on a pelvic vein from the outside. This makes it harder for blood to flow through that vein, which causes back up of blood in the veins of the leg.

Deep vein thrombosis (DVT) also increases the risk of chronic venous insufficiency. This is where blood clots form in the deep veins, most commonly in the legs. It can block blood flow or damage the vein wall, and increase blood pooling further down the leg.

In a study I did with colleagues looking at people with chronic venous insufficiency, about 10% had a previous deep vein thrombosis. However, Trump’s doctor said there was no evidence of deep vein thrombosis in his case.

Who gets it?

The data on how many people get chronic venous insufficiency vary, but it is relatively common. In the United States, an estimated 10% to 35% of adults have the condition.

A number of factors increase a person’s likelihood of developing chronic venous insufficiency. Smoking and having previously had a deep vein thrombosis are strongly linked to this condition. Other risk factors include older age, pregnancy, obesity, and prolonged periods of standing still.

Is it dangerous?

On its own, chronic venous insufficiency is not life-threatening, but it is a progressive condition. It increases the risk of other conditions which can be more serious.

Interestingly, while deep vein thrombosis increases the risk of chronic venous insufficiency, people with chronic venous insufficiency also have a higher risk of deep vein thrombosis. This is because pooled blood doesn’t move as much, so it can start to form a clot.

Deep vein thrombosis then increases the risk of pulmonary embolism, blood clots in the lungs, which are life threatening.

In the legs, the most serious consequence of chronic venous insufficiency is developing a venous ulcer. Venous ulcers can be painful, are prone to infection (such as cellulitis), and have a high rate of recurring.

Research has shown 4% of adults aged 65 and older in the US develop venous ulcers as a result of chronic venous insufficiency.

Can it be treated?

Whether and how chronic venous insufficiency can be treated depends somewhat on the cause.

Initial conservative treatment usually involves elevating the legs and wearing compression stockings. Elevating the legs higher than the body means gravity will help blood flow back to the heart. Compression stockings help to push blood from the leg veins towards the heart.

Exercise such as walking also helps because when the muscles in the legs contract, this moves more blood from the legs back to the heart. Exercise and diet changes may also be recommended to address any weight-related issues.

In more progressive or severe cases, surgery may be needed to fix the inside of the veins, remove any underlying deep vein thrombosis, or insert a stent in the case of a vein compression.

Overall, Trump has been diagnosed with a common condition for someone of his age, and his doctors have ruled out severe underlying disease. But this is a reminder of the importance of healthy veins and of the risk factors for venous disease.

Theresa Larkin does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Trump has ‘chronic venous insufficiency’. Is it dangerous? Can it be treated? – https://theconversation.com/trump-has-chronic-venous-insufficiency-is-it-dangerous-can-it-be-treated-261460

Source: The Conversation – Global Perspectives – By Kerrie Davies, Senior Lecturer, School of the Arts & Media, UNSW Sydney

This year is the 250th anniversary of Jane Austen’s birth and she hasn’t aged a bit as the cultural touchstone of classy romance. Her Pride and Prejudice anti-hero, Mr Darcy, perennially pops up in his breeches in Instagram memes, while Regency feminist, Elizabeth Bennet has been brought to life by a host of contemporary actors.

Along with new screen versions of Austen’s Sense and Sensibility (starring Daisy Edgar-Jones) and a Netflix version of P & P, there have been adaptations of her classics Persuasion, Emma, Northanger Abbey, and Mansfield Park. And, there are numerous biographies and biopics including a TV drama about Jane’s sister, Cassandra, who burnt most of Jane’s letters.

Review: The Novel Life of Jane Austen: A Graphic Biography –
Janine Barchas, Isabel Greenberg (Hachette)

Now, there is also a graphic biography: The Novel Life of Jane Austen, written by Janine Barchas and illustrated by Isabel Greenberg.

Together, they have co-created a storyboard for the domestic life that framed Austen’s writing, encompassing her closeness to both Cassandra and her brother Frank, who joined the navy and liked to sew.

Unlike a “cradle to grave” biography, Barchas begins with a teenage Jane in London with Frank touring an exhibition about Shakespeare and his work. We then follow her, in illustrative comic boxes and speech bubbles, through her publishing rejections, her breakthrough debut Sense and Sensibility, and her rise to become one of most beloved writers in the canon of English literature.

The book ends beyond the grave, flashing forward to the present, in a scene where contemporary fans – Janeites – visit Jane Austen’s House, the cottage in Hampshire where Austen lived when she revised and published her six novels.

It’s also a sign of subtle structural polish. Now Jane Austen is as deserving of her own gallery as Shakespeare was when we first met Jane as a young, unpublished author.

Thinking in pink

Barchas – an “Austenite”, as Austen scholars are called – is the author of The Lost Books of Jane Austen, a study of the mass market editions of Austen’s work. (The Novel Life touches on Austen’s posthumous appeal with a scene where readers buy Austen books for one shilling at a railway station after her death, aged 41.)

Barchas also wrote Matters of Fact in Jane Austen: History, Location and Celebrity, which links Austen’s characters to well known locations and figures in her era.

Barchas is the co-creator of the interactive digital exhibition, What Jane Saw, which invites us to visit two art exhibitions witnessed by Jane Austen: the Sir Joshua Reynolds retrospective in 1813 or the Shakespeare Gallery as it looked in 1796. The Novel Life, however, is a more definitive life story. It’s also best read in print (although it is available as an e-book) to appreciate Greenberg’s illustrations and graphic format.

The Novel Life is a gentler, less dramatic style than traditional comics with six-pack superheroes or Japanese manga, similar to Greenberg’s previous literary graphic biography foray, Glass Town, about the Bronte sisters.

For the Novel Life, Greenberg has drawn a world in which Austen is whimsical, with expressive eyes looming under her signature bangs. She and her sister Cassandra appear in bright yellow or blue empire line dresses.

Most scenes are illustrated in a muted palette of yellow, blue and grey. This palette, Barchas reflects in the preface, represents “the relative quiet of her (Austen’s) life”.

When Jane is thinking or writing however, the pages transform into vivid shades of pink to symbolise her imagination and inspiration. In these pages, The Novel Life is at its best, showing graphic biography can be both captivating and deceptively sophisticated.

Archival nods

Is a graphic biography really a biography in the conventional understanding of the genre? It can upset the perceived rules. Anticipating this, in the preface, Barchas reminds us:

Any biography of Austen, and there are many, exists at the intersection of speculation and research.

This book is at this intersection. While the dialogue is largely invented, it is grounded in Barchas’ expertise and there is a glossary of sources at the end.

Throughout, there are also nods to the archive. Barchas begins with a scene of Jane in 1796 writing a letter to Cassandra at a desk while staying in London – one of the few not burnt.

A speech bubble quotes an extract from it:

Here I am once more in this scene of dissipation and vice, and I begin already to find my morals corrupted.

There are also Post-it style notes, separate to the bubbles, offering extra biographical context for readers less familiar with the intricacies of Austen’s story. A key scene happens when Jane, 22, receives her first rejection by a publisher for her manuscript “First Impressions” and is comforted by the loyal Cassandra. The note reads:

Jane would carry out more than a decade and a half of revisions before she dared to offer the manuscript to another publisher, who released it in 1813 as Pride and Prejudice.

Because of their visual casualness, importantly the notes don’t interfere with the intimate, engaging tone of the story.

‘Easter eggs’

For Austen’s committed “Janeite” fan base, Barchas promises “cheeky easter eggs” in the preface. Janeites can delight in well-quoted lines from the novels that appear as dialogue or a character’s thoughts.

Look, for instance, for Jane reading at a dinner party from P & P: “It’s a truth universally acknowledged […]” and “she is tolerable but not handsome enough to tempt me […]”.

It’s a truth universally acknowledged too that graphic biography can be confused with the graphic novel, now the third most popular literary genre in sales after general fiction and romance.

But, dear reader, there’s a tradition of life writing in the medium. The Pulitzer Prize winning graphic biography/memoir, The Complete Maus, told Art Spiegelman’s father’s story of the Holocaust to his son, (Art) who struggled to understand his father. Maus portrayed Jewish people anthropomorphically as mice and Nazis as cats. It was described by The New Yorker “as the first masterpiece of comic book history”.

Other high points in graphic biography include Peter Bagge’s Woman Rebel, the story of birth control campaigner Margaret Sanger, published in 2013.

Not everyone will appreciate a work diverging so dramatically from the expectations of a traditional biography. And those who will most appreciate or scrutinise The Novel Life are yes, the Janeites and Austenites.

Regardless, Austen comes to graphic life in the mind and hands of Barchas and Greenberg. More generally, for those of us who like our biographies in vivid colour – literally – and enjoy experiments in nonfiction storytelling, it’s a delightful reading experience, just like Jane Austen.

Kerrie Davies does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Bonnets, speech bubbles and ‘cheeky easter eggs’: a graphic biography of Jane Austen is subtly sophisticated – https://theconversation.com/bonnets-speech-bubbles-and-cheeky-easter-eggs-a-graphic-biography-of-jane-austen-is-subtly-sophisticated-257558