'Longform: An Anthology of Graphic Narratives' returns with fresh voices in Indian comics

A panel from Pratyasha Nath’s Earworm. Illustrations courtesy/Artists, PenguinRandomHouse India; Longform Collective

There is a delight in the discovery of the new. Over 300 pages of the new edition of Longform: An Anthology of Graphic Narratives (Penguin RandomHouse India), artists emerge with new idioms, visual vocabulary, and insight into the zeitgeist that surrounds us. The third edition of the anthology is compiled by comic practitioners Argha Manna, Debkumar Mitra, and Pinaki De.

A panel from Ayisha Shahul's work, We Can't Hear You

"The process of curation begins in the classrooms," shares Mitra, a Mathematics major and a sci-fi writer. This is a common trait among all the curators. Argha Manna is an artist-in-residence at IIT Gandhinagar, and helms a course on comics design at the scientific institution while De is a renowned book cover designer and a PhD in comics art himself. Many of the 18 artists featured were discovered through workshops, courses, and mentored. "Since we all teach, there is a shared idea of the stories to tell," adds Mitra.

A panel from Anantha Sriya A's Textbox:A Graphic Narrative

The curation itself stands out for its diverse representation. It kicks off with Anantha Sriya A's Textbox: A Graphic Narrative; its text dominates the visuals and tells a radical story. Kratika Sunkar's Validation is an immensely recognisable argument that finds a slow, simmering visual form on the page. Pratyasha Nath's Earworm is a tactile work that moves on the page.

An illustrated panel from Avanti Karmarkar's Grief

Not all are new faces. Some include names such as Shankha Bannerjee, who comes up with The Laws of the Ancients, that is a throwback to epic imagery, motifs, and familiar myths. Priyankar Gupta's City of Missing People is another work from the stables of a known comic book creator.

This is where the job of curation is delicate. De points out, "The works come through rigorous mentorship. We need to be sensitive as editors and know the thread of the stories. This is a mix of experience and novel works." Works like Priyankar Gupta's, or Vishnu Vasudevan's In Sadar Bazaar echo this novel narrative that carries a very Indian idiom. Crowded, chaotic, yet at once familiar, they are reflective of anyone who walks through an Indian street.

Argha Manna, Pinaki De and Debkumar Mitra

It is these new works that add to its depth and complexity. Avanti Karmarkar's Grief is another intensely moving work. Almost ‘from the hands of a child, with heart', says De, it captures the evocative, lingering nature of grief and the healing process. Another story that deviates from the narrative norm is Ananya Bashyam's Solitarius. These visuals carry within them an urgency to tell a story.

The name itself, Longform, seems like a contradiction to these complex, but short, visually-driven stories. Mitra shares that the term comes from one of the contributors, Joe Sacco's take on longform comics. "He used it to explain in an article how Longform comics no longer find space in contemporary media," says the editor. Manna adds, "Such comics offer democracy to the artist to express according to their tastes."

Sacco also finds his way into the anthology with a moving essay. Sacco talks about reading Longform, and the ability of Indian creators to find their own idiom that reflects India. De, who studied Sacco, points out, "The visual language and storytelling instinct make it an exciting project. This is an assemblage of artists and storytellers. Perhaps one of them will branch out into a breakaway moment. We, in India, are still waiting for it."

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