Redefining composition to include conscious attention to images and design, Picturing Texts is the first writing textbook to show students how to compose visual texts as well as how to read them.

In this book, Hertha D. Sweet Wong examines the intersection of writing and visual art in the autobiographical work of twentieth- and twenty-first-century American writers and artists who employ a mix of written and visual forms of self-narration. Combining approaches from autobiography studies and visual studies, Wong argues that, in grappling with the breakdown of stable definitions of identity and unmediated representation, these writers-artists experiment with hybrid autobiography in image and text to break free of inherited visual-verbal regimes and revise painful histories. These works provide an interart focus for examining the possibilities of self-representation and self-narration, the boundaries of life writing, and the relationship between image and text. Wong considers eight writers-artists, including comic-book author Art Spiegelman; Faith Ringgold, known for her story quilts; and celebrated Indigenous writer Leslie Marmon Silko. Wong shows how her subjects formulate webs of intersubjectivity shaped by historical trauma, geography, race, and gender as they envision new possibilities of selfhood and fresh modes of self-narration in word and image.

Reading Contemporary Picturebooks takes a look at one of the most vibrant branches of children's literature - the modern picturebook. This exciting new book takes a sample of contemporary picturebooks and closely examines the features that make them distinctive and then suggests a way of characterising the 'interanimation' of words and pictures that is the essence of the form. The reasons for the picturebook's vitality and flexibility are also explored and the close bond between the picturebook and its readers is analyzed. Advances in our understanding of how visual images are organized are examined and the book concludes with an attempt to redescribe the picturebook in such a way that pictures, readers and text may be drawn together. Picturing Text will be of interest to students, teachers and researchers interested in reading, children's literature and media studies.

Meet Chloe: Every week, she collects loose change so she can buy tickets to ride the merry-go-round. But one fateful day, she gets lost in the woods on her way home, and a large dragon leaps out from—"Wait! It's supposed to be a lion," says Mac Barnett, the author of this book. But Adam Rex, the illustrator, thinks a dragon would be so much cooler (don't you agree?). Mac's power of the pen is at odds with Adam's brush, and Chloe's story hangs in the balance. Can she help them out of this quandary to be the heroine of her own story?/DIVDIV Mac Barnett and Adam Rex are a dynamic duo, and two of the strongest contemporary voices in picture books today. In an accessible and funny way, Chloe and the Lion talks about the creative process and the joys and trials of collaboration.

This monograph is a wide-ranging and sophisticated analysis of representations in text and image of the English past between 1830 and 1870. It consists of a series of inter-related case-studies of illustrated history books, ranging from editions of David Humes History of England to W. H. Ainsworths The Tower of London (1840). It contributes to present debates on nationalism, highlighting the complex and variable nature of cultural constructions of identity. Simultaneously, if offers an overall interpretation of historiographical change in early and mid-Victorian Britain, focusing in particular on the transition from picturesque reconstructions of the English past to the scientific approaches of the professional historian. Genuinely interdisciplinary, Picturing the Past presents new perspectives on traditional studies of Victorian historiography, literature, and illustration. It explores relationships between text and image, author, illustrator, and publisher, in the production of illustrated historical texts, often drawing on neglected material in publishers archives. The tendency to analyse text and image, fiction and non-fiction, popular and elite publications in isolation from each other is challenged in the interests of a more complex and nuanced portrait of the middle-class Victorian historical consciousness.

This book examines the relationship between words and images in various life-writing works produced by nineteenth to twenty-first century American and British women. It addresses the politics of images in women’s life writing, contending that the presence or absence of images is often strategic. Including a range of different forms of life writing, chapters draw on traditional (auto)biographies, travel narratives, memoirs, diaries, autofiction, cancer narratives, graphic memoirs, artistic installations, quilts and online performances, as life writing moves from page to screen and other media. The book explores a wide range of women who have crossed the boundary between text and image: painters who have become writers, novelists who have become painters, writers who hesitate between images and words, models who seize the camera, and artists who use the frame as a page.

"This fantastical picture book, like its hero, is bursting at the seams with creativity. . . . a vigorous shot in the arm to nonconformists everywhere" — Publishers Weekly (starred review) Enter the witty, intriguing world of Weslandia! Now that school is over, Wesley needs a summer project. He’s learned that each civilization needs a staple food crop, so he decides to sow a garden and start his own — civilization, that is. He turns over a plot of earth, and plants begin to grow. They soon tower above him and bear a curious-looking fruit. As Wesley experiments, he finds that the plant will provide food, clothing, shelter, and even recreation. It isn’t long before his neighbors and classmates develop more than an idle curiosity about Wesley — and exactly how he is spending his summer vacation.

This volume represents the current state of research on picture books and other adjacent hybrid forms of visual/verbal texts such as comics, graphic novels, and book apps, with a particular focus on texts produced for and about young people. When Perry Nodelman’s Words about Pictures: the Narrative Art of Children’s Picture Books was published almost three decades ago, it was greeted as an important contribution to studies in children’s picture books and illustration internationally; and based substantially on it, Nodelman has recently been named the 2015 recipient of the International Grimm Award for children’s literature criticism. In the years since Words About Pictures appeared, scholars have built on Nodelman’s groundbreaking text and have developed a range of other approaches, both to picture books and to newer forms of visual/verbal texts that have entered the marketplace and become popular with young people. The essays in this book offer 'more words' about established and emerging forms of picture books, providing an overview of the current state of studies in visual/verbal texts and gathering in one place the work being produced at various locations and across disciplines. Essays exploring areas such as semiological and structural aspects of conventional picture books, graphic narratives and new media forms, and the material and performative cultures of picture books represent current work not only from literary studies but also media studies, art history, ecology, Middle Eastern Studies, library and information studies, and educational research. In addition to work by international scholars including William Moebius, Erica Hateley, Nathalie op de Beeck, and Nina Christensen that carries on and challenges the conclusions of Words about Pictures, the collection also includes a wide-ranging reflection by Perry Nodelman on continuities and changes in the current interdisciplinary field of study of visual/verbal texts for young readers. Providing a look back over the history of picture books and the development of picture book scholarship, More Words About Pictures also offers an overview of our current understanding of these intriguing texts.

This book takes the following question as its starting point: What are some of the crucial things the reader must do in order to make sense of a literary narrative? The book is a study of the texture of narrative fiction, using stylistics, corpus linguistic principles (especially Hoey’s work on lexical patterning), narratological ideas, and cognitive stylistic work by Werth, Emmott, and others. Michael Toolan explores the textual/grammatical nature of fictional narratives, critically re-examining foundational ideas about the role of lexical patterning in narrative texts, and also engages the cognitive or psychological processes at play in literary reading. The study grows out of the theoretical questions that stylistic analyses of extended fictional texts raise, concerning the nature of narrative comprehension and the reader’s experience in the course of reading narratives, and particularly concerning the role of language in that comprehension and experience. The ideas of situation, repetition and picturing are all central to the book’s argument about how readers process story, and Toolan also considers the ethical and emotional involvement of the reader, developing hypotheses about the text-linguistic characteristics of the most ethically and emotionally involving portions of the stories examined. This book makes an important contribution to the study of narrative text and is in dialogue with recent work in corpus stylistics, cognitive stylistics, and literary text and texture.