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    Louis Riel (comics)

    Graphic novel

    Louis Riel is a historical biography in comics by Canadian cartoonist Chester Brown, published as a book in after serialization in – The story deals with Métis rebel leader Louis Riel's antagonistic relationship with the newly established Canadian government. It begins shortly before the Red River Rebellion, and ends with Riel's hanging for high treason. The book explores Riel's possible schizophrenia—he believed God had named him Prophet of the New World, destined to lead the Métis people to freedom.

    The work is noted for its emotional disengagement, its intentionally flat dialogue, and a minimalist drawing style inspired by that of Harold Gray's comic strip Little Orphan Annie. Unusual for comics of the time, it includes a full scholarly apparatus: a foreword, index, bibliography, and end notes. The lengthy, hand-lettered appendix provides insight into Brown's creative process and biases and highlights where he changed historical facts

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    Louis Riel | Chester Brown, &#;
    Drawn & Quarterly,

    It seems an appropriate time to revisit Chester Brown’s excellent graphic novel Louis Riel (A Comic &#; remsa Biography), with Louis Riel Day having recently passed. I also say this not just due to recent domestic terrorism in Ottawa, but also as when inom was living in Saskatoon, with a statue of Riel’s ally Gabriel Dumont prominently installed near the South Saskatchewan River, the reality of contested narratives about history was necessary to consider. An ongoing debate in Niagara, about a statue of a soldier glorifying the North-West Rebellion being removed from St. Catharines city entré, indicates this isn&#;t solely a regional concern.

    More to this point: an exhibition at the now defunct Mendel Art galleri a few years ago, on the work of James Henderson, displayed a full scale portrait of the judge who presided over Riel&#;s &#;trial&#;, where his execution was a foregone conclusion, and this fact was &#; still &#; no

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    Louis Riel: A Comic-Strip Biography

    August 5,
    Biography is always a tricky thing to pull off well. Ignoring the matter of interpretation, the biographer still has to grapple with the reality that there are not really any such things as brute facts. The biographer is never simply representing What Happened, but instead puts forth a version of what happened—a story that conforms more or less plausibly with the ultimately unknowable way history actually spun itself out.



    In my response to Christopher Frayling’s biography of Sergio Leone, I wrote:

    Oh, certainly in the abstract sense, there could exist some ultimate record of events free from the colouring of memory, vanity, or nostalgia, but that would require an impartial, omniscient observer. And biographers, even if they had access to such an impossible (barring the metanatural) source, probably wouldn’t wish to make use of it for fear of losing some of the more outrageous possibilities in the unveiling of their respective su
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