As the final volume of Brian Wood's brilliant anti-war graphic novel DMZ nears publication, Dominic Umile looks back on the series' 72 issue run of political allegory and all the ways that it used the device of fiction to make trenchant comic on the real world. DMZ is a story about the "State of Exception" that the American establishment declared after 9/11, a period when human rights, civil liberty, economic sanity, and the constitution all play second-fiddle to the all-consuming war on terror. Like the best allegories, it works first and best as a story in its own right, but it is also an important comment on the world we live in.
In DMZ #8, Matty Roth reviews a series of New York Times newspapers to reconstruct a timeline of the book’s war. Burchielli’s panels are nearly blacked-out. It’s as if Roth is squatting on a darkened stage: Nothing behind him is discernible outside of more yellowed newspapers, each slugged with copy that’s painfully close to our own real-life headlines. Brian Wood’s chief character is despondent and sounds like many of us do today in the era of Occupy Wall Street, hostilities in Afghanistan, the Obama administration’s drone campaign, and rampant corruption plaguing state and federal government, all amid an ever-theatric run-up to another presidential election.
Even as DMZ had another 64 issues and more than five years to go, Roth’s thoughts are rendered with an undeniable degree of both prescience and finality: “I never paid attention to politics. Never seemed to be a point. Politics happened the way it happened regardless of what anyone thought or did. So why bother?”
A "System" of Torture?: 'DMZ's' Argument Through Comment, and Comics
The CBC asked me to write an editorial for their package about Canadian identity and politics, timed with the 150th anniversary of the founding of the settler state on indigenous lands. They’ve assigned several writers to expand on themes in the Canadian national anthem, and my line was “We stand on guard for thee.”
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