A poignant graphic memoir about the power of art to transform and heal after the death of a loved one In April 2020, cartoonist Sarah Leavitt's partner of twenty-two years, Donimo, died with medical assistance after years of severe chronic pain and a rapid decline at the end of her life. About a month after Donimo's death, Sarah began making comics again as a way to deal with her profound sense of grief and loss. The comics started as small sketches but quickly transformed into something totally unfamiliar to her. Abstract images, textures, poetic text, layers of watercolor, ink, and colored pencil—for Sarah, the journey through grief was impossible to convey without bold formal experimentation. She spent two years creating these comics. The result is Something, Not Nothing, an extraordinary book that delicately articulates the vagaries of grief and the sweet remembrances of enduring love. Moving and impressionistic, Something, Not Nothing shows that alongside grief, there is room for peace, joy, and new beginnings. This publication meets the EPUB Accessibility requirements and it also meets the Web Content Accessibility Guidelines (WCAG-AA). It is screen-reader friendly and is accessible to persons with disabilities. A book with many images, which is defined with accessible structural markup. This book contains various accessibility features such as alternative text for images, table of contents, page-list, landmark, reading order and semantic structure.
Acclaimed cartoonist Sarah Leavitt has created a gold rush story like no other: a spine chilling account of one woman’s attempt to escape her past by travelling into the wilds of the Cariboo Agnes, Murderess is a graphic novel inspired by the bloody legend of Agnes McVee, a roadhouse owner, madam and serial killer in the Cariboo region of British Columbia in the mid-nineteenth century. Fascinated by Agnes McVee and her unverified reputation as a murderer (originating in a 1970s guide to buried treasure), Sarah Leavitt has imagined an entirely new story for this mysterious woman: Agnes’s life begins on an isolated island off the coast of Scotland with her terrifying paternal grandmother, Gormul, who is feared by the villagers as a powerful witch. Agnes is desperate to leave the island, but Gormul keeps her trapped, determined to have an heir to her land and her evil powers. With the help of her devoted friend Seamus, Agnes escapes to London, then on to British Columbia, settling in 108 Mile in the Cariboo region. Here, she assumes ownership of a roadhouse serving the Gold Rush Trail. But no matter how far into the wild she ventures, she can’t seem to rid herself of Gormul’s legacy, which haunts both her dreams and her waking life. Leavitt puts a decidedly queer twist on the story, moving from women’s passionate friendships in the gardens of St John’s Wood to female relationships in Cariboo. At the same time, the book grapples with the dangerous pre-conceived notion held by settlers that Canada is a “new world,” free of ghosts and history. Agnes, Murderess presents a tortured, complicated woman struggling to escape her past. It is a spine-chilling tale of ghosts and murder, friendship and betrayal, love and greed, fate and choice.
In this powerful memoir the the LA Times calls “moving, rigorous, and heartbreaking," Sarah Leavitt reveals how Alzheimer’s disease transformed her mother, Midge, and her family forever. In spare blackand- white drawings and clear, candid prose, Sarah shares her family’s journey through a harrowing range of emotions—shock, denial, hope, anger, frustration—all the while learning to cope, and managing to find moments of happiness. Midge, a Harvard educated intellectual, struggles to comprehend the simplest words; Sarah’s father, Rob, slowly adapts to his new role as full-time caretaker, but still finds time for wordplay and poetry with his wife; Sarah and her sister Hannah argue, laugh, and grieve together as they join forces to help Midge. Tangles confronts the complexity of Alzheimer’s disease, and ultimately releases a knot of memories and dreams to reveal a bond between a mother and a daughter that will never come apart.
Today's domestic-advice writers--women such as Martha Stewart, Cheryl Mendelson, and B. Smith--are part of a long tradition, notes Sarah Leavitt. Their success rests on a legacy of literature that has focused on the home as an expression of ideals. Here, Leavitt crafts a fascinating genealogy of domestic advice, based on her readings of hundreds of manuals spanning 150 years of history. Over the years, domestic advisors have educated women about everything from modernism and morality to sanitation and design. Their writings helped create the idealized vision of home held by so many Americans, Leavitt says. Investigating cultural themes in domestic advice written since the mid-nineteenth century, she demonstrates that these works, which found meaning in kitchen counters, parlor rugs, and bric-a-brac, have held the interest of readers despite vast changes in women's roles and opportunities. Domestic-advice manuals have always been the stuff of fantasy, argues Leavitt, demonstrating cultural ideals rather than cultural realities. But these rich sources reveal how women understood the connection between their homes and the larger world. At its most fundamental level, the true domestic fantasy was that women held the power to reform their society through first reforming their homes.
Torngat Sketches" is Sarah Leavitt's contribution to Northwords, a cross-platform project that takes urban Canadian writers to some of the world's most extreme environments. Introduced by award-winning journalist and radio personality Shelagh Rogers, Northwords is a collection of stories written by acclaimed Canadian authors as they experienced one of Canada’s most awe-inspiring northern national parks Torngat Mountains National Park, the country’s newest national park, and a place steeped in geological and human history. The cross-platform project, which includes a documentary film that follows the authors as they explored the harsh and stunning terrain, had adventures, and created these new works, adds to the continuing story of the North. The stories explore the idea of the North, and what happens when the country’s best writers tackle its most overwhelmingly beautiful places. Taking advantage of opportunities presented by transmedia integration, users can experience the stories in the writers’ own words through Anansi Digital, as well as learn more about their processes and what inspired them through interactive content. Users will have access to film and audio content, and together, these related media will create a larger story web, allowing the audience to truly immerse themselves in the sights, sounds, and stories of the North.
As a working cotton mill, a space for varied types of manufacturing, and eventually as a project of historical preservation, the Slater Mill has played many roles in the history of Pawtucket. Leavitt's work includes such illuminating images as a turn-of-the-century bicycle shop, a crowded mill scene in the early twentieth century, and the transformation of the site into a tourist attraction in the 1920s. This volume also shows how the site was re-configured as a community museum in the 1950s and '60s, as well as how the industrial emphasis of the curators eventually resulted in the addition of a working water wheel to the site. Well-illustrated, with fact-filled text, Slater Mill is a charming look back at a pivotal part of Pawtucket life that will interest young and old alike.
St. Elizabeths has been a mental health hospital in Washington, D.C., since 1852, when it was established by the United States Congress as the Government Hospital for the Insane. St. Elizabeths, along with other hospitals, experienced rapid expansion in its first century, hitting a peak of almost eight thousand patients by the 1960s. Deinstitutionalization in the second half of the twentieth century emptied out the historic buildings on campus. This well-illustrated book follows an exhibition at the National Building Museum, tracing the hospital's evolution over time, highlighting the ways that this specialized architecture and landscape served the mentally ill. It continues the story of St. Elizabeths, a National Historic Landmark, through its current redevelopment as a federal campus and mixed-use neighborhood.
St. Elizabeths has been a mental health hospital in Washington, D.C., since 1852, when it was established by the United States Congress as the Government Hospital for the Insane. St. Elizabeths, along with other hospitals, experienced rapid expansion in its first century, hitting a peak of almost eight thousand patients by the 1960s. Deinstitutionalization in the second half of the twentieth century emptied out the historic buildings on campus. This well-illustrated book follows an exhibition at the National Building Museum, tracing the hospital's evolution over time, highlighting the ways that this specialized architecture and landscape served the mentally ill. It continues the story of St. Elizabeths, a National Historic Landmark, through its current redevelopment as a federal campus and mixed-use neighborhood.
Northwords is a cross-platform project that takes urban Canadian writers Joseph Boyden, Sarah Leavitt, Rabindranth Maharaj, Noah Richler, and Alissa York to some of the world’s most extreme environments, to join the conversation about the north. Introduced by award-winning journalist and radio personality Shelagh Rogers, Northwords is a collection of stories written by acclaimed Canadian authors as they experienced one of Canada’s most awe-inspiring northern national parks Torngat Mountains National Park, the country’s newest national park, and a place steeped in geological and human history. The cross-platform project, which includes a documentary film that follows the authors as they explored the harsh and stunning terrain, had adventures, and created these new works, adds to the continuing story of the North. The stories explore the idea of the North, and what happens when the country’s best writers tackle its most overwhelmingly beautiful places. Taking advantage of opportunities presented by transmedia integration, users can experience the stories in the writers’ own words through Anansi Digital, as well as learn more about their processes and what inspired them through interactive content. Users will have access to film and audio content, and together, these related media will create a larger story web, allowing the audience to truly immerse themselves in the sights, sounds, and stories of the North.
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