The *iconic* "Arab in America"

Toufic El  Rassi's graphic novel, "Arab in America" provides a fictional account of his own childhood experiences in the United States.  And graphic it certainly proves to be, both through his images and in his descriptions and anecdotes.  Even the purpose of the novel functions in a graphic way, as he stereotypes several tropes and identities (usually those that exist in the "majority" of the United States population), in an attempt to provoke his intended audience.  His narrative illustrates a continuous journey and search for identity as he recounts events that may or may not have occurred in the order he writes them in.  These questionable factors make his audience question his reliability as a narrator, but even more importantly, elicit discussions from his readers regarding the presence (or lack thereof) of realism.  Whether or not realism exists within the novel is a critical point to consider, especially in the context of McCloud's theory of icons presented in "The Vocab of Comics." El Rassi and McCloud are pertinent figures to examine in determining these issues, particularly in garnering sufficient evidence in an author's ability to the transcend cultural norms that guide us.

According to McCloud, an icon may refer to any image used to represent a person, place, thing, or idea (27).  Therefore, icons are relatively all-encompassing.  Most of the things society refers to as symbols are then only one category of icon.  McCloud further breaks down the pictorial hierarchy by defining certain kinds of images, such as "the images we use to represent concepts, ideas, and philosophies," "the icons of language, science, and communication- icons of the practical realm," "and finally, the icons we call pictures: images designed to actually resemble their subjects." (27)  Although the meaning behind such pictures is determined to be "fluid and variable according to their appearance," words are separately identified as non-pictorial icons, whose meaning is "fixed and absolute." (28)  McCloud acknowledges the role culture plays in society's overall acceptance of images (specifically cartoons) is based on how we perceive the icons already associated with these images.  It is a reality we accept specifically because of its simplification. (31)

Because icons make us act, interpret, and invite us to participate, they also allow the author to construct their own audience.  This is essential background information for a reader to have before approaching his graphic novel, "Arab in America," as his book is partially a call for his audience to act.  Although one cannot question his own experiences regarding his life in the United States, he purposefully stereotypes his audience, despite the truth or reality of what his audience consists of.  A poignant example of this occurs on pages 110-111, where he starts meeting with activist groups on his college campus.  These groups mainly consisted of white liberals, who even contributed to a certain amount of erasure and diminishing of the issues he faced as an Arab.

El Rassi's images are certainly provocative and detailed, especially in his depiction of his own appearance, reflected in his "mention" of facial hair, dark eyes, along with several other physical traits (most prominently featured on page 5).  In this way, El Rassi both supports the ideals behind realism when he objectifies Arabs and stereotypes (77), including in his own "self-portrait," while assuming that he and his readers are identity-searching.  He understands that the details matter- and that they make, the audience he has constructed, uncomfortable.  However, it is also important to note that El Rassi, despite his attempts, cannot fully determine who his readership will consist of.  With stereotypes acting as non-human agents, they employ anti-realism symbolism in the simplification of the issues represented in this novel.  Therefore, viewer identification is still achievable, at the very least with readers who believe they aren't quite as simple as they are portrayed in this novel.

El Rassi demonstrates a certain amount of self-reflexity, as he wishes he could be like his mother (86), who always defended him when faced with discrimination and prejudice.  He recognizes what he considers cowardice when he doesn't defend his father (86) or the random bus mate who was harassed on page 84.  His usual non-confrontational attitude is significant for his constructed audience's uncomfortable feelings about his narration.  El Rassi points to these moments, not just to continue demonstrating the rampant racism in the United States, but to show us this self-reflexity, which is an absolutely necessary component to transcend cultural boundaries.  Therefore, although he develops his storytelling through stereotyping, he also reaches past the boundaries of stereotypes in an effort to make his audience act and interpret his text.  We are invited to participate in the conversation.  He reveals both the dangers and potential in constructing an audience, while utilizing the stereotypes that guides society in order fully surpass the boundaries presented in the limited scope of societal pressures and standards.

~Jasmine Spitler