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The once-celebrated Dilbert comic strip no longer appears in the Arkansas Democrat-Gazette, one of hundreds of newspapers that dropped the strip after its creator, Scott Adams, described Black Americans as a hate group and added that white people should \"get the hell away\" from them. Hussman, whose name went up on UNC's journalism school after he and his family pledged $20 million to the university, discussed the 1619 Project and Hannah Jones' case with Arkansas Business not long before his daughter took over as Wehco publisher. Hussman expressed his objections to university officials, and the blowback led to criticism of his own views, and suggestions that he was applying inappropriate influence as the name benefactor of the UNC Hussman School of Journalism & Media.

“They Called Him . . . Buckaroo Sam” features the life of a Chinese pioneer in Grant County, northeastern Oregon. His story dispels misconceptions that often permeate history of Chinese pioneers in America. It is not generally known, for example, that there were Chinese cowboys, or vaqueros and wranglers, in the American West. While it is indisputable that they would have faced racial prejudice, discrimination, and persecution, racial harmony nevertheless prevailed for Buckaroo Sam and his contemporaries in this mining region of Oregon. For several years, he worked on the Stewart Ranch before becoming ranch foreman at the Harve Fields Ranch, one of the earliest ranches that employed an all-Chinese crew in the John Day Valley. Using a graphic medium, Dale Hom imagines and conveys this cowboy’s lifestyle and circumstances, expanding the conventional view of Chinese pioneers on the western frontier.

Abstract Latinx comics creators publish on social media to connect with a global audience and perform digital self-mediation that enhances the self-reflexive themes in their work. Among these creators is Chicana artist, Daisy Ruiz, known as Draizys, whose auto-bio comic Gordita: Built Like This showcases this approach. Its narrative contents, publication trajectory, and digital promotion exemplify how Ruiz as protagonist and author uses digital tools to produce and share her creative work. Her depictions of adolescent internet use, along with the behind-the-scenes content she posts to Instagram and TikTok, underscore how she uses medium-specific affordances to produce sequential autobiographical narratives in her comics and social media posts that, in both content and form, nuance how Latinas are mediated to the public.

Malaria continues to place a high burden on communities due to challenges reaching intervention target levels in Chikwawa District, Malawi. The Hunger Project Malawi is using a health animator approach (HA) to address gaps in malaria control coverage. We explored the influence of community-based volunteers known as health animators (HAs) in malaria control. We assessed the impact of HAs on knowledge, attitudes, and practices towards malaria interventions. This paper draws on the qualitative data collected to explore the roles of communities, HAs and formal health workers attending and not attending malaria workshops for malaria control. Purposive sampling was used to select 78 respondents. We conducted 10 separate focus group discussions (FGDs)-(n = 6) with community members and (n = 4) key informants. Nine in-depth interviews (IDIs) were held with HAs and Health Surveillance Assistants (HSAs) in three focal areas near Majete Wildlife Reserve. Nvivo 11 was used for coding and analysis. We employed the framework analysis and social capital theory to determine how the intervention influenced health and social outcomes. Using education, feedback sessions and advocacy in malaria workshop had mixed outcomes. There was a high awareness of community participation and comprehensive knowledge of the HA approach as key to malaria control. HAs were identified as playing a complementary role in malaria intervention. Community members' attitudes towards advocacy for better health services were poor. Attendance in malaria workshops was sporadic towards the final year of the intervention. Respondents mentioned positive attitudes and practices on net usage for prevention and prompt health-seeking behaviours. The HA approach is a useful strategy for complementing malaria prevention strategies in rural communities and improving practices for health-seeking behaviour. Various factors influence HAs' motivation, retention, community engagement, and programme sustainability. However, little is known about how these factors interact to influence volunteers' motivation, community participation and sustainability over time. More research is needed to explore the acceptability of an HA approach and the impact on malaria control in other rural communities in Malawi.

If being Canadian means being predisposed to niceness and caring, then being mixed-race Asian and female like Skim must entail an even larger, compounded burden, namely the need to care more because of gendered as well as racial expectations. In her survey of contemporary Canadian comics for youth, Naomi Hamer discerns a \"pedagogic agenda\" underlying the most acclaimed of these visual texts, with prevalent themes being formative events in national history, environmentalism, and an array of social justice concerns, including racism and homophobia (170). Social concerns like suicide, homophobia, bullying, body shaming, negative self-concept, and depression persist among teens decades after the books publication, testifying to Skims ongoing relevance and continued capacity to appeal to a broad range of readers.3 It is the suicide of a popular athlete rumoured to have been gay, John Reddear, from a neighbouring school that initiates Skims journey to self-awareness as a \"fat, goth, Wiccan-practicing, lesbian Asian girl who has been the project' of her school's anti-suicide, bullying prevention campaign\" (Froese and Greensmith 43). The all-girls' religious school, which Skim distrusts as a site of surveillance and suffocating conformity (a \"goldfish tank of stupid\" [47]), facilitates this coercive process of \"girling\" and the constant policing it entails.

This article considers how Marianne Hirsch's concept of postmemory is applicable to the grandchildren of Holocaust survivors by analyzing two graphic novels: Rutu Modan's The Property and Amy Kurzweil's Flying Couch. Postmemory emerged as a theory for understanding how traumatic memories become inherited by survivors' children. Both texts show that while the children of the survivors are burdened by their parents' memories, this is not the case for the grandchildren. Instead, it is only in the third generation that postmemories are liberated from being exclusively memories of trauma, and as a result, new approaches to the Holocaust emerge.