Simple Reading, Big Ideas

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With every signature, tobi Dahmen draws an individual portrait of his books for each person.

Pohlheim – The concept of “home” is surprisingly intertwined with the evolution of comics, a connection explored during the second Pohlheim Comic Week at the adolf Reichwein school. Comic artist Andreas Eikenroth kicked off the event on Monday evening,noting that “Comics not only tell of home,they also have a moving local history themselves.” the week’s theme, “home,” sparked discussions about how the medium has depicted this fundamental human concept for over a century.

Eikenroth traced the theme’s presence in comics back 120 years. He highlighted Japanese manga, where home is frequently enough defined by social ties rather than just geography. In France,where comics share literary prestige,characters like Asterix are depicted fighting for their homeland and community. The United States also embraced the theme early on, with comic strips becoming widespread newspaper entertainment. German-born artist rudolph Dirks, who emigrated, first published “the Katzenjammer Kids” in 1897, portraying the lives of immigrants in New York.

Did you know? – Rudolph Dirks’ “The Katzenjammer Kids” was one of the first American comic strips, debuting in 1897. It focused on the mischievous adventures of German immigrant children in new York City,reflecting early 20th-century immigrant experiences.

Wilhelm Busch’s Pioneering Role

The roots of comic storytelling can be further traced back to Wilhelm Busch,the pioneer credited with illustrated stories like “Max and Moritz.” Eikenroth emphasized that “Home is more than one place.” It’s deeply emotional and dynamic. The visual nature of comics,capable of conveying meaning without words,makes it especially adept at exploring such nuanced themes.

The event’s featured guest, Tobi Dahmen, then captivated the audience with a reading from his book “Columbusstrasse.” This graphic novel delves into his family’s history during World War II. Dahmen presented excerpts of his work with powerful imagery, foregoing extensive text.

Dahmen’s narrative begins with his grandfather,Karl,in spring 1935,a time when the National Socialists reintroduced mandatory military service. Karl, a lawyer, harbored skeptical views and defended regime supporters in court, expressing anti-Semitic sentiments in letters his father later discovered. “Of course it hurts to read that,” Dahmen shared. “How can someone be victims if they belong to the group of perpetrators?” He urged against viewing the Nazi era in simplistic black and white,stressing its complexity and the many shades of gray,as depicted in “Columbusstrasse.”

The students at the Adolf Reichwein School were particularly quiet when Dahmen displayed wordless panels from his comic. these images powerfully depicted Kristallnacht, and Karl’s conflicted expression, a mix of grief and shame at the unfolding events.

Pro tip: – graphic novels, like tobi Dahmen’s “Columbusstrasse,” can offer unique insights into past events. The combination of visuals and narrative allows for a deeper emotional connection and understanding of complex topics.

Preserving Memories for Posterity

“The injustice of back then continues to work,” Dahmen concluded. “Telling individual fates can help keep memories.” He encouraged everyone to speak with relatives about their life stories and to preserve their own memories for the future, suggesting, “Write a letter again.”

Reader question: – How can personal stories, even those with uncomfortable truths, contribute to a more complete understanding of historical events? What duty do individuals have to confront their family’s past?

Why: The Pohlheim Comic Week aimed to explore the theme of “home” through the lens