abstract:This essay examines Venkat Raman Singh Shyam and S. Anand’s Finding My Way (2016), a graphic auto/biography by a member of a tribal community (Shyam). It examines the auto/biography’s paratextual apparatus that constructs it as an artifactual object—a manuscripture—and thus transforms subaltern auto/biography into an exercise in aesthetic iconography. The co-presence of at least three voices makes the text a heteroglossic one, so that an individual’s voice is located in conjunction with historical and other voices. The essay then argues that the text generates a sequential or anamnetic authorship—a textual process wherein later authors, often over centuries, add to the ‘original’ author’s texts, and the texts often retain the original author’s name—by reinstating Gondi texts and singers, even as it offers Shyam a place in the genealogy. Finally, it proposes that the text’s intervention in the public memory of the Mahabharata generates a new form of the public sphere—one where an entirely new memory of the destruction of forests, the dwellings of the tribal persons, and the exploitation of natural resources is introduced into the ancient memory. The essay thus contributes to the thinking on graphic texts, even as it studies the narrative modes of subaltern lifewriting that generate a different public sphere in postcolonial readership.

中文翻译：

---

后殖民图形生活写作：寻找我的道路和底层公共领域

摘要：本文考察了 Venkat Raman Singh Shyam 和 S. Anand 的《Finding My Way》（2016 年），这是一部部落社区 (Shyam) 成员的自传/传记图画。它考察了自传/传记的副文本装置，将其构建为人工对象——手稿——从而将次要的自传/传记转化为美学图像学的练习。至少三种声音的共存使文本成为异语的，从而使个人的声音与历史声音和其他声音结合在一起。然后，这篇文章争辩说，文本产生了一个连续的或记忆的作者身份——一个文本过程，在这个过程中，后来的作者，通常是几个世纪以来，添加到“原始”作者的文本中，并且文本经常保留原作者的名字——通过恢复 Gondi 文本和歌手，即使它为 Shyam 提供了家谱中的一席之地。最后，它提出文本对《摩诃婆罗多》的公共记忆的干预产生了一种新的公共领域形式——一种对森林破坏、部落居民的住所和自然资源开采的全新记忆。引入了古老的记忆。因此，这篇文章有助于对图形文本的思考，即使它研究了在后殖民读者中产生不同公共领域的底层生活写作的叙事模式。