John Lewis Andrew Aydin Nate Powell Popular Books

John Lewis Andrew Aydin Nate Powell Biography & Facts

The March trilogy is an autobiographical black and white graphic novel trilogy about the Civil rights movement, told through the perspective of civil rights leader and U.S. Congressman John Lewis. The series is written by Lewis and Andrew Aydin, and illustrated and lettered by Nate Powell. The first volume, March: Book One, was published in August 2013, by Top Shelf Productions. and the second volume, March: Book Two, was published in January 2015, with both volumes receiving positive reviews. March: Book Three was published in August 2016 along with a slipcase edition of the March trilogy. Publication history Martin Luther King and the Montgomery Story When John Lewis was 15 years old and living in rural Alabama, 50 miles south of Montgomery, he first heard of Rosa Parks, Martin Luther King Jr., and the Montgomery bus boycott through James Lawson, who was working for the Fellowship of Reconciliation (F.O.R.). Lawson introduced Lewis to Martin Luther King and the Montgomery Story, a 10-cent comic book published by F.O.R. that had a profound impact on Lewis. The comic book demonstrated in clear fashion to Lewis the power of the philosophy and the discipline of nonviolence. Lawson became a mentor to Lewis, and Lewis began attending meetings every Tuesday night with approximately 20 other students from Fisk University, Tennessee State University, Vanderbilt University, and American Baptist College to discuss nonviolent protest, with The Montgomery Story serving as one of their guides. The Montgomery Story would also influence other civil rights activists, including the Greensboro Four. Congressman Lewis and Andrew Aydin Lewis became a U.S. congressman for Georgia's 5th congressional district in 1987. While working on his 2008 reelection campaign, Lewis told his telecommunications and technology policy aide, Andrew Aydin, about The Montgomery Story and its influence.Aydin, who had been reading comics since his grandmother bought him a copy of Uncanny X-Men #317 off a Piggly Wiggly spinner rack when he was eight years old, found a digital copy of the book on the Internet and spent years tracking down an original print copy on eBay. Aydin explains The Montgomery Story's influence on March thus: Once he told me about it, and I connected those dots that a comic book had a meaningful impact on the early days of the Civil Rights Movement, and in particular on young people, it just seemed self-evident. If it had happened before, why couldn't it happen again? I think part of that impulse was born out of a frustration with the way things are in our politics and our culture. The election of Barack Obama seemed like it was opening a huge door, and I think perhaps we put all of our dreams and aspirations on him, and failed to recognize that we too have to rise up, and we too have to make our voices heard. He's one man and can't do it alone, and we did not make Congress, we did not make our state legislators do what we needed them to do to make the society we all imagined in that campaign. And when I look back on it, the Civil Rights Movement was so successful at using non-violence in so many different ways: Birmingham, Montgomery, Selma in particular, the Mississippi Freedom Summer, the Freedom Rides, the March on Washington, all held different aspects, and when you look back at the comic book it was one tactic. It was the way they did it in Montgomery. But what if we took the broader story and showed all of the different tactics. Because what worked in Birmingham and what worked in Montgomery didn't necessarily work in Albany, and there were different reasons. The Sheriffs started adapting. They were moving prisoners out of city jails and putting them in county jails, and things like that, so you couldn't fill them up as fast. And we need to adapt. The tactics, the principles, they still work, but we need to adapt our use of them. And so showing how others had done that and how it had progressed seemed like such a natural way to sort of pursue those ends. Aydin repeatedly suggested that Lewis himself write a comic book. (Lewis had previously written a traditional autobiography, Walking With the Wind: A Memoir of the Movement, co-authored with journalist Michael D'Orso and published in 1998. A national bestseller, that book won the Robert F. Kennedy Book Award, was selected as a New York Times Notable Book of the Year, was included on Newsweek magazine's list of "50 Books For Our Times," and was named Nonfiction Book of the Year by the American Library Association.) Eventually Lewis decided to commit to Aydin's project, on the condition that Aydin write it with him. Aydin, who was in the middle of writing his master's thesis on The Montgomery Story and how it helped inspire protest movements around the world, agreed to the project, which he calls a life-changing moment. Much of Aydin's work on the project was listening to Lewis dictate his life story, anecdotes of which Aydin had often heard Lewis relate to children, parents and others visiting his office, and transcribing it. Illustrator Nate Powell In the early 2010s, illustrator Nate Powell learned that Top Shelf would be publishing March, which Lewis and Aydin had finished writing. A few weeks later, Powell was contacted by Top Shelf co-founder Chris Staros, who suggested he try out for the assignment. Although he already had other projects lined up, Powell sent some demo pages to Lewis and Aydin, and over the course of their subsequent correspondence, they realized that Powell would be well-suited for the job. Although Powell had illustrated stories that were "true to life", such as the 2012 graphic Silence of our Friends, this would be the first time he would depict real-life historical figures, 300 of which Powell estimates are rendered in total in the trilogy. The scene in which Lewis meets Martin Luther King Jr. for the first time was the first page Powell drew for March, and although he found approaching that page difficult, he stated it made subsequent depictions of real-life people easier. Powell's approach was to develop a visual shorthand for each real person he had to draw, in the form of a "master drawing" to act as a reference template for that person's features, one that emphasized the person's skull structure, in lieu of referring constantly to photo reference in the course of the project, so that the characters would not look "too stale or photo-derived". He employed lifestyle and illustration books from the 1950s and 1960s, as well as Google searches, to depict fashion and automobiles of given time periods accurately.The creative team eventually realized that the story required 500–600 pages, and that it should be broken up into volumes. This allowed Powell to give certain sequences the length he needed to render them at a pace he felt they required, in particular scenes of anxiety or tension. The scene in which Lewis wakes up and prepares to attend the Obama inauguration, for example, was expanded from two .... 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