comic strip about reproductive system
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I am an author-illustrator of educational graphic novels and cartoon-based resources about the natural world, and a conservation biologist. My main focus is climate change. Several of my books, as well as some free resources, are available for download here.
An original resource for biology teachers, this funny yet educational comic strip teaches about the mating strategy of the Greater Rhea, a species found in central and southern South America.
Extracted from the comic bookFables of the Amazon: Fun Lessons in Ecology, the story is presented in classic comic strip format as a fable framed within a natural history lesson.
As with the original book, the story is drawn from the personal field studies of the author.
I am an author-illustrator of educational graphic novels and cartoon-based resources about the natural world, and a conservation biologist. My main focus is climate change. Several of my books, as well as some free resources, are available for download here.
There is a common story about human reproduction that circulates in Western culture. Two (middle- to upper-class, white) people meet, they fall in love, they get married, they have (heterosexual) sex, and then, after a glowing nine months of pregnancy full of ice cream and pickles, a (cisgender) woman has a (healthy, typical-bodied, full-term) baby, maybe two. Maybe two and a half. You know the rest: picket fence, bliss, happy endings, school, college, wedding, grandkids on a porch somewhere, everybody drinking lemonade in glasses tinkling with ice.
To call this narrative a “myth” is an understatement, of course, not only because it’s reproduced in nearly every form of media one can imagine, but also because few people have this type of experience with conception, pregnancy, birth, and raising children. A lesbian couple uses donor sperm and conceives via intrauterine insemination. A father spends the first few months of his son’s life in the neonatal intensive care unit, anxiously monitoring the vital signs of a tiny human who beeps instead of coos. A single woman gives birth to a baby who dies shortly after birth. A heterosexual couple enters the chutes and ladders of fertility treatment, only to find their way to a dead end. After an uneventful first trimester, a pregnant woman experiences a bad bleed in her second and spends the rest of her pregnancy on bed rest. A gay couple uses in vitro fertilization and a gestational surrogate, who gives birth to twins. A woman spends the first months of her daughter’s life in a deep depression. These experiences and many others are not aleatory events that somehow prove the rule of “normal” conception, pregnancy, and birth. Nor do they mark the ways that experiences of conception, pregnancy, and birth are changing in response to social, cultural, medical, and technological changes. They are simply examples of how varied and complex the experience of human reproduction is and has always been. Human reproduction is at once an utterly singular experience and utterly banal: after all, it’s happened billions and billions of times.
In humanities books about this subject, this is the point where authors position themselves in the text, drawing on decades of feminist arguments about the role of the personal and private in political and public life and offering a powerful illustration of these arguments. So this is the point where I must note that I do not have any children. And yet while I do not have children, I have quite a bit of experience with reproduction—or at least the attempt at it. I tried to get pregnant for seven years before finally calling it quits, and I went through just about every possible route to get there.
At some point during this multiyear process, I started keeping an illustrated journal about my experiences, which eventually became the comic Present / Perfect. I’m not sure why I started drawing comics about my failed attempts to reproduce, but as I’ve been working on this book, I discovered why I kept drawing them. To put it bluntly: I’ve never felt more like a body than I did while undergoing fertility treatment. Constantly monitoring and dutifully reporting my bodily processes day after day, month after month, year after year; getting injected, swabbed, poked, prodded, and measured both quantitatively (“this follicle is 3.5”) and qualitatively (“your lining is beautiful!”); undergoing invasive procedures and regularly looking at and thinking about my insides (usually with a group of people in the room): when trying to conceive, I was a (female) body first, and, most important, I was a body that didn’t work the way I “should.” After returning from yet another visit to the gynecologist, reproductive endocrinologist, or obstetrician, there was something thrilling about taking the instruments of representation into my own hands. In the pluripotent space of the comic panel, I had the power to represent not only my body and my experiences, but also my doctors, nurses, friends, and husband. Confronted daily by a pronatalist world that reminded me how abnormal I was, in the constant din of infertility testing and treatment—and then during my pregnancy and the grief that followed its loss—my pencils, pens, paints, and paper offered a quiet place to work out what was happening to me with some measure of critical distance.
French surgeon René Leriche once described health as life lived “in the silence of the organs.” Yet as Michel Foucault famously explains in Birth of the Clinic, medicine is not just an aural art but a visual one, and the two arts are intimately intertwined. The doctor’s silent observation is transubstantiated as speech; clinical observation, Foucault writes, “has the paradoxical ability to hear a language as soon as it perceives a spectacle.” Moreover, the “[precarious] balance between speech and spectacle” underlying medical practice and the scientific impulse to carry this balance forward to create knowledge about the body demand that speech and sight be translated into images.
For a low set in 6th grade to introduce fertilization. We watched a fertilization video and then they had to complete a comic strip for other 6th graders showing the stages of fertilization. Finished by peer reviewing work at the end. Could be done witho
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