In the author’s afterword, Bunjevac dedicates the graphic narrative “to all forgotten and nameless victims of sexual violence.” This situates the comic as one directly confronting the violence of sexual trauma and a traumatic past-one of the nameless victims at the center of the story is Bunjevac herself. The process of naming is a political one, bound by power dynamics and structures. What does it mean to be nameless? To be without a name is, in large part, to exist without identity, agency, or power. īezimena is a complex story to digest, both on the narrative and visual level. frozen pictures that suggest carefully posed selfies”. Visually, however, Bezimena’s style echoes its direct predecessor Fatherland, with a strikingly haunting and realistic stippled technique that “resembles woodcuts or intaglio. Thematically, Bezimena is more akin to Heartless, her collection of comics dealing largely with female sexuality and sexual assault, in comparison to Fatherland’s focus on complex family histories. In her comics, Bunjevac explores contentious and harrowing topics and brings them out from under the shadows and into the public. Bezimena is her third publication and won the Artemisia prize in the category of best drawing at the Angoulême International Comics Festival in 2019. Her second comic, Fatherland (2014), propelled her into the spotlight and earned her a spot on the New York Times best-seller lists. Nina Bunjevac is a Canadian-born artist, who was primarily raised in the former Yugoslavia but returned to Canada at the start of the Yugoslav wars in the early 1990s. Bezimena by Nina Bunjevac.Photo courtesy of Fantagraphics.