Some artists, as a result, have taken up a strategy of resistance, among them Milton Knight, adapter of Hurston's "Poker!" here, who calls himself America's Last Untamed Cartoonist. He names as influences decades of cartoonists and animators, among them Will Eisner, Bob Clampett, the Fleischer Studios (Popeye and Betty Boop), and even Chinese woodblock art. As an African-American illustrating a 1931 African-American text with a jazz-age style, he seems a perfect choice.
Seth Tobocman, adapter of Frederick Douglass's "Message from Mount Misery," which refers to the name of the plantation where Douglass was sent to be tortured (and which is now owned, ironically enough, by Donald Rumsfeld), is white. Still, his radical politics -- among his books are You Don't Have to Fuck People Over to Survive and Disaster and Resistance -- resonate with those of Douglass, who once compared those who wanted progress without struggle to "Men who want crops without plowing the ground. They want rain without thunder and lightning. They want the ocean without the roar of its mighty waters."
So how do each of these adaptations play out, not only with the contents of their respective texts, but with the way they've adapted them to contemporary readers? Your thoughts below.