Peter Kuper’s remarkable new book, Insectopolis: A Natural History, is a graphic novel/infographic/wild fantasy ride into the secret world of insects and how that world intersects with ours. In other words, it is a thing like we have never seen before, in kind and magnitude. Kuper uses the format of the graphic novel, of which he is a past master (Ruins, Metamorphosis, etc.) to do something quite different: to tell a layered story about insects touring the New York Public Library, explaining the world of humans to their children and to us. It is upon this very clever tree that he hangs richly detailed ornamentation: a trove of information, offering the reader (especially kids) many doors through which their imaginations may travel, while alerting us all to the massive sixth extinction event we are presently in. Every page and spread of this gorgeous book is meticulously rendered, resulting in a deep and intense reader engagement. It is all the result of a year left very much alone at the library, under the aegis of a Cullman Fellowship, while the rest of the world was in lockdown. I recently discussed this project with Peter.

SB: Can you remember your first encounter with the insect world that fascinated you?

PK: It was 1963 in Millburn, New Jersey, I was four. In our backyard the trees were covered with cicadas—I later learned this was brood 11 emerging after 17 years underground. I’m sure many people’s reaction would’ve been to run screaming, for me it was pure fascination. I was hooked like they were a drug!

SB: What would you say the differences in how you perceive them are now?

PK: The only difference is I no longer collect insects. Now I read up, take pictures or draw them and enjoy just staring at them as they climb the trees and flutter around.

SB: What connection do you think the rest of us may be missing?

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In the case of cicadas, learning that they burrow underground for 17 years, and remain awake the entire time (not in hibernation), and their connection to the outside world is through the root of a tree. Something, perhaps, in the pH of the tree root that they are feeding on, informs them exactly when 17 years has passed along with a specific temperature change (64 degrees). So, they all know to emerge at the same time by the millions. If that’s not enough wonder and mystery that we have yet to understand completely, then we’re missing one of the many miracles this planet has to offer us. It may also give us clues to greater connections happening in nature that may include us but are currently beyond our comprehension.

SB: You worked alone in the NYPL for a year. Was there something surprising that you learned about the creative process in a world, seemingly, without time or research constraints?

Being in the library during Covid with the entire place closed to the public, I felt like I was in a haunted house. Happily, what was haunting the place was all the entomologists and naturalists from the past who had left remarkable treasures that I had the time and opportunity to excavate. I approached Insectopolis in a completely different way than I had my other graphic novels. I would start to draw a page or two as I did research but not plan where it was going beyond those pages. Instead of planning everything out in advance, I kept myself open to where I might be led by these ghosts. They were all very helpful!

SB: Did the creative process here trigger ideas for future projects?

I enjoyed working on Insectopolis so much that I was able to continue on that path by producing two companion books that are also coloring books. One, called Monarch’s Journey, comprises pen-and ink-drawings that follow the monarch’s migration from Canada to Mexico in 48 pages. The other, Coloring Insectopolis, is a 128-page book made up of the pen-and-ink drawings I did for the graphic novel, along with some additional art and information so it functions as a stand-alone book. The graphic novel Insectopolis I created for an adult audience; the other two are something readers of all ages can engage with directly with colored pencils or crayons.

Following these books will be one called Wish We Weren’t Here, arriving in the fall, that is a collection of my wordless environmental comics. It includes a number that have appeared in The Nation as well as Opp Art. I’m anxious to talk about climate change as much as possible now, especially while we’re seeing the government expunge the word from all their websites. Call me old fashion, but I believe existential threats should be addressed.

SB: What are some important different things we can do right now to save the larger habitat and increase awareness of key parts of the ecosystem?

One of the things I hope to accomplish with Insectopolis is for readers who are not big enthusiasts of insects to recognize how hugely important they are in our day-to-day life and for the sustenance of our planet. Without pollinators, we wouldn’t have chocolate or coffee, and grocery store shelves would be mostly empty. People can start by not killing insects every time they see them (maybe just help them out the door). Also placing a flower on your windowsill or planting garden if you have that opportunity, to provide food and shelter for pollinators and other insects. Very importantly, people can also stop using pesticides on every insect they see, and if they have a lawn, they can leave a section of it unmown to create a habitat for our tiny friends.