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Multicultural Comics
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Multicultural Comics: From Zap to Blue Beetle is the first comprehensive look at comic books by and about race and ethnicity. The thirteen essays tease out for the general reader the nuances of how such multicultural comics skillfully combine visual and verbal elements to tell richly compelling stories that gravitate around issues of race, ethnicity, gender, and sexuality within and outside the U.S. comic book industry. Among the explorations of mainstream and independent comic books are discussions of the work of Adrian Tomine, Grant Morrison, and Jessica Abel as well as Marv Wolfman and Gene Colan’s The Tomb of Dracula; Native American Anishinaabe-related comics; mixed-media forms such as Kerry James Marshall’s comic-book/community performance; DJ Spooky’s visual remix of classic film; the role of comics in India; and race in the early Underground Comix movement. The collection includes a “one-stop shop” for multicultural comic book resources, such as archives, websites, and scholarly books. Each of the essays shows in a systematic, clear, and precise way how multicultural comic books work in and of themselves and also how they are interconnected with a worldwide tradition of comic-book storytelling.

Table of Contents

  1. Cover
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  1. Frontmatter
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  1. Contents
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  1. Foreword; Or Reading Withing the Gutter
  2. pp. ix-xi
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  1. Multicultural Comics Today: A Brief Introduction
  2. pp. 1-25
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  1. Part I: History, Concepts, and Methods
  2. pp. 26-26
  1. Chapter One: Race and Comix
  2. pp. 27-38
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  1. Chapter Two: "Authentic" Latinas/os and Queer Characters in Mainstream and Alternative Comics
  2. pp. 39-54
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  1. Chapter Three: Native American Narratives from Early Art to Graphic Novels
  2. pp. 55-72
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  1. Chapter Four: Liminality and Mestiza Consciousness in Lynda Barry's One Hundred Demons
  2. pp. 73-92
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  1. Chapter Five: Black Nationalism, Bunraku, and Beyond: Articulating Black Heroism through Cultural Fusion and Comics
  2. pp. 93-104
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  1. Chapter Six: Birth of a Nation: Representation, Nationhood, and Graphic Revolution in the Works of D. W. Griffith, DJ Spooky, and Aaron McGruder et al.
  2. pp. 105-119
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  1. Chapter Seven: Lost in Translation: Jessica Abel's La Perdida, the Bildungsroman, and "That 'Mexican' Feel"
  2. pp. 120-131
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  1. Chapter Eight: Same Difference: Graphic Alterity in the Work of Gene Luen Yang, Adrian Tomine, and Derek Kirk Kim
  2. pp. 132-147
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  1. PART II. A Multicultural Comic Book Toolbox
  2. pp. 148-148
  1. Chapter Nine: "It Ain't John Shaft": Marvel Gets Multicultural in The Tomb of Dracula
  2. pp. 149-156
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  1. Chapter Ten: Invisible Art, Invisible Planes, Invisible People
  2. pp. 157-172
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  1. Chapter Eleven: Wondrous Capers: The Graphic Novel in India
  2. pp. 173-188
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  1. Chapter Twelve: Chronology, Country, and Consciousness in Wilfred Santiago's In My Darkest Hour
  2. pp. 189-201
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  1. Chapter Thirteen: Finding Archives/Making Archives: Observations on Conducting Multicultural Comics Research
  2. pp. 202-219
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  1. Works Cited
  2. pp. 221-234
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  1. Contributor Notes
  2. pp. 235-237
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  1. Index
  2. pp. 239-257
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