Multicultural Comics: From Zap to Blue Beetle

Contents

Contents Foreword; Or Reading within the Gutter Derek Parker Royal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix Multicultural Comics Today: A Brief Introduction Frederick Luis Aldama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 PART I. HISTORY, CONCEPTS, AND METHODS 1. Race and Comix Leonard Rifas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 2. “Authentic” Latinas/os and Queer Characters in Mainstream and Alternative Comics Jonathan Risner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 3. Native American Narratives from Early Art to Graphic Novels: How We See Stories / Ezhi-g’waabamaanaanig Aadizookaanag Margaret Noori. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 4. Liminality and Mestiza Consciousness in Lynda Barry’s One Hundred Demons Melinda L. de Jesús . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 5. Black Nationalism, Bunraku, and Beyond: Articulating Black Heroism through Cultural Fusion and Comics Rebecca Wanzo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 6. Birth of a Nation: Representation, Nationhood, and Graphic Revolution in the Works of D. W. Griffith, DJ Spooky, and Aaron McGruder et al. James Braxton Peterson. . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 7. Lost in Translation: Jessica Abel’s La Perdida, the Bildungsroman, and “That ‘Mexican’ Feel” Patrick L. Hamilton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 VIII CONTENTS 8. Same Difference: Graphic Alterity in the Work of Gene Luen Yang, Adrian Tomine, and Derek Kirk Kim Jared Gardner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 PART II. A MULTICULTURAL COMIC BOOK TOOLBOX 9. “It ain’t John Shaft”: Marvel Gets Multicultural in The Tomb of Dracula Elizabeth Nixon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 10. Invisible Art, Invisible Planes, Invisible People Evan Thomas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 11. Wondrous Capers: The Graphic Novel in India Suhaan Mehta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 12. Chronology, Country, and Consciousness in Wilfred Santiago’s In My Darkest Hour Nicholas Hetrick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 13. Finding Archives/Making Archives: Observations on Conducting Multicultural Comics Research Jenny E. Robb and Rebecca Wanzo . . . . . . . . . . . . . . . . . . . . 202 WORKS CITED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 CONTRIBUTOR NOTES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 ...