Cover

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Title Page, Copyright, Dedication

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pp. i-v

Contents

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pp. vi-x

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Acknowledgments

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pp. xi-xiv

Throughout the numerous hibernations and emergences of this book and its different iterations, I have benefited from many and varied support systems, relationships, and critiques. I thank the University of California, who supported my research and writing with humanities...

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Introduction

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pp. 1-16

A period of intense social upheaval and technological innovation, the last thirty to forty years of the twentieth century were notable for the vibrant and fractious struggles of ethnic and racial minorities, women, and the underclass overall. The era gave rise to second- and third-wave...

Literature-Based Image-and-Text Forms

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Peter Najarian’s Illustrated Memoirs: “‘The Terror of Our History’ and a Love That May Redeem It”

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pp. 19-58

“The past,” William Faulkner claimed famously, “is never dead. It’s not even past.” Personal and collective experiences, especially the trauma of genocide, haunt the present moment. In the form of memories, the past may erupt into the present, insinuate itself into consciousness, and destabilize...

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Leslie Marmon Silko’s Photo-Narratives: “A Story Connected with Every Place, Every Object in the Landscape”

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pp. 59-82

Like Peter Najarian, Laguna Pueblo writer-artist Leslie Marmon Silko interweaves text and photographs in the service of self-narration. Rather than focus on historical trauma, however, Silko emphasizes the interpenetration of past and present. In her photo-text autobiographies, Silko...

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Art Spiegelman’s Graphic Memoir, Maus: “One Is Left with What Remains, the Ruins That Are Sifted Over Endlessly”

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pp. 83-112

Chapters 1 and 2 focused on Peter Najarian’s and Leslie Marmon Silko’s innovative incorporation of text and image (in the form of drawings, painting, and photographs) to share an autobiographical narrative in book form. This chapter considers the comics form (in this case, drawings...

Hinge Image-and-Text Forms

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Julie Chen’s Artists’ Books: “The Constant Search for Meaning in the Chattering of Time”

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pp. 115-143

Unlike the hybrid image-text autobiographical narratives of Peter Najarian, Leslie Marmon Silko, and Art Spiegelman, artists’ books may or may not be in the form of conventional Western books. Even so, artists’ books are created fundamentally in relation to the historical structure of...

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Theresa Hak Kyung Cha’s Dictée: “A Series of Metaphors for the Return”

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pp. 144-168

For more than five decades the publication of autobiographical narratives bearing witness to trauma has burgeoned. Anguished stories of surviving political and domestic violence, genocide, colonization, and other forms of physical and psychological abuse abound. Not surprisingly...

Art-Based Image-and-Text Forms

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Carrie Mae Weems’s Photo-(Auto)biographies: “Work That Is Essential to Our Cultural Dialogue”

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pp. 171-195

Photographer Carrie Mae Weems examines in image and text the nature of memory and history, insisting on an intense critique of the wrongs of the past as part of a process of self-formulation. Like the other artists and writers explored in this volume, Weems examines the relation...

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Faith Ringgold’s Story Quilts: “All Things American in America Are about Race”

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pp. 196-213

As we have seen with the work of Carrie Mae Weems, countering racist representations of African Americans has been a substantial post–civil rights project for African American writers and artists. The vigilant process of always contingent and shifting articulation—revising imposed...

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Hachivi Edgar Heap of Birds’s Artwork: “Native Peoples Have Chosen Art as Their Cultural Tool and Weapon”

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pp. 214-228

When visitors to the Fifty-Second International Art Exhibition of the 2007 Venice Biennale arrived at Marco Polo International Airport, they were welcomed by an intriguing billboard (fig. 8.1). The billboard is one part of Cheyenne-Arapaho conceptual-activist artist Hachivi (pronounced...

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Coda: Image-Text Interfaces, Material and Digital

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pp. 229-232

Although images and words have a long history of relationship and writers and artists have always experimented with them, the post–civil rights era in the United States gave rise to a period of particularly intense innovation in autobiographical expression in text and image. The coalescence...

Notes

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pp. 233-246

Bibliography

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pp. 247-258

Index

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pp. 259-265