Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-586b7cd67f-gb8f7 Total loading time: 0 Render date: 2024-11-21T01:05:04.861Z Has data issue: false hasContentIssue false

Part II - Graphic Novels and the Quest for an American Diversity

Published online by Cambridge University Press:  10 January 2024

Edited by
Jan Baetens ,
Hugo Frey  and
Fabrice Leroy
Jan Baetens
Affiliation:
KU Leuven, Belgium
Hugo Frey
Affiliation:
University of Chichester
Fabrice Leroy
Affiliation:
University of Louisiana at Lafayette
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
The Cambridge Companion to the American Graphic Novel , pp. 175 - 290
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References and Selected Further Readings

Baskind, S., and Omer-Sherman, R., eds. (2010). The Jewish Graphic Novel: Critical Approaches. New Brunswick, NJ: Rutgers University Press.Google Scholar
Benson, J. (2011 [1968]). Having Something to Say. In Inge, M. T., ed., Will Eisner: Conversations. Jackson: University Press of Mississippi, pp. 8–23.Google Scholar
Bergdoll, A. (2007 [1979]). Art Spiegelman. In Witek, J., ed., Art Spiegelman: Conversations. Jackson: University Press of Mississippi, pp. 3–19.Google Scholar
Chast, R. (2019). Can’t We Talk about Something More Pleasant? New York: Bloomsbury.Google Scholar
Chute, H. (2022). Introduction: Maus Now. In Chute, H., ed., Maus Now: Selected Writing. New York: Pantheon, pp. 1–20.Google Scholar
Dauber, J. (2022). American Comics: A History. New York: W. W. Norton.Google Scholar
Eisner, W. (1989). A Life Force. Princeton, WI: Kitchen Sink Press.Google Scholar
Eisner, W. (1991). To the Heart of the Storm. Princeton, WI: Kitchen Sink Press.Google Scholar
Eisner, W. (2006a). A Contract with God. In The Contract with God Trilogy: Life on Dropsie Avenue. New York: W. W. Norton, pp. 3–62.Google Scholar
Eisner, W. (2006b). Preface. In The Contract with God Trilogy: Life on Dropsie Avenue. New York: W. W. Norton, pp. xiii–xx.Google Scholar
Eisner, W. (2008a [1986]). The Dreamer. New York: W. W. Norton.Google Scholar
Eisner, W. (2008b). Graphic Storytelling and Visual Narrative: Principles and Practices from the Legendary Cartoonist. New York: W. W. Norton.Google Scholar
Fingeroth, D. (2011 [2003]). The Spirit of Comics! The Will Eisner Interview. In Inge, M. T., ed., Will Eisner: Conversations. Jackson: University Press of Mississippi, pp. 205–219.Google Scholar
Hirsch, M. (1992–1993). Family Pictures: Maus, Mourning, and Post-Memory. Discourse 15(2), 3–29.Google Scholar
Inge, M. T. (2011). Chronology. In Inge, M. T., ed., Will Eisner: Conversations. Jackson: University Press of Mississippi, pp. xv–xviii.Google Scholar
Jewish Americans in 2020. (2021). Pew Research Center, Washington, DC (May 11). www.pewresearch.org/religion/2021/05/11/jewish-americans-in-2020/.Google Scholar
Krimstein, K. (2021). When I Grow Up: The Lost Autobiographies of Six Yiddish Teenagers. New York: Bloomsbury.Google Scholar
Levitz, P. (2015). Will Eisner: Champion of the Graphic Novel. New York: Abrams.Google Scholar
Limonic, L., and Oksman, T. (2021). Introduction: Contemplating Death. Shofar 39(1), 1–20.CrossRefGoogle Scholar
Magida, A. J. (2006). I Was like a Spy. Like a Closet Jew. In Opening the Doors of Wonder: Reflections on Religious Rites of Passage. Berkeley: University of California Press, pp. 112–119.Google Scholar
McCloud, S. (2017). Introduction to the Centennial Edition. In A Contract with God and Other Stories. 100 Centennial Edition. New York: W. W. Norton, pp. ix–xiv.Google Scholar
Oksman, T. (2016). “How Come Boys Get to Keep Their Noses?”: Women and Jewish American Identity in Contemporary Graphic Memoirs. New York: Columbia University Press.Google Scholar
Oksman, T. (2021a). Graphic Novel. In Fawaz, R., Streeby, S., and Whaley, D. E., eds., Keywords for Comics Studies. New York: New York University Press, pp. 118–121.Google Scholar
Oksman, T. (2021b). Jewish Women’s Comics and Graphic Narratives. In The Shalvi/Hyman Encyclopedia of Jewish Women, Jewish Women’s Archive, Brookline, MA. https://jwa.org/encyclopedia/article/comics-and-graphic-narratives.Google Scholar
Radsken, J. (2017). Fathers, Killers, God, and “Maus.” The Harvard Gazette (September 29). https://news.harvard.edu/gazette/story/2017/09/maus-author-art-spiegelman-talks-art-and-existence-at-harvard.Google Scholar
Royal, D. P., ed. (2016). Visualizing Jewish Narrative: Jewish Comics and Graphic Novels. London: Bloomsbury.Google Scholar
Samuels, D. (2013). Q&A with Art Spiegelman, Creator of “Maus.” Tablet (November 12). www.tabletmag.com/sections/arts-letters/articles/art-spiegelman-jewish-museum.Google Scholar
Schumacher, M. (2010). Will Eisner: A Dreamer’s Life in Comics. New York: Bloomsbury.Google Scholar
Silverblatt, M. (2011 [1992]). The Cultural Relief of Art Spiegelman: A Conversation with Michael Silverblatt. In Inge, M. T., ed., Will Eisner: Conversations. Jackson: University Press of Mississippi, pp. 126–135.Google Scholar
Spiegelman, A. (2004). In the Shadow of No Towers. New York: Pantheon.Google Scholar
Spiegelman, A. (2008). Breakdowns: Portrait of the Artist as a Young %@&*! New York: Pantheon.Google Scholar
Spiegelman, A. (2011a). The Complete Maus: A Survivor’s Tale. New York: Pantheon.Google Scholar
Spiegelman, A. (2011b). MetaMaus. New York: Pantheon.Google Scholar
Vick, K. (2022). “They’re Authoritarians, Dammit!” Art Spiegelman on the School Board That Cancelled Maus. Time (February 11). https://time.com/6147033/art-spiegelman-maus-tennessee-school-board-interview/.Google Scholar
Weschler, L. (2007 [1986]). Art’s Father, Vladek’s Son. In Witek, J., ed., Art Spiegelman: Conversations. Jackson: University Press of Mississippi, pp. 68–83.Google Scholar
Wiater, S., and Bisette, S. R. (2011 [1993]). Will Eisner: The Old Man on the Mountain. In Inge, M. T., ed., Will Eisner: Conversations. Jackson: University Press of Mississippi, pp. 121–130.Google Scholar
Yronwode, C. (2011 [1978]). Will Eisner Interview. Republished in Inge, M. T., ed., Will Eisner: Conversations. Jackson: University Press of Mississippi, pp. 47–78.Google Scholar

References

Al-Saji, A. (2019). Glued to the Image: A Critical Phenomenology of Racialization through Works of Art. The Journal of Aesthetics and Art Criticism, 77(4), 475–488.Google Scholar
Baker, K. (2008). Nat Turner. New York: Harry N. Abrams.Google Scholar
Brand, D. (2001). A Map to the Door of No Return: Notes to Belonging. Toronto: Vintage Canada.Google Scholar
Campt, T. (2021). A Black Gaze: Artists Changing How We See. Cambridge, MA: MIT Press.Google Scholar
Crawford, M. N. (2011). Black Aesthetics Unbound. Journal of Contemporary African Art, 29, 8–21.CrossRefGoogle Scholar
Eisner, W. (2008). Comics and Sequential Art: Principles and Practices from the Legendary Cartoonist. New York: W. W. Norton.Google Scholar
Flowers, A., Chitrakar, M., and Rossi, G. (2010). I See the Promised Land: A Life of Martin Luther King, Jr. Chennai: Tara Books.Google Scholar
Franklin, T., St-Onge, J., and San, J. (2018). Bingo Love. Portland, OR: Image Comics.Google Scholar
Gateward, F., and Jennings, J. (2015). Introduction. In Gateward, F. and Jennings, J., eds., The Blacker the Ink: Constructions of Black Identity in Comics and Sequential Art. New Brunswick, NJ: Rutgers University Press, pp. 1–18.Google Scholar
Gayle, A., Jr., ed. (1971). The Black Aesthetic. Garden City, NY: Doubleday & Company.Google Scholar
Gill, J. C. (2021). Tales of Talented Tenth: Robert Smalls. Chicago: Chicago Review Press.Google Scholar
Goldstein, N. (2008). Jackie Ormes: The First African American Woman Cartoonist. Ann Arbor: University of Michigan Press.Google Scholar
Hatfield, C. (2005). Alternative Comics: An Emerging Literature. Jackson: University Press of Mississippi.Google Scholar
Hooks, B. (2015). The Oppositional Gaze: Black Female Spectators. In b. hooks, Black Looks: Race and Representation. New York: Routledge, pp. 115–131.Google Scholar
Howard, S. C., and Jackson, R. L., II. (2013). Introduction. In Howard, S. C. and Jackson, R. L. II, eds., Black Comics: Politics of Race and Representation. London: Bloomsbury.Google Scholar
Johnson, C. (1997). Foreword: A Capsule History of Blacks in Comics. In Laird, R., Laird, T. N., and Bey, E. A., eds., Still I Rise: A Graphic History of African Americans. New York: Sterling Publishing, pp. viii–xviii.Google Scholar
Johnson, C. (2003). Foreword. In F. Strömberg, Black Images in the Comics: A Visual History. Seattle, WA: Fantagraphics, pp. 6–19.Google Scholar
Karasik, P., and Newgarden, M. (2017). How to Read Nancy: The Elements of Comics in Three Easy Panels. Seattle, WA: Fantagraphics.Google Scholar
Love, J., and Morgan, P. (2009). Bayou: Volume 1. New York: DC Comics.Google Scholar
McKinney, L. L., and Smith, R. (2021). Nubia: Real One. Burbank, CA: DC Comics.Google Scholar
Neal, L. (1968). The Black Arts Movement. Drama Review, 12(4), 28–39.Google Scholar
Onli, T. (2010). Black Age of Comics. In Duffy, D. and Jennings, J., eds., Black Comix: African American Independent Comics Art and Culture. Brooklyn, NY: Mark Batty, pp. 104–106.Google Scholar
Wanzo, R. (2020). The Content of Our Caricature: African American Comic Art and Political Belonging. New York: New York University Press.CrossRefGoogle Scholar

References

Anderson, H. C. (2003). King: A Comics Biography of Martin Luther King, Jr. Seattle, WA: Fantagraphics.Google Scholar
Baker, K. (2003). Truth: Red, White and Black, with R. Morales. New York: Marvel Comics.Google Scholar
Baker, K. (2004). Birth of a Nation, with A. McGruder and R. Hudlin. New York: Crown.Google Scholar
Baker, K. (2008). Nat Turner. New York: Abrams.Google Scholar
Butler, O. (1979). Kindred. New York: Doubleday.Google Scholar
Du Bois, W. E. B. (2006 [1897]). The Conservation of Races, reprinted in Raisons Politiques, 21(1), 117–130.Google Scholar
Gay, R., and Oliver, T. L. (2020). The Sacrifice of Darkness, with R. Kirby and J. Fenner. New York: Archaia.Google Scholar
Hartman, S. V. (1997). Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America. Oxford: Oxford University Press.Google Scholar
Hartman, S. V. (2008). Venus in Two Acts. Small Axe, 26, 1–14.Google Scholar
Ibrahim, H. (2021). Black Age: Oceanic Lifespans and the Time of Black Life. New York: New York University Press.Google Scholar
Jennings, J., and Duffy, D. (2017). Kindred: A Graphic Adaptation. New York: Abrams.Google Scholar
Johnson, M. (2008). Incognegro: A Graphic Mystery, with W. Pleece. New York: Vertigo.Google Scholar
Knight, K. (2015). They Shoot Black People, Don’t They? Keith Knight Press.Google Scholar
Lewis, J. (2021). Run: Book One, with A. Aydin, N. Powell, and L. Fury. New York: Abrams.Google Scholar
Love, J. Bayou. (2009). New York: DC Comics.Google Scholar
Morrison, T. (2019). The Source of Self-Regard: Selected Essays, Speeches, and Meditations. New York: Vintage.Google Scholar
Obuobi, S. (2022). On Rotation. New York: Avon.Google Scholar
Obuobi, S. Shirlywhirl, M.D. https://shirlywhirlmd.com.Google Scholar
Sharpe, C. (2016). In the Wake: On Blackness and Being. Durham, NC: Duke University Press.Google Scholar
Spillers, H. J. (2003). Mama’s Baby, Papa’s Maybe: An American Grammar Book. In Black, White, and In Color: Essays on American Literature. Chicago: University of Chicago Press, pp. 203–229.Google Scholar
Wanzo, R. (2020). The Content of our Caricature: African American Comic Art and Political Belonging. New York: New York University Press.Google Scholar

References

Abe, F., and Nomura, T. (authors), Ishikawa, R., and Sasaki, M. (illustrators). (2021). We Hereby Refuse: Japanese American Resistance to Wartime Incarceration. Seattle, WA: Chin Music Press.Google Scholar
Barry, L. (2008). What It Is. Montreal: Drawn & Quarterly.Google Scholar
Barry, L. (2010). Picture This. Montreal: Drawn & Quarterly.Google Scholar
Barry, L. (2017). One Hundred Demons. Montreal: Drawn & Quarterly.Google Scholar
Barry, L. (2019). Making Comics. Montreal: Drawn & Quarterly.Google Scholar
Bataclan, B. (2020). Fe: A Traumatized Son’s Graphic Memoir. San Francisco, CA: Philippine American Writers & Artists.Google Scholar
Beaty, B., and Woo, B. (2016). The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comics Books. New York: Palgrave Macmillan.Google Scholar
Bui, T. (2018). The Best We Could Do: An Illustrated Memoir. New York: Abrams ComicArts.Google Scholar
Burns, C. (1998). Black Hole. New York: Pantheon. Reprint.Google Scholar
Cadden, M. (2014). “But You Are Still a Monkey”: American Born Chinese and Racial Self-Acceptance. The Looking Glass: New Perspectives on Children’s Literature, 17(2), n.p.Google Scholar
Chan, S. (1991). Asian Americans: An Interpretive History. New York: Twayne Publishers.Google Scholar
Chiu, M., ed. (2015). Drawing New Color Lines: Transnational Asian American Graphic Narratives. Hong Kong: Hong Kong University Press.Google Scholar
Chiu, M. (2018). Who Needs a Chinese American Superhero? Gene LuenYang and Sonny Liew’s The Shadow Hero as Asian American Historiography. In Cutter, M. J. and Schlund-Vials, C. J., eds., Redrawing the Historical Past: History, Memory, and Multiethnic Graphic Novels. Athens: University of Georgia Press, pp. 87–105.Google Scholar
Chiu, M., and Roan, J. (2019). Defining Asian American Graphic Narrative. In Lee, J. and Cheung, F., eds., The Oxford Encyclopedia of Asian American and Pacific Islander Literature and Culture. Oxford: Oxford University Press. Web.Google Scholar
Choy, P. P., Dong, L., and Hom, M. K., eds. (1995). The Coming Man: 19th Century American Perceptions of the Chinese. Seattle: University of Washington Press.Google Scholar
Clowes, D. (1997). Ghost World. Seattle, WA: Fantagraphics.Google Scholar
de Jesús, M. L. (2004). Liminality and Mestiza Consciousness in Lynda Barry’s One Hundred Demons, MELUS, 29(1), 219–252.CrossRefGoogle Scholar
El Rassi, T. (2007). Arab in America. San Francisco, CA: Last Gasp.Google Scholar
Gharib, M. (2019). I Was Their American Dream. New York: Crown Publishing.Google Scholar
Ho, J. (2018). The Productive Pedagogy of Ambiguity in Lynda Barry’s One Hundred Demons. In Mathison, Y., ed., Growing Up Asian American in Young Adult Fiction. Jackson: University Press of Mississippi, pp. 63–78.Google Scholar
Hughes, K. (2020). Displacement. New York: First Second.Google Scholar
Kiyama, H. Y., and Schodt, F. L. (trans.) (1999 [1931]). The Four Immigrants Manga: A Japanese Experience in San Francisco, 1904–1924. Berkeley, CA: Stone Bridge Press.Google Scholar
Køhlert, F. B. (2019). Serial Selves: Identity and Representation in Autobiographical Comics. Newark, NJ: Rutgers University Press.Google Scholar
Lee, E. (2016). The Making of Asian America: A History. New York: Simon & Schuster.Google Scholar
Lowe, L. (1996). Immigrant Acts: On Asian American Cultural Politics. Durham, NC: Duke University Press.Google Scholar
Mapa, L. T. (2017). Duran Duran, Imelda Marcos and Me. Wolfville: Conundrum Press.Google Scholar
Matsuoka, J. (2003). Poston: Camp II, Block 21: Daily Life in an Internment Camp. San Mateo, CA: AACP.Google Scholar
Nguyen, M. T. (2012). The Gift of Freedom: War, Debt, and Other Refugee Passages. Durham, NC: Duke University Press.Google Scholar
Nguyen, T. L. (2020). The Magic Fish. New York: Random House Graphic.Google Scholar
Nguyen, V. T. (2002). Race and Resistance: Literature and Politics in Asian America. New York: Oxford University Press.Google Scholar
Song, M. H. (2010). How Good It Is to Be a Monkey: Comics, Racial Formation, and American Born Chinese. Mosaic: An Interdisciplinary Critical Journal, 43(1), 73–92.Google Scholar
Takei, G. (author), Becker, H. (illustrator), et al. (2019). They Called Us Enemy. Marietta, GA: Top Shelf.Google Scholar
Tomine, A. (1998). Sleepwalk and Other Stories. Montreal: Drawn & Quarterly.Google Scholar
Tomine, A. (2003). Summer Blonde. Montreal: Drawn & Quarterly.Google Scholar
Tomine, A. (2007). Shortcomings. Montreal: Drawn & Quarterly.Google Scholar
Tomine, A. (2015). Killing and Dying. Montreal: Drawn & Quarterly.Google Scholar
Tomine, A. (2020). The Loneliness of the Long-Distance Cartoonist. Montreal: Drawn & Quarterly.Google Scholar
Tran, G. B. (2011). Vietnamerica: A Family’s Journey. Vancouver: Villard.Google Scholar
Troung, M. (2016). Such a Lovely Little War: Saigon 1961–1963, trans. D. Homel. Vancouver: Arsenal Pulp.Google Scholar
Troung, M. (2017). Saigon Calling: London 1963–1975, trans. D. Homel. Vancouver: Arsenal Pulp.Google Scholar
Wong, D. H. T. (2012). Escape to Gold Mountain: A Graphic History of the Chinese in North America. Vancouver: Arsenal Pulp.Google Scholar
Yang, G. L. (2006). American Born Chinese. New York: First Second.Google Scholar
Yang, G. L. (author), and Gurihiru, (artist). (2020). Superman Smashes the Klan. New York: DC Comics.Google Scholar
Yang, G. L. (author), and Liew, S. (artist). (2014). The Shadow Hero. New York: First Second.Google Scholar
Yang, G. L. (author and artist), and Pien, L. (colorist). (2021). Dragon Hoops. New York: First Second.Google Scholar

References

Alcaraz, L., and Stavans, I. (2012 [2000]). Latino USA. New York: Basic Books.Google Scholar
Alcaraz, L., and Stavans, I. (2014). A Most Imperfect Union New York: Basic Books.Google Scholar
Aldama, F. L. (2006). Spilling the Beans in Chicanolandia: Conversations with Writers and Artists. Austin: University of Texas Press.Google Scholar
Aldama, F. L. (2009). Your Brain on Latino Comics: From Gus Arriola to Los Bros Hernandez. Austin: University of Texas Press.Google Scholar
Aldama, F. L. (2016). Latinx Comic Book Storytelling: An Odyssey by Interview. San Diego: San Diego State University Press.Google Scholar
Aldama, F. L., and González, C. (2016). Graphic Borders: Latino Comic Books Past, Present, and Future. Austin: University of Texas Press.Google Scholar
Ferris, E. (2017). My Favorite Thing Is Monsters. Seattle, WA: Fantagraphics.Google Scholar
García, E. (2017). The Brothers Hernandez: Love, Rockets, and Alternative Comics. Pittsburgh, PA: University of Pittsburgh Press.Google Scholar
García, S. (2015). On the Graphic Novel, trans. B. Campbell. Jackson: University Press of Mississippi.Google Scholar
González, C., and Parker Royal, D., eds. (2013). Worlds of the Hernandez Brothers (special issue). ImageTexT: Interdisciplinary Comic Studies, 7(1). https://imagetextjournal.com/category/volume-7-issue-1-worlds-of-the-hernandez-brothers/.Google Scholar
Groth, G. (1982). Introduction. Love and Rockets #2. https://read-comic-online.com/love-and-rockets-1982-issue-2/.Google Scholar
Hatfield, C. (2005). Alternative Comics: An Emerging Literature. Jackson: University Press of Mississippi.Google Scholar
Hernandez, G. (1987). Human Diastrophism. Love and Rockets #21 (July 1).Google Scholar
Hernandez, J. (2011). The Love Bunglers. Seattle, WA: Fantagraphics.Google Scholar
L’Hoeste, H. (2017). Lalo Alcaraz: Political Cartooning in the Latino Community. Jackson: University Press of Mississippi.Google Scholar
Lockpez, I., and Haspiel, D. (2010). Cuba My Revolution. New York: Vertigo.Google Scholar
Sáez de Adana, F., and Catalá, J. (2021). CAMINO REAL: Estudios de las Hispanidades Norteamericanas, 13(16) (May). https://institutofranklin.net/en/publications/camino-real/camino-real-16.Google Scholar
Santiago, W. (2011). 21: The Story of Roberto Clemente. Seattle, WA: Fantagraphics.Google Scholar
Santos, J. (2019). Graphic Memories of the Civil Rights Movement. Austin: University of Texas Press.Google Scholar

References

Abate, M. A. (2017). “Springtime in the South is like a Song in My Heart”: Raina Telgemeier’s Drama, the Romanticization of the Plantation South, and the Romance Plot. Children’s Literature in Education, 48(4) (December), 355–377.Google Scholar
Af Venable, C., and Crenshaw, E. T. (2019). Kiss Number 8. New York: First Second.Google Scholar
Armstrong, J. B. (2018). Stuck Rubber Baby and the Intersections of Civil Rights Historical Memory. In Martha J. Cutter, and Cathy J. Schlund-Vials, , eds., Redrawing the Historical Past: History, Memory, and Multiethnic Graphic Novels. Athens: University of Georgia Press, pp. 106–128.Google Scholar
Bauer, H. (2015). Comics, Graphic Narratives, and Lesbian Lives. In Medd, J., ed., The Cambridge Companion to Lesbian Literature. New York: Cambridge University Press, pp. 219–235.Google Scholar
Bechdel, A. (2006). Fun Home: A Family Tragicomic. Boston: Mariner Books.Google Scholar
Bechdel, A. (2012). Are You My Mother? A Comic Drama. Boston: Mariner Books.Google Scholar
Bechdel, A. (2021). The Secret to Superhuman Strength. Boston: Houghton Mifflin Harcourt.Google Scholar
Berland, E. (2017). The Drama of Coming Out: Censorship and Drama by Raina Telgemeier. In Abate, Michelle Ann and Tarbox, Gwen Athene, eds., Graphic Novels for Children and Young Adults: A Collection of Critical Essays. Jackson: University Press of Mississippi, pp. 205–217.Google Scholar
Chute, H. (2010). Graphic Women: Life Narrative and Contemporary Comics. New York: Columbia University Press.Google Scholar
Chute, H. (2017). Why Comics? From Underground to Everywhere. New York: HarperCollins.Google Scholar
Cruse, H. (2020). Stuck Rubber Baby: 25th Anniversary Edition. Introduction by Alison Bechdel. New York: First Second.Google Scholar
Dean-Ruzicka, R. (2017). “What the Junk?” Defeating the Velociraptor in the Outhouse with the Lumberjanes. In Abate, Michelle Ann and Tarbox, Gwen Athene, eds., Graphic Novels for Children and Young Adults: A Collection of Critical Essays. Jackson: University Press of Mississippi, pp. 218–232.Google Scholar
Delany, S. R. (1999). Bread and Wine: An Erotic Tale of New York. New York: Juno Books.Google Scholar
Denson, A. (2006). Tough Love: High School Confidential. San Francisco, CA: Manic D. Press.Google Scholar
Donahue, J. J. (2020). I’m Not a Kid. I’m a Shark!: Identity Fluidity in Noelle Stevenson’s Young-Adult Graphic Novel. In Aldama, Frederick Luis, ed., The Oxford Handbook of Comic Book Studies. New York: Oxford University Press, pp. 455–470.Google Scholar
Edwards, D. (2012). Transposes. Foreword by Alison Bechdel. Seattle, WA: Northwest Press.Google Scholar
Eveleth, K. (2019). Striking Camp: Empowerment and Re-Presentation in Lumberjanes. In Kidd, Kenneth B. and Mason, Derritt, eds., Queer as Camp: Essays on Summer, Style, and Sexuality. New York: Fordham University Press, pp. 188–201.Google Scholar
Fake, E. (2010). Gaylord Phoenix. Cooperstown, NY: Secret Acres.Google Scholar
Fawaz, R. (2016). The New Mutants: Superheroes and the Radical Imagination of American Comics. New York: New York University Press.Google Scholar
Fawaz, R. (2017). Stripped to the Bone: Sequencing Queerness in the Comic Strip Work of Joe Brainard and David Wojnarowicz. ASAP/Journal, 2(2) (May), 335–367.Google Scholar
Franklin, T. (2018). Bingo Love. Art by Jenn St-Onge. Portland, OR: Image Comics.Google Scholar
Gillman, M. (2017). As the Crow Flies. Chicago: Iron Circus Comics.Google Scholar
Halberstam, J. (1998). Female Masculinity. Durham, NC: Duke University Press.Google Scholar
Halberstam, J. (2005). In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York: New York University Press.Google Scholar
Hall, J., ed. (2015). No Straight Lines: Four Decades of Queer Comics. Seattle, WA: Fantagraphics.Google Scholar
Hall, J. (2018). The Secret Origins of LGBTQ Graphic Novels. In Baetens, Jan, Frey, Hugo, and Tabachnick, Stephen E., eds., The Cambridge History of the Graphic Novel. Cambridge: Cambridge University Press, pp. 286–302.Google Scholar
Jenkins, C. A., and Cart, M. (2018). Representing the Rainbow in Young Adult Literature: LGBTQ+ Content since 1969. Lanham, MD: Rowman & Littlefield.Google Scholar
Kobabe, M. (2019). Gender Queer: A Memoir. St. Louis, MO: Lion Forge Comics.Google Scholar
Kunert-Graf, R. (2018). Lynching Iconography: Looking in Graphic Narrative. INKS: The Journal of the Comics Studies Society, 2(3) (Fall), 312–333.Google Scholar
Larson, H., and Williams, B. (2016, 2017). Goldie Vance. Volumes 1 and 2. Los Angeles, CA: Boom! Box.Google Scholar
Mance, A. (2017). LGBTQ Representation in Comics. In Bramlett, Frank, Cook, Roy, and Meskin, Aaron, eds., The Routledge Companion to Comics. Abingdon-on-Thames: Routledge, pp. 294–302.Google Scholar
Martins, V. (2018). You Don’t Have to Be Afraid of Me. N.p.: Published by the author.Google Scholar
Nichols, L. (2018). Flocks. Cooperstown, NY: Secret Acres.Google Scholar
Ostertag, M. K. (2017). The Witch Boy. New York: Graphix.Google Scholar
Panetta, K., and Ganucheau, S. (2019). Bloom. New York: First Second.Google Scholar
Richards, G. (2012). Everybody’s Graphic Protest Novel: Stuck Rubber Baby and the Anxieties of Racial Difference. In Costello, Brannon and Whitted, Qiana J., eds., Comics and the U.S. South. Jackson: University Press of Mississippi, pp. 161–183.Google Scholar
Rivera, G. (2018). America: The Life and Times of America Chavez. New York: Marvel.Google Scholar
Road, C. C. (2012). Spit and Passion. New York: Feminist Press.Google Scholar
Rose, H. (2016). Tittychop Boobslash. N.p.: Published by the author.Google Scholar
Som, B. (2020). Spellbound: A Graphic Memoir. Brooklyn, NY: Street Noise Books.Google Scholar
Stevenson, N. (2015). Nimona. New York: HarperTeen.Google Scholar
Stevenson, N., Ellis, G., Watters, S., and Allen, B. (2015–2020). Lumberjanes: Beware the Kitten Holy. Volume 1. Los Angeles, CA: Boom! Box.Google Scholar
Summers, A. K. (2014). Pregnant Butch: Nine Long Months Spent in Drag. New York: Soft Skull Press.Google Scholar
Telgemeier, R. (2012). Drama. New York: Graphix.Google Scholar
Thrash, M. (2015). Honor Girl: A Graphic Memoir. Somerville, MA: Candlewick Press.Google Scholar
Ukazu, N. (2018). Check, Please! Book 1: #Hockey. New York: First Second.Google Scholar
Usdin, C. (2019). The Avant-Guards. Volumes 1 and 2. Los Angeles, CA: Boom! Box.Google Scholar
Velez, I., Jr. (1987). Tales of the Closet. Volume 1. New York: Planet Bronx Productions.Google Scholar
Walden, T. (2017). Spinning. New York: First Second.Google Scholar
Wojnarowicz, D. (2012). 7 Miles a Second. Art by James Romberger. Color by Marguerite Van Cook. Seattle, WA: Fantagraphics.Google Scholar

References

Baetens, J., and Frey, H. (2015). The Graphic Novel: An Introduction. Cambridge: Cambridge University Press.Google Scholar
Ball, D. M. (2013). Allusive Confessions: The Literary Lives of Alison Bechdel’s Fun Home. In Tolmie, J., ed., Drawing from Life: Memory and Subjectivity in Art. Jackson: University Press of Mississippi, pp. 3–25.Google Scholar
Barounis, C. (2016). Alison Bechdel and Crip-Feminist Autobiography. Journal of Modern Literature 39(4), 139–161.Google Scholar
Barounis, C. (2018). Teaching Fun Home as a Disability Memoir. In Gardiner, J. K., ed., Approaches to Teaching Bechdel’s Fun Home. New York: Modern Language Association, pp. 151–154.Google Scholar
Barry, L. (2002). One Hundred Demons. Seattle, WA: Sasquatch Books.Google Scholar
Barry, L. (2020). Menopositive. In Czerwiec, MK, ed., Menopause: A Comic Treatment. University Park: Pennsylvania State University Press, pp. 11–16.Google Scholar
Bechdel, A. (2006). Fun Home: A Family Tragicomic. New York: Houghton Mifflin.Google Scholar
Bechdel, A. (2012). Are You My Mother? A Comic Drama. New York: Houghton Mifflin.Google Scholar
Bechdel, A. (2021). The Secret to Superhuman Strength. New York: Houghton Mifflin.Google Scholar
Bell, G. (2014). The Truth Is Fragmentary: Travelogues and Diaries. Minneapolis, MN: Uncivilized Books.Google Scholar
Bui, T. (2017). The Best We Could Do. New York: Abrams Books.Google Scholar
Butler, J. (2015 [1998]). Performative Acts and Gender Constitution. In Rivkin, J. and Ryan, M., eds., Literary Theory: An Anthology, 2nd ed. Malden, MA: Blackwell, p. 900.Google Scholar
Cardell, Kylie. (2019). The Diary as Method and Politics in the Comics Art of Gabrielle Bell and Julie Doucet. In Oksman, T. and O’Malley, S., eds., Julie Doucet and Gabrielle Bell: A Place inside Yourself. Jackson: University Press of Mississippi, pp. 122–141.Google Scholar
Chute, H. (2010). Graphic Women: Life Narrative and Contemporary Comics. New York: Columbia University Press.Google Scholar
Councilor, KC. (2020). Cycles. In Czerwiec, MK, ed., Menopause: A Comic Treatment. University Park: Pennsylvania State University Press, pp. 74–77.Google Scholar
Czerwiec, MK, ed. (2020). Menopause: A Comic Treatment. University Park: Pennsylvania State University Press.Google Scholar
Doucet, J. (2010). My New York Diary. Montreal: Drawn & Quarterly.Google Scholar
Enszer, J. R. (2018). Reading Fun Home Historically: LGBTQ History and Print Culture. In Gardiner, J. K., ed., Approaches to Teaching Bechdel’s Fun Home. New York: Modern Language Association, pp. 46–54.Google Scholar
Falardeau, M. (2020 [2014]). A History of Women Cartoonists. Oakville: Mosaic Press.Google Scholar
Flowers, E. (2020). Hot Comb. Montreal: Drawn & Quarterly.Google Scholar
Freedman, A. (2018). Teaching Fun Home, Teaching Modernism. In Gardiner, J. K., ed., Approaches to Teaching Bechdel’s Fun Home. New York: Modern Language Association, pp. 66–72.Google Scholar
Galioto, E. D. (2018). Psychoanalysis in Fun Home and Are You My Mother? In Gardiner, J. K., ed., Approaches to Teaching Bechdel’s Fun Home. New York: Modern Language Association, pp. 146–149.Google Scholar
Galvan, M. (2019). From Julie Doucet to Gabrielle Bell: Feminist Genealogies of Comics Anthologies. In Oksman, T. and O’Malley, S., eds., The Comics of Julie Doucet and Gabrielle Bell: A Place inside Yourself. Jackson: University Press of Mississippi, pp. 3–22.Google Scholar
Gardiner, J. K., ed. (2018). Approaches to Teaching Bechdel’s Fun Home. New York: Modern Language Association.Google Scholar
Gardner, J. (2008). Autobiography’s Biography, 1972–2007. Biography 31(1), 1–26.Google Scholar
Gibson, M. (2020). Girls, Women, and Comics. In Hatfield, C. and Beaty, B., eds., Comics Studies: A Guidebook. New Brunswick, NJ: Rutgers University Press, pp. 241–252.Google Scholar
Gilbert, S., and Gubar, S. (2021). Still Mad: American Women Writers and the Feminist Imagination. New York: W. W. Norton.Google Scholar
Gloeckner, P. (2000 [1998]). A Child’s Life and Other Stories. Berkeley, CA: Frog Books.Google Scholar
Goldstein, N. (2019 [2008]). Jackie Ormes: The First African-American Cartoonist. Ann Arbor: University of Michigan Press.Google Scholar
Gomez, B., ed. (2016). She Changed Comics: The Untold Story of the Women Who Changed Free Expression in Comics. Berkeley, CA: Image Comics.Google Scholar
Hatfield, C. (2005). Alternative Comics: An Emerging Literature. Jackson: University Press of Mississippi.Google Scholar
Kirtley, S. E. (2012). Lynda Barry: Girlhood through the Looking Glass. Jackson: University Press of Mississippi.Google Scholar
Kirtley, S. E. (2018). “A Word to You Feminist Women”: The Parallel Legacies of Feminism and Underground Comics. In Baetens, J., Frey, H., and Tabachnick, S., eds., The Cambridge History of the Graphic Novel. Cambridge: Cambridge University Press, pp. 269–285.Google Scholar
Kirtley, S. E. (2021). Typical Girls: The Rhetoric of Womanhood in Comic Strips. Columbus: Ohio State University Press.Google Scholar
Lady, E. (2017). Other Options. In Newlevant, T., Fox, O. K., and Taylor, W., eds., Comics for Choice: Illustrated Abortion Stories, History, and Politics. Cupertino, CA: Alternative Comics, pp. 153–156.Google Scholar
Mance, A. (2020). Any Day Now. In Czerwiec, MK, ed., Menopause: A Comic Treatment. University Park: Pennsylvania State University Press, pp. 66–73.CrossRefGoogle Scholar
Mok, A. (2017). A Talk with Gabrielle Bell. In Oksman, T. and O’Malley, S., eds., Julie Doucet and Gabrielle Bell: A Place inside Yourself. Jackson: University Press of Mississippi, pp. 225–231.Google Scholar
Mouly, F., and Spiegelman, N., eds. (2017). Resist! Brooklyn, NY: Desert Island Press.Google Scholar
Nadel, D. (2010 [2007]). What Went Wrong with the Masters Show. In Schwartz, B., ed., The Best American Comics Criticism. Seattle, WA: Fantagraphics Books, pp. 214–219.Google Scholar
Newlevant, T., Fox, O. K., and Taylor, W., eds. (2017). Comics for Choice: Illustrated Abortion Stories, History, and Politics. Cupertino, CA: Alternative Comics.Google Scholar
Oksman, T., and O’Malley, S., eds. (2019). The Comics of Julie Doucet and Gabrielle Bell: A Place inside Yourself. Jackson: University Press of Mississippi.Google Scholar
Pew Research Center. (2018). For Most Trump Voters, “Very Warm” Feelings for Him Endured. Washington, DC.Google Scholar
Robbins, T. (1999). From Girls to Grrlz: A History of [Women’s] Comics from Teens to Zines. San Francisco, CA: Chronicle Books.Google Scholar
Robbins, T. (2009). Wimmen’s Studies. In Kitchen, D. and Danky, J., eds., Underground Classics: The Transformation of Comics into Comix. New York: Abrams Books, pp. 30–33.Google Scholar
Rosenkranz, P. (2008). Rebel Visions: The Underground Comix Revolution. Seattle, WA: Fantagraphics Books.Google Scholar
Satrapi, M. (2003 [2000]). Persepolis: The Story of a Childhood, trans. B. Ferris and M. Ripa. New York: Pantheon.Google Scholar
Satrapi, M. (2004 [2001]). Persepolis 2: The Story of a Return, trans. A Singh. New York: Pantheon.Google Scholar
Utell, J., ed. (2020). The Comics of Alison Bechdel: From the Outside In. Jackson: University Press of Mississippi.Google Scholar
Wanzo, R. (2020). The Only Thing Unamerican about Me Is the Treatment I Get: Infantile Citizenship and the Situational Grotesque. In The Content of Our Caricature: African American Comic Art and Political Belonging. New York: New York University Press, pp. 139–169.Google Scholar
Watson, J. (2008). Autographic Disclosures and Genealogies of Desire in Alison Bechdel’s Fun Home. Biography, 31(1), 27–58.Google Scholar
Whaley, D. E. (2015). Black Women in Sequence: Reinking Comics, Graphic Novels, and Anime. Seattle: University of Washington Press.Google Scholar
Whitlock, G. (2006). Autographics: The Seeing “I” of Comics. Modern Fiction Studies, 52(4), 965–979.Google Scholar
Whitlock, G. (2020). Autographics. In Hatfield, C. and Beaty, B., eds., Comics Studies: A Guidebook. New Brunswick, NJ: Rutgers University Press, pp. 227–240.Google Scholar
Williams, M. (2016). Marjane Satrapi. In Gomez, B., ed., She Changed Comics: The Untold Story of the Women Who Changed Free Expression in Comics. Berkeley, CA: Image Comics, pp. 77–78.Google Scholar
Wilson, R., and Shwed, A. (2017). Jane. In Newlevant, T., Fox, O. K., and Taylor, W., eds., Comics for Choice: Illustrated Abortion Stories, History, and Politics. Cupertino, CA: Alternative Comics, pp. 41–50.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×