chut15062_jkt Graphic Women, Hillary Chute Columbia University Press / Lisa Hamm 212 459-0600 x7105 4c process only All art is live and in position Free ebooks ==> www.Ebook777.com Chute Praise for L i f e N a r r at i v e & Co N t e m p o r a r y Co m i C s Family Assistant Professor in the english Previously a Junior Fellow in literature in the society of Fellows at Harvard University, her work has appeared in PMLA, Modern Fiction Studies, TwentiethCentury Literature, and Women’s Studies Quarterly, among others she is associate editor of Art spiegelman’s MetaMaus and has written about comics and culture for venues including the Village Voice and the Believer Lisa Hamm Gloeckner places teenage sexuality at the center of her work, while Lynda barry “if you are not yet convinced that comics is the avant-garde genre par excellence and that it has provided feminist writers with a prime medium for telling life narratives, then read this book read it also to learn a critical vocabulary with which to appreciate and discuss the layered sophistication of this hybrid form and to discover a powerful and diverse tradition of ‘graphic women’ whose haunting works are beautifully elucidated in this powerful book.” —Marianne Hirsch, Columbia University “the strange alchemy of comics is inspiring new ways of thinking about gender, trauma, and life narrative Graphic Women captures the state of the art in this rapidly growing field.” —Gillian Whitlock, author of Soft Weapons: Autobiography in Transit “An exciting and theoretically sophisticated gender and genre study, the kind of book that interpellates its reader, defines its territory, and stakes its claims immediately.” —Bella Brodzki, sarah Lawrence College “elegantly written and profusely documented, Chute’s breakthrough Graphic Women is a remarkable and original book that relentlessly pursues verbal/visual details of graphic narrative through constant invention/intervention of powerful interpretive strategies, the volume reveals how gender, trauma, and autobiography are uniquely embodied in the fundamental material dimensions of the comic book form it will become a new starting point for future comics studies.” Gender and Culture Series 780231 150620 between frames to capture the process of memory marjane satrapi’s Persepolis experiments with visual witness to frame her personal and historical narrative, and Alison bechdel’s Fun Home meticulously incorporates family documents by hand to re-present the author’s past these five cartoonists move the art of autobiography and graphic storytelling in new directions, particularly through Hillary L Chute the depiction of sex, gender, and lived experience Hillary L Chute explores their verbal and visual techniques, which have transformed autobiographical narrative and contemporary comics through the interplay of words and images, and the counterpoint of presence CoLUmbiA JACKet DesiGn: through the lens of the body Phoebe uses collage and the empty spaces ISBN: 978-0-231-15062-0 rutu modan showing women’s everyday lives, especially —Peter Galison, Harvard University —Donald ault, founder and editor of ImageTexT: Interdisciplinary Comics Studies, University of Florida J A C K e t i L L U s t r At i o n : are autobiographical comics by pioneer of the autobiographical form, C o L U m b i A U n i v e r s i t y P r e s s • n e W yo r K w w w c u p c o l u m b i a e d u Department at the University of Chicago S books of the twenty-first century women Aline Kominsky-Crumb is a Graphic Women P H oto G r A P H : K r i s s n i b b e Hillary L Chute is neubauer “in the pages of her Graphic Women, Hillary L Chute shows, in engaging, unflinching prose, the accomplishment of five key figures from a generation of women graphic novelists who have used this medium to record history, testify about the cross-currents of life and memory, and draw and write against silence about abuse, dislocation, and sexuality We have today no more important or gifted writer on the graphic novel than Chute: read the book and you will be plunged headlong into the riveting world of comics today.” ome of the most acclaimed and absence, they express difficult, even traumatic stories while engaging with the workings of memory intertwining aesthetics and politics, these women both rewrite and redesign the parameters of acceptable discourse p r i N t e d i N t h e U s a www.Ebook777.com Free ebooks ==> www.Ebook777.com Graphic Women G e n d e r a n d C u lt u r e www.Ebook777.com Gender and Culture a SerieS of Columbia univerSity PreSS Nancy K Miller and Victoria Rosner, Series Editors Carolyn G Heilbrun (1926–2003) and Nancy K Miller, Founding Editors In Dora’s Case: Freud, Hysteria, Feminism Edited by Charles Bernheimer and Claire Kahane Breaking the Chain: Women, Theory, and French Realist Fiction Naomi Schor Between Men: English Literature and Male Homosocial Desire Eve Kosofsky Sedgwick Romantic Imprisonment: Women and Other Glorified Outcasts Nina Auerbach The Poetics of Gender Edited by Nancy K Miller Reading Woman: Essays in Feminist Criticism Mary Jacobus Honey-Mad Women: Emancipatory Strategies in Women’s Writing Patricia Yaeger Subject to Change: Reading Feminist Writing Nancy K Miller Thinking Through the Body Jane Gallop Gender and the Politics of History Joan Wallach Scott The Dialogic and Difference: “An/Other Woman” in Virginia Woolf and Christa Wolf Anne Herrmann Plotting Women: Gender and Representation in Mexico Jean Franco Inspiriting Influences: Tradition, Revision, and Afro-American Women’s Novels Michael Awkward continued on page 299 Hillary L Chute Graphic Women life narrative and ContemPorary ComiCS Columbia university Press n e w yo r k Free ebooks ==> www.Ebook777.com Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Columbia University Press is grateful for a subvention from the David L Kalstone Memorial Fund of the Rutgers Department of English toward publication of this volume Copyright © 2010 Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data Chute, Hillary L Graphic women: life narrative and contemporary comics / Hillary L Chute p cm — (Gender and culture) Includes bibliographical references and index ISBN 978-0-231-15062-0 (cloth: alk paper)—ISBN 978-0-231-52157-4 (e-book) Comic books, strips, etc.—History and criticism Women in literature cartoonists Women in art PN6714.C49 I Title Women II Series 2010 741.59973—dc22 2010000458 Casebound editions of Columbia University Press books are printed on permanent and durable acid-free paper Printed in the United States of America c 10 p 10 Designed by Lisa Hamm References to Internet Web sites (URLs) were accurate at the time of writing Neither the author nor Columbia University Press is responsible for Web sites that may have expired or changed since the book was prepared www.Ebook777.com t hi S b o ok iS de d i Cated to m a ri an n e, Ca ro lyn , a nd r r iet Contents Pre faC e ix aCk nowledGmen tS xi i nt ro du Ction : women , ComiC S, and t h e r i S k o f rePreS en tation 1 SCr atChin G the Sur faCe: “uGly” e xC eS S in Aline KominsKy-Crumb 29 “f o r all the Gir lS w hen they hav e Grow n”: Phoebe GloeCKner’S a mbivalen t im aG e S 61 mat eri aliz in G memory: lyndA bArry’ S on e Hundred demons 5 G Phi C n ar r ativ e aS witn eSS: mArjAne sAtrAPi a nd t he textur e of retr aCin G 35 a ni mat i n G an arChive: rePetition a nd r eG ener at io n i n Alison beChdel’S F un Home 17 n ot eS 219 wo rk S Cited 261 i nde x 281 color pl at e s Fo l low pag e 18 Free ebooks ==> www.Ebook777.com Preface G raphic narratives are not as constrained as most contemporary literature in the matter of publication size The proportions of texts in the field vary greatly For example, Art Spiegelman’s Maus is small, “digest sized”; his In the Shadow of No Towers is comparably huge, “broadsheet sized”; a recent issue of the comics anthology Kramers Ergot (no 7) appears at 16 by 21 inches The importance of the size of pages and panels in comics is one that came to me more gradually than it should have Writing about Maus several years ago, I had already discussed how crucial the one-to-one ratio of composition and product is for that work (in other words, Spiegelman drew it the same size that it appears to readers), when I learned that Spiegelman had taken legal action against the publisher of a coffee table book for, among other reasons, enlarging a page from Maus II that shows Hungarian Jews burning alive in a pit in Auschwitz I realized then that I myself had enlarged this very same image in my own (as yet unpublished) work on the text The size of an image is constitutive of its meaning, of how it functions Therefore, all the images here, insofar as it is possible, are reproduced at or close to their actual size I have not enlarged any images (in a very few places, such as with Lynda Barry’s 14-by-11-inch Naked Ladies images, it was necessary to reduce them simply so they could fit on the page) I also insist on the importance, in order to facilitate access to those images that are part of my discussion, of placing figures within each chapter as the chapter unfolds, as opposed to aggregating them at the book’s center or in an appendix In analyzing comics, one needs to be able to quote an image, just as in analyzing poetry one needs to be able to quote lines from a poem Last, I am grateful to be able to reprint in color all comics work created in color (these images appear first in black and white within the text and then again as color images in a section of color plates) www.Ebook777.com Family dynamics (continued) in Diary of a Teenage Girl, 233n31; Gloeckner and, 66, 233n27; KominskyCrumb and, 34, 226n12; in One Hundred Demons, 119–20; Satrapi and, 175–76, 249n49, 249n51; see also Father; Mother Fantagraphics, 56, 57, 228n29 Farmer, Joyce, 21, 224n46 Farris, Linda; see Linda Farris Gallery Farsi, 137, 220n9, 243n7, 245n17 Father: of A Bechdel, 175–217, 181, 187, 194, 196, 201, 202, 206, 209, 210, 212, 215, 256n36, 258n56; father figure, nonbiological, 66; in “Goldie: A Neurotic Woman,” 35–36; in Love That Bunch, 40, 41; rape, 66; see also Bechdel, Bruce; Fun Home: A Family Tragicomic Faulkner, William, 185 Fellatio, 41, 44, 52, 57, 75, 77, 233n26; crosssection depictions, 64; feminist work, disturbing images and, 232n19 Felman, Shoshana, 231n16, 239n37 Felski, Rita, 220n13 Femicides, 233n35 Feminine imaginary, 235n40 Feminist: aesthetics, 8–9, 220n13; explanation of graphic narratives as, 4; Filipina American writing, 237n19; film criticism, 9, 91; Persepolis as, 242n2; public/private division and work of A Bechdel as, 177; sexual politics, 5, 29; visual culture and, 221n18 Femmage, 237n22 Fifth Estate, 15 Filipino Americans, 237n19; see also Barry, Lynda Films: analysis, political, 225n7; difference between comics and, 8–9, 168–69, 251n64; Gloeckner on, 234n38; Persepolis, analysis of, 170–73; Persepolis’s animation, 169–70; Persepolis still, 172; women’s, and desire, 91–92 Firebrand, 252n6 Fischl, Eric, 236n7 286 i n dex Fitzgerald, F Scott, 185 Fleener, Mary, 1, 36 Flint, Kate, 144, 246n28 Flying (Millett), 256n32 Foer, Jonathan Safran, Extremely Loud and Incredibly Close, 222n28 Formalism, 93 Forney, Ellen, Frames, 5, 92; Black/Blank, 115, 157–58, 172, 248n46 Freud, Sigmund, 115, 227n23; repetition compulsion and, 254n22; repetition of trauma behavior and, 239n38 Friedman, Susan Stanford, 242n2, 246n26 Friends of Lulu, 219n1 Frog Books, 77 From Girls to Grrrlz: A History of Women’s Comics from Teens to Zines, 224n45 From Krakow to Krypton (Kaplan, Arie), 225n4 Fulbeck, Kip, 235n2 Fun Home: A Family Tragicomic (Bechdel, A.), 1, 10, 18, 131, 220n9, 251n1, 252n3, 253n10; Anna Karenina and, 256n33; archives and, 180, 182–83, 185–94, 200; cadavers, 193–99; censorship and, 253n12, 257n43; Colette’s influence in, 259n57; composition of panels in centerfold page, 258n46; creativity in, 188, 260n69; death in, 193, 195–99, 214, 217; diary entries, 185, 188–94; digital archive, 259n54; embodiment in, 179–86; epistemological crisis in, 186–94; father in, 175–218, 181, 187, 194, 196, 201, 202, 206, 209–10, 212, 215; father’s letters, 185, 186, 205, 208; handwriting process in, 186, 195, 255n23, 255n25; homosexuality and, 256n31, 259nn60–61, 260n64; impetus for (photograph), 255n28; “inverted” Oedipal complex, 204; mapping, 178, 182, 191–93, 208, 216, 217; Maus’s influence on, 253n17; narrative levels in, 204; narrative shape of, 178, 179, 180, 254n19; pages/panels from, 181, 187, 190, 192, 194, 196, 201, 202, 205, 206, 209–10, 212, 215; photographs and, 179, 183, 185, 186, 200, 203, 211, 225n28; popularity of, 253n12, 253nn13–14; queer witnessing in, 255n26; repetition in, 182–84, 193, 207, 213, 217; suicide in, 77, 260nn67–68; touch, 175, 197, 198, 199–200, 216, 256n36, 258n52; Ulysses and, 203, 204, 205, 206, 211–14, 259nn57–58; visual style, 179, 253n16; William Morris wallpaper and, 179, 180 Gaps, 8; Barry and, 98, 100–103, 105, 132, 134; bodily, 198, 258n47; in Fun Home, 175, 178, 180, 182, 189, 191, 193, 195–204, 216, 217, 254n21; Satrapi and, 147 Gardner, Jared, 193, 225n4, 255n24, 257n42 Gay Comix no 1, 24 Gaze theory, 228n26; male gaze and, 71–72, 81, 83 Gender, 97, 100; life narrative and, 78; memoirists and, 5, 221n15; speech, trauma and, 247n38 Gender in Real Time (Weston), 234n39 Genitals: Penis, drawn as oversized, 35, 41–45, 71; Penis as object, 40–41; Vaginas, 45; Vulva, 236n13 Geno-text, 229n39 German Expressionism, 49, 58, 146 Ghost World (Clowes), 255n24 Gibbons, Christina, Gibbons, Dave, 253n15 Gillray, James, 12 Gilmore, Leigh, 75, 78, 232n20, 247n38; autobiographies, trauma and, 69–70; on trauma, 69–70, 233n29; truth-value of extra-legal kind and, 80–81 Girls and Boys (Barry), 96 Gloeckner, Phoebe, 2, 5, 13, 29, 30, 38, 41, 92, 95, 108, 112, 118, 134, 175, 219n2, 220n9, 226n9, 226n15, 232n24, 233n34, 235n10; addressing self and collective in Diary, 86–87; “anticonfessionalism” and, 75; arousal, images and, 71, 233n26; artistry of, 62; beat of images and, 71; career, 64–66; censorship and, 77, 226n15; R Crumb’s influence on, 16, 223n42; departicularized titles in, 29; desire and, 61, 74, 78, 79, 83; discursive truth and, 66; dolls, 89–90; family’s reaction to work, 80, 84–85, 233n27; figures (images), 63, 65, 67, 69, 70, 73, 76, 82, 84, 87, 88; handwriting and, 110; images as informed by trauma, 61; on incest, 231n9; interior images, 91; KominskyCrumb’s influence on, 20, 24, 224n1; “Minnie’s 3rd Love,” 66, 67, 68, 70, 75, 76, 77, 80, 226n15, 232n21; multimodality and, 231n13; new work ( Juárez, Mexico), 89, 91, 234n36; pornography and work of, 77–78, 91, 232n22; reconstruction, word-and-image work and, 234n36; relationship with mother, 233n30, 233n33; repletion in images of, 64; “Sexual Memory Game,” 230n8; sexual politics and, 61, 66, 68–69, 71–72, 74–75, 77–81, 86–87, 89–93; sexual trauma and, 61, 74, 78–79, 83; Stockton library and, 232n23; three-dimensional work, 89–90; visual style of, 61, 64, 230n3, 234n37; see also A Child’s Life and Other Stories; The Diary of a Teenage Girl; La Tristeza God Nose: Adult Comix ( Jackson), 223n39 Goethe, Johann Wolfgang von, 12 “Goldie: A Neurotic Woman” (KominskyCrumb), 34–37, 225n4; “Hard Work and No Fun,” 37; panel from, 36; sexual explicitness in, 21, 24 Goldsmith, Aline Ricky, 33; see also Kominsky-Crumb, Aline Goldsmith, Arnold “Goldie,” 226n12 Goldstein, Al, 232n22 Goldstein, Nancy, 224n45 Gopnik, Adam, 15 Goya, Francisco, 12 Graham, Martha, 127 the grain (Barthes), 59, 229n39 Grandma’s Way-Out Party, 240n42 Granta (“Wrought”), 208, 259n56 index 287 Graphic narrative, 2, 3, 50; auteurism and, 169; bodily materiality and, 59; ethics and, 3; form and autobiography, 3–7, 91, 141, 143–44, 147; idiom of witness and, 3; mapping as, 26–27; as modeling feminisms, 2; styles and, 146; testimony and, 3; trauma, form and, 2, 4, 61, 89, 173, 182, 183; work of re-imagination and, 90–93 Graphic novels, 2, 3, 14, 17; terminology and Kyle’s first public use of, 15; “underground comix revolution” and, 219n3 Graphic Story World, 15 Gray, Basil, 145, 246n32 The Great Women Cartoonists, 224n45 The Great Women Superheroes, 224n45 Green, Justin, 14, 34; autobiographical genre and, 16; influence, 17, 18, 19–20; influenced by R Crumb, 16–17; see also Binky Brown Meets the Holy Virgin Mary Gregory, Roberta, Griffith, Bill, 39, 62, 226n13 Groening, Matt, 235n5 Grossinger, Richard, 61, 62 Grosz, George, 49 Groth, Gary, 228n29 Guerrilla Girls, 31 Gurstein, Rochelle, 77–78, 232n24 Gutters, 257n39; colors, 163; comics and effect of, 10, 109, 141, 169, 171; as empty space, 6, 8, 9, 45, 111, 132, 172, 180, 216, 217; as Lacanian real, 257n39; lack of, 205; slim, 35, 108, 211; structure of frames and, 72, 93, 147, 163; vertical, 191 Hajdu, David, 146 Halgren, Gary, 226n10 Hampton, Howard, 233n34 Handwriting, 10–11; Barry and, 108, 110–12, 128–29, 238n24, 240n51, 240n52; the body and, 193, 195; in Diary, 86; Gloeckner and, 110; Kominsky-Crumb and, 59–60; materiality and, 238n28; process in Fun Home, 255n23, 255n25; Satrapi and, 110 288 i n dex Hapa, 235n2 Haraway, Donna, 26, 234n39 Hard Core (Williams, L.), 71, 227n17 “A Harlot’s Progress” (Hogarth), 12 Harms, Sally, 226n13 Harrison, Kathryn, 79, 233n31 Harrison, Randall P., 11–12, 222n32 Hartley, Nina, 232n22 Harvey, Robert, Hayles, N Katherine, 238n28 Hearst, William Randolph, 13, 222n33 Heckscher, William S., 258n45 Herman, Judith, 254n22 Hernandez brothers, 228n29 Herriman, George, 13 Hillenbrand, Cathy, 237n18 Hiroshima Mon Amour, 220n8 Hirsch, Marianne, 61, 70, 246n25 History: comics, prioritizing of sequence and, 221n20; ethics of representation and, 220n8; graphic narrative and, 3, 26, 27, 135, 199; “materializing,” 3; Persepolis, form and, 139, 145, 152, 173; queer, 255n26; self-representation and, 79, 87 History of the Comic Strip (Kunzle), 13 Hoesterey, Ingeborg, 113, 239n36 Hogarth, William, 12 Homelessness, 140 Homosexuality, 204–8, 259n53; coming out, 181, 199, 254n19; Fun Home and, 256n31, 259n63, 259nn59–60; gay-themed work and, 24; queer comic strips and, 251n5; see also Bechdel, Alison; Bechdel, Bruce Hornby, Nick, 100, 236n12 Houghton Mifflin, 176, 252n7 Huffer, Lynne, Hughes, Robert, 31 Human anatomy, medical illustrators and, 230n7; see also Bodies; Cadavers Icarus, 207, 211, 213, 214 Iconology (Mitchell, W. J. T.), 27 Images, 10, 241n50; affect and, 61, 70, 71, 85, 92, 134; ambivalence assigned to, 62, 64, 230n6; Barry, memory, comics and, 127– 34; Barry’s view of, 99; Blake and, 12; in comics form, 5–6, 50, 92, 191; explicit and, 14, 56, 68; Goya and, 12; memory and, 4, 113, 119; self-representation and, 70; trauma and, 9, 74, 79, 133, 134 Imaginary: Cornell’s notion of, 228n27; feminine, 235n40 Imaging, 248n42 Incest, 66, 69, 72; abuse and, 239n41; Gloeckner on, 231n9; in “Joe Blow,” 223n41 The Indelible Alison Bechdel (Bechdel, A.), 24 International Journal of Comic Art, 231n13; “Women and Cartooning: A Global Symposium,” 219n1 Iran: 2009 presidential election, 137; autobiographical narratives in, 139, 140, 246n23; bootleg copies of Persepolis in, 3, 251n71; contemporary word/image tradition in, 139; official response to Persepolis film, 173; Satrapi’s presentation of social class in, 246n26; sexual revolution in, 168; women’s legal testimony in, 165–66, 249n50; see also Persepolis: The Story of a Childhood; Persepolis 2: The Story of a Return Iran-Iraq war, 139, 160, 244n16 Irigaray, Luce, 91 It Ain’t Me Babe: Women’s Liberation, 20–21, 22 It’s So Magic (Barry), 97, 99, 236n10, 248n46 Jackie Ormes: The First African American Woman Cartoonist (Goldstein, N.), 224n45 Jackson, Jack, 223n39 Jameson, Fredric, 26–27 de Jesús, Melinda, 100, 237n19 Jewish: comedians influence on KominskyCrumb and, 57, 228n32; identity in Kominsky-Crumb and, 225n4 The Jewish Graphic Novel (Baskind and Omer-Sherman), 225n4 The Jew of New York (Katchor), 225n4, 255n24 Jones, Amelia, 221n18 Joyce, James, 11, 185, 203, 204, 205, 206, 211–14, 259nn57–58 Juárez, Mexico, 89–91, 233n35, 234n36; murders in, 233n35 Juicy Mother, 244n15 Jurisdictions, alternative, 79–80; see also The Diary of a Teenage Girl Kalhor, Medhi, 173 Kaplan, Ann, 79 Karim, Persis, 139, 245n20 Katchor, Ben, 7, 225n4, 255n24 Katin, Miriam, 1, 220n4 Katz, Alex, 236n7 Kelso, Megan, 1, 220n1 Kennedy, Adrienne, 241n47 Kidd, Chip, 253n10 King, Alan, 228n32 Kirsch, Adam, 247n34 The Kiss (Harrison, K.), 233n31 Kitchen Sink Press, 24, 224n48, 227n16 Knowing: embodiment and, 91; pornography and, 78; rhythm of not knowing and, 132, 180–81, 217; sexual difference and, 235n41; sexual knowing and not, 230n8; traumatic as challenging “rational,” 74; traumatic experience and, 115; unknowingness/unknowability and, 129, 182, 239n37; war, 156, 157, 248n45 Kominsky, Carl, 34 Kominsky-Crumb, Aline, 2, 5, 31, 61, 92, 112, 118, 220n9, 225n8, 226n14, 229n38, 231n14, 242n2; academic criticism, 225n4; Air Pirates and, 226n10; Antipornography Civil Rights Ordinance and, 228n28; art education and, 47–49; bodies and, 44–45; childhood and upbringing, 33–34; collaborations with R Crumb and, 225n5; index 289 Kominsky-Crumb, Aline (continued) comedy and satire in work of, 227n21; R Crumb, influence on, 16, 17; as editor, 226n9; figures (images), 33, 36, 40, 42, 43, 45, 46, 50, 53, 55; gallery retrospective, 58, 229n36; genesis of “the Bunch,” 39; Green’s influence on, 18, 19–20; influence, 20, 24, 224n1; Jewish comedians and influence on, 228n32; Long Island and, 227n20; masturbation and, 34, 54; mother and “Blabette,” 227n19; Need More Love, 34, 36, 38, 49, 57, 225n8, 229n38; pornography and, 57; Power Pak, 32, 39; primitive style, 30; SelfLoathing Comics, 32; sexual politics and, 29–32, 34–60; style, 29–32, 36, 41, 47, 49, 225n6; style, erotics and imperfection, 55–60; Twisted Sisters cover, 25; unitary identity disrupted by work of, 227n17; “Up in the Air,” 33; Weirdo and, 226n15, 227n25; Wimmen’s Comix, “Goldie” and, 21, 24; see also The Complete Dirty Laundry Comics; “Goldie: A Neurotic Woman”; Love That Bunch; Twisted Sisters Krauss, Rosalind, 71, 72, 231n12 Kristeva, Julia, 229n39 Kryttre, Krystine, 226n9 Künstlerroman, 47, 120 Kunzle, David, 13 Kurtzman, Harvey, 14–15, 222n35, 222n37 Kusha, Hamid, 249n50 Kyle, Richard, 15 LaCapra, Dominick, 182 Languages, 243n7; doubly articulated, 258n51; juridical, 79–81; of Real, 257n39; Tagalog, 119; see also Farsi The Language of Comics: Word and Image (Varnum and Gibbons, C.), LaPlanche, J., 254n22 Larson, Hope, Lasko-Gross, Miss, Last Gasp, 39, 224n47 Laub, Dori, 239n37 290 i n dex Lemberg, Jennifer, 254n20 Lemme Outa Here! 32 Lesbians, 207, 256n31; comic strip (Dykes to Watch Out For), 176–77; comic strips, 24, 244n15; in context of family relationships, 176, 182; literature, 256n32, 259n57 Lessing, G. E., 10 Libraries, 232n23; censorship in, 257n43; sexual imagery and, 77–78 Lichtenstein, Roy, 224n43 Life in Hell (Groening), 235n5 Linda Farris Gallery, 98, 236n7 Looking, 93, 199; acts of, 197–200, 211, 248n47; Diary of a Teenage Girl and, 83; female subject as looking and looked-at, 2; in Fun Home, 182; images as, 127–28; perception, comics and, 8–9; in Persepolis, 141, 156; rhythm of reading and, 134; rhythm of rupture and, 72 Lopez, Erika, Lora Logic, 233n34 Los Angeles Free Press, 15 “Love” (Miró), 227n22 Love That Bunch (Kominsky-Crumb), 220n9, 225n8, 228n29; art education in, 47–49; “Blabette and Arnie,” 40; “The Bunch Plays with Herself,” 44, 45, 46, 47; comic strips, interchangeable with chapter, story and, 227n18; “Mr Bunch,” 44, 45; “Of What Use Is a Bunch?”, 50, 51; Pekar on, 229n34; rape in, 39–41; “ugly” excess in, 39–51; “Why the Bunch Can’t Draw,” 47, 48–49; “The Young Bunch,” 41, 42, 43 Lubiano, Wahneema, 232n17 The Lynda Barry Experience (Barry), 97 Lyvely, Chin, 21; see also Chevely, Lyn; Farmer, Joyce M Cryptogame (Töpffer), 12 McCay, Winsor, 13 McCloud, Scott, 7, 8, 11, 221n21, 254n20, 256n37 Mack, Stan, 220n4 MacKinnon, Catharine, 56 Mad Comics: Humor in a Jugular Vein (Kurtzman), 14, 15, 222n35, 222n37 Makhmalbaf, Mohsen, 137 Male gaze, 71–72, 81, 83 Malek, Amy, 140, 244n16 Manet, Édouard, 233n32 Manhunt, 32 Manuscript illumination, 246n31 Mapping, graphic narrative as form of, 173; cognitive mapping, 26–27; comics as temporal map and, 256n37; time into space, 191–93 Mapplethorpe, Robert, 236n7 Maslenitsyna, S., 246n30 Mason, Chuck, 257n43 Mason, Jackie, 228n32 Masturbation, 34, 54, 71, 236n14 Matisse, Henri, 49, 145 Maus: A Survivor’s Tale (Spiegelman), 1, 100, 119, 136, 245n22, 246n27, 247n36, 248n43, 252n3, 253n12, 253n14; Binky Brown’s influence on, 17–18; influence, 18, 242n1, 243n10, 253n17; publishing history, 243n6; Spiegelman on, 220n5, 220n7 Medical illustrators: Gloeckner’s work as, 230n8; human anatomy and, 230n7 Medved, Michael, 77–78, 232n24 Memoirs, 4, 232n20; as “excessive,” 5; female authors and, 221n15; graphic review of nongraphic (Bechdel, A.), 253n15; of Iran and Iranian diaspora, 245n19; see also Autobiography Memory, 32; autobiographical, 134; Barry and, 95, 113–34; cultural memory, 113; as different from recall, 246n28; episodic, 114; images, comics and, 4, 5, 119, 127–34; Olney on, 220n11; Persepolis and, 143–44; Persepolis (film) and, 172; placement in space and, 114, 133, 239n39; trauma, images and, 114, 220n12; traumatic, 4, 7, 114–16, 128, 133, 134, 233nn28–29, 239n41 Menu, Jean-Christophe, 136 Michelangelo, 197, 248n47 Miller, Susan, 227n23 Millett, Kate, 256n32 Milner, Marion, 241n49 Mini-comics, 235n3 Miró, Joan, 227n22 Mirzoeff, Nicholas, 221n18 Mitchell, Doris, 128–29, 132 Mitchell, W. J. T., 10, 27, 70, 122, 199, 221n18, 223n38, 258n51 Modan, Rutu, Modern Fiction Studies, Moon, Michael, 127, 204 Moore, Alan, 253n15 Morris, William, 179, 180 Moscoso, Victor, 15 Most, Andrea, 225n4 Mother: Barry’s relationship with, 240n42, 240n43; A Bechdel and relationship with, 259n52; Blabette as KominskyCrumb’s, 227n19; in A Child’s Life, 68; in Diary, 83, 85; in Fun Home, 205, 259n59; Gloeckner’s relationship with, 66, 80, 231n9, 233n30, 233n33; in Love That Bunch, 39–41; maternal intervention with child, 79, 83, 233n31; in One Hundred Demons, 119–20; Persepolis, feminism and, 242n2 Multimodality, 231n13 Mulvey, Laura, 91 Murphy, Willy, 226n10 Muslims, 138, 244n15 Nafisi, Azar, 138, 245n19 Naghibi, Nima, 140, 244n17, 245n23 Nakazawa, Keiji, 220n4 Naked Ladies (Barry), 97–98, 99, 103–8, 220n9, 243n13; as functional object, 236n16; pages from, 106–7; visual selfinsertion and, 236n15 Narration: disjuncture between words and images, 141; doubled, 5; non-verbal, 162; as self (Diary) and, 85 Narrative drawing (Satrapi), 6, 246n33; Embroideries and, 250n56 index 291 Narratives: making sense through, 114; reconstruction through, 13; subjectivity and, 126, 131, 241n48 Need More Love (Kominsky-Crumb), 34, 36, 38, 49, 57, 225n8, 229n38 Neel, Alice, 49, 236n7 Night of the Hunter, 171 Noomin, Diane, 24, 38, 219n1, 226n13; “Baby Talk,” 226n15; Twisted Sisters and, 25, 32, 38, 66, 219n1, 224n1, 224n47, 226n15, 226n17, 231n14 Nosferatu (Murnau), 145 Nussbaum, Martha, 53 “Objectification” (Nussbaum), 53 Obscenity, 232n25; charges, 77–78, 224n46; see also Pornography The Odyssey (Homer), 259n58 Oedipal complex, 204, 256n29, 259n59 Olney, James, 220n11 Olympia (Manet), 233n32 O’Malley, Andrew, 140, 244n17, 246n23 Omer-Sherman, Ranen, 225n4 One Hundred Demons (Barry), 237n19, 238n26, 239n34, 239n40; akin to Kennedy’s memoir, 241n47; as autobiography, 108–9; book as aesthetic object, 112–13; collage and, 112, 116–19; debris/ detritus in, 110, 113, 125; demystification in, 121, 124, 126; depictions of abuse in, 239n41; “Dogs,” 240n43; family dynamics in, 119–20; frontispiece, 123; “Girlness,” 240n43; “Intro,” 109; “Lost and Found,” 121, 122; “Outro,” 122, 125, 126; “Resilience,” 100, 114–19, 116, 118, 125, 132, 239n41; trauma and memory in, 113–20; visualization of process in, 113–14, 124 O’Neil, Tim, 146 O’Neill, Dan, 226n10 On Not Being Able to Paint (Milner), 241n49 Orenstein, Peggy, 70, 75, 78, 219n2 the other: identification with cultural, 292 i n dex 229n1; transmitting the specificity of, 220n8 Outcault, Richard, 13 Page architecture, 229n40 Pain, pleasure and, 55, 59, 69, 74, 91 Painting: bodies, spatial feel and, 241n49; canvas and, 239n34; Persian, 145, 246n30; words and images (Barry), 95, 111 Palestine (Sacco), 238n24 Pantheon, 136, 243n6, 253n10 Paronnaud, Vincent, 169, 172, 243n9, 250n63, 251n66 part asian, 100% hapa (Fulbeck), 235n2 Pastiche, 113, 239n36 Pattern and Decoration movement, 237n22 Pekar, Harvey, 220n4, 229n34 People Who Led to My Plays (Kennedy), 241n47 Persepolis (film), 168–73, 172; animation technique, 169–70; hand-drawn animation in, 251n67; puppet theater scene in, 170–71, 251n70; remediation in, 158, 251n69 Persepolis: The Story of a Childhood (Satrapi), 1, 5, 18, 119, 142, 148, 149, 150, 151, 154, 155, 241n1, 245n22, 251n1, 252n12; acts of looking in, 248n47; attention to bodies and, 144, 146, 147, 149, 151–52, 160, 247n37; censorship and, 92, 220n9, 251n71; child body in space, 173; Farsi in, 137, 220n9, 243n7, 245n17; feminist content in, 135, 242n2; grandmother in, 249n49, 249n53; influence of B., 242n4; photography and, 141, 246n25; Pietà and, 246n27, 248n47; publishing history, 135–36, 243n6; reception, 137, 138; space of absence, 171–72; time span, 139; torture in, 149–51; trauma and child in, 144–52; veiling and, 141–43; violence and ordinariness in, 152–56; visual style, 144–52, 247n34; visual-verbal witnessing in, 163, 165, 166; at West Point, 243n8 Persepolis 2: The Story of a Return (Satrapi), 159, 161, 164; idiom of witnessing and, 156–66; review of in comics form (Camper), 243n15; skulls motif in, 158, 249n48 Phelan, Peggy, 234n39 Pheno-text, 229n39 The Philosophy of Sex, 53 Picasso, Pablo, 47, 49 Picture This: The Near-Sighted Monkey Book (Barry), 238n32 Picture-writing (Spiegelman), 6, 246n33 Pillemer, David, 133, 134 Playing: Barry, comics and, 127–28, 132, 241n50; flatness/texture and, 241n51; Winnicott’s non-purposive state of, 127, 241n49 Pleasure, 56, 72, 167, 232n17; degradation and, 35, 51, 61; pain and, 9, 55, 59, 69, 74; relationships between disgust and, 61, 64, 71; visual, 64, 71, 91–92 Podesto, Gary, 77, 232n23 Political speech, 247n38 Pontalis, J. B., 254n22 Pornography: censorship and, 220n9; everyday and, 53; Gloeckner’s work and, 77–78, 232n22; Kominsky-Crumb on men, women, and, 57; libraries, censorship and, 77; obscenity and, 232n25; ordinance, 56; standard definition, 231n10 Power Pak (Kominsky-Crumb), 32, 39 Printed Matter, 96, 97, 235n4 Print Mint, 224n48 Problematic of distance, 229n1 Probyn, Elspeth, 224n3 Proust, Marcel, 182, 185 Publishers; see specific publishers Queer, 244n15, 252n5, 255n26; see also Homosexuality Qur’an, 249n50 Racism, 223n41 Radical America (Shelton), 223n41 Ragland-Sullivan, Ellie, 257n39 Randall, Richard, 78 Rape, 39, 61, 74, 78, 89, 153; child witnessing, 115; date, 39, 41; by father figure, 66; gang, 99; marital, 39–41; statutory laws, 80 Rauschenberg, Robert, 236n7 Real Comet Press, 96 the Real, Lacan and, 191, 257n39 Reconstruction: of child body, 173; Gloeckner’s and, 234n36 Recursivity, 119, 183 “The Red Comb” (Barry), 102, 239n41; space and form of, 100–103 Repetition: catastrophe and, 220n6; compulsion and Freud, 254n22; drawing as embodied, 183, 185–86; trauma and, 182, 239n38 Representation: documentation and, 186– 93; female body, visibility and, 234n39; film and, 9; gay life and, 177; Gloeckner and risk of, 62–73; Jewish identity and, 225n4; race in comics and, 233n41; risk of, 3, 92, 248n41; “risks of representativeness” (Gilmore), 79; of trauma, 3, 152, 182; “visibility politics” and, 91, 234n39 “Resilience” (Barry), 100, 114–19, 116, 118, 125, 132, 239n41 Rex Cinema, 247n37 Reygadas, Carlos, 243n9 Rhythm, 9, 104, 238n25; comics pace and, 7, 35; of knowing/not knowing, 180, 217; between presence/absence, 72; of reading/looking, 134; of rupture, 71; space as element of story’s, 103, 132, 163; of visual interruptions, 80, 111 Rip Off Press, 224n48 Robbins, Trina, 20, 37, 219n1, 224n45, 226n13 Roddington, Michael, 133 Rodriguez, Spain, 34 Rohy, Valerie, 255n26, 257n38 Rose, Jacqueline, 4, 9–10, 222n25, 225n7 Rosenkranz, Patrick, 223n39, 223n40 index 293 Rowlandson, Thomas, 12 Rubin, D.C., 134 Rudahl, Sharon, 37, 220n4 Sacco, Joe, 2, 9, 29, 135, 220n4, 222n31, 238n24, 241n1, 241n2, 248n43 Said, Edward, 9, 238n24 Sampson, Shelby, Wimmen’s Comix masthead, 23 San Francisco Oracle, 15 Sante, Luc, 145 Satrapi, Marjane, 1, 2, 5, 29, 57, 58, 86, 108, 112, 220n9, 247n36, 251n1, 252n12; blog, 137–38; censorship and, 92; death and, 250n57; education, 136; family dynamics and, 165, 176, 249n49; figures (images), 142, 148, 149, 150, 151, 154, 155, 159, 161, 164, 172; graphic narrative format and, 250n61; handwriting and, 110; influence of Maus on, 242n1, 243n10; Iran, social class and, 246n26; narrative drawing, 6, 247n33; Paronnaud and, 169, 243n9, 250n63, 251n66; Persepolis (film), 168–73, 172; Persepolis 2, 156–66; Persian miniatures and, 144–45; self, subjectivity and, 140; similarities between B.’s style and, 242n4; Spiegelman’s influence on, 18; spokesmanship and, 244n14; style and trauma, 144–52; trilogy and, 250n58; violence in work of, 145–46, 152–56; visual range, 243n13; Waiting for Azrael (film), 250n63; on Western women, 243n12; word/image relationship Iran and, 139; see also Chicken with Plums; Embroideries; Persepolis (film); Persepolis: The Story of a Childhood; Persepolis 2: The Story of a Return de Saussure, Ferdinand, 257n38 Scarry, Elaine, 247n39 Schapiro, Miriam, 237n22 Scheherazade (Kelso), 219n1 Schrag, Ariel, 1, 220n4 Schupbach, William, 258n45 Screw, 232n22 Seashells, as symbol, 236n13 294 i n dex Seda, Dori, 1, 219n1, 226n9 Seduction of the Innocent (Wertham), 13 Seeing; see Vision Segall, Kimberly Wedeven, 245n22 Self: as collage, 113; as collective, 126; as procedure/act of writing, 124, 125; role of narrative, 114, 119, 126 Self-boundarying, 227n23 Selfhood, 114, 120–26 Sequence, 221n20 Sexism, 37, 223n41 Sexual abuse, 61; “Resilience” and, 239n41; see also Rape Sexuality, 10, 18; aesthetics and different ways of being with, 224n2; Barry on, 30; children’s learning and, 230n8; death, creativity and, 260n69; disgust, pleasure and, 35, 51, 61; “Goldie” and, 21, 34–37; images and, 14, 19, 21; notions of male and female, 68–69; Satrapi and, 249n54; seeing and, 222n25; sexual difference and, 26, 30, 92, 235n41; violence and, 51–55 Sexuality in the Field of Vision (Rose), 4, 222n25 Sexual politics: Gloeckner’s work and, 61–93; Kominsky-Crumb’s work and, 29–60 Shame, 30, 224n3 Shelton, Gilbert, 223n41 Sheridan, Alan, 191 Shklovsky, Viktor, 146 Shnayerson, Michael, 221n15 Siebers, Tobin, 92 Signature, 86 Silent Lights (film), 243n9 Simmonds, Posy, The Simpsons (Groening), 235n5 Smith, Roberta, 58 Space, 173; of absence, 171–72; as element of story’s rhythm, 103, 132, 163; gutters as empty, 6, 8, 9, 45, 111, 132, 172, 180, 216, 217; time as, 7, 8; trauma and creating, 113–20 Speech, 86, 87, 147, 160, 166, 247n38 Spicer, Bill, 15 Spiegelman, Art, 1, 2–3, 12, 29, 39, 62, 91, 100, 119, 135, 137, 146, 220n4, 222n31, 224n4, 224n43, 226n36, 232n19, 237n21, 241n2, 243n10, 250n62, 252n3, 253n12, 253n14, 253n17; Green’s influence on, 17, 18; handmade aspect of comics, 11; influenced by Crumb, R., 16, 223n41; representing Jewishness and, 225n4; on Maus, 220n5, 220n7; picture-writing, 6, 247n33; as visible narrator, 140; visual style, 247n36; see also Maus: A Survivor’s Tale Stables, Kate, 251n68 Stein, Gertrude, 127 Stevens, Wallace, 256n35 Storace, Patricia, 246n27, 246n33 Suicide, 140, 167, 176, 195, 207, 214–16, 240n41, 250n60, 257n44, 257n49; Fun Home and, 260nn67–68; linked to coming out, 181; prevention, 83; see also Bechdel, Bruce Surrealism, 43; Barry’s collages and, 113; Gloeckner and, 64; sexuality and, 227n22; truth and the surreal, 225n7 Susann, Jacqueline, 11 Taboo, 13, 61, 219n2, 249n55 Taylor, Charles, 131 Tebbel, John, 222n33 Terminator, 251n69 Terr, Lenore, 114, 133, 239n39 Terror, 162, 239n39 Testimony, 3, 152; A Child’s Life and, 66; graphic narrative as, 135; Persepolis as, 165–66; sexual trauma and Diary as, 74, 79; La Tristeza and, 90 Texas Ranger, 223n39 Theokas, Christopher, 247n34 300, 251n71 Time: contrasted with space, 10; as space, 7, 8, Tintin, 139 Tisdale, Sallie, 53 Titillation, 29 Tits’n’Clits, 21, 224n46 Tomkins, Silvan, 30, 224n3 Töpffer, Rodolphe, 12 Torture, 149–51 Touching: Bechdel, A., and, 216; comics and, 199; drawing as, 175, 199, 256n36; in Fun Home, 188, 197–99, 258n52; vision and, 199, 258n51; younger versions of self, 175 Trauma, 54; autobiographies and, 69–70; behavior and repetition, 239n38, 254n22; “breaking frame” and, 231n16; Caruth on, 183, 220n6, 239n37; changing psychiatric definitions, 229n2; everyday, 40, 61; Gilmore on, 69–70, 78, 233n29; graphic narrative criticism and, 245n22; identity and, 2; knowledge and, 217, 239n37; LaCapra on, 182; memory and, 114, 220n12, 233nn28–29; Persepolis and, 144–52; political speech and, 247n38; repetition at scene of/around, 182, 220n6; and satire in Kominsky-Crumb, 227n21; space and, 113–20, 133; see also Memory; Unrepresentable/Unrepresentability Trauma and Recovery (Herman), 254n22 La Tristeza (Gloeckner): artistic process, 89–91; blurring of stylistic registers in, 89, 234n37 Turner, Ron, 21, 39, 223n41 Twisted Sisters (book), 66, 75, 219n1, 224n47, 226n15 Twisted Sisters (comic book), 24, 32, 38–39, 224n1, 224n47, 227n16; cover, 25; influence, 231n14 Tyler, C., 1, 220n4 Typography, 112, 238n30 Ulysses ( Joyce), 203, 204, 205, 206, 211–14, 259nn57–58 Underground comix, 13–17, 18, 19; inaugural, 223n39; racism and, 223n40; women’s comics in, 20–24 Underground Press Syndicate, 15 Understanding Comics (McCloud), index 295 Unknowingness, 239n37; see also Knowing Unmarked (Phelan), 234n39 Unrepresentable/Unrepresentability, 2, 115, 158, 163, 182, 241n50 Vadnie, Rebecca, 247n34 Vallotton, Félix, 145 Vandenburgh, Jane, 222n30, 253n15 Varnedoe, Kirk, 15 Varnum, Robin, Veils: banning of, 250n59; Persepolis and, 141–43; Satrapi on France veil ban debate, 137 Versaci, Rocco, 221n23 Vertigo (Ward), 14 Violence: Satrapi on, 145–46, 152–56; sexuality and everyday, 51–55; see also Rape Vision: cognitive mapping and, 26–27; critical “describing” and, 27; feminist discourse and, 26, 91, 234n49; notion of touch and, 199, 258n51; persistence of vision, 8; sexuality, seeing and, 222n25; visual pleasure and, 91–92; visual witnessing and, 163, 165, 166 Visual culture, 7, 30, 122–23, 126, 221n18, 248n47 Visual studies, 221n18 Ward, Lynd, 14, 222n36 Ware, Chris, 4, 7, 250n62 Warhol, Andy, 236n7 Warhol, Robyn, 254n21 Warnock, Mary, 133 Watson, Julia, 186, 254n20 WAVES; see Women Accepted for Volunteer Emergency Service Weaver, Ken, 34 Webster, Paula, 61 Weinstein, Lauren, Weirdo, 32, 39, 54, 66, 226n9, 226n15, 227n25; see also Kominsky-Crumb, Aline Wendel, 252n5 Wertham, Fredric, 13, 15, 221n19 296 i n dex Weston, Kath, 234n39 West Point, 243n8 What It Is (Barry), 127–33, 130, 238n26, 238n28, 241n49; chorus and, 129, 131; errors made visible by wrinkling in, 238n29; gaps and, 132; playing with images in, 127–28, 132, 241n50 Whitehead, Ann, 133 Whitlock, Gillian, 138 Wilde, Oscar, 185 Williams, Linda, 70, 227n17, 232n25 Williams, Robert, 16 Wimmen’s Comix, 20, 32, 66, 226n13; “Goldie” in, 21, 24; masthead, 23 Wings, Mary, 24 Winnicott, D. W., 127, 241n49 Winshluss, 251n66; see also Paronnaud, Vincent Witek, Joseph, 222n35, 247n36 Witness/Witnessing: collective witnessing, 89, 162; connection to comics medium, 4; Diary and, 79; Persepolis and idiom of, 156–73; Persepolis and, 141–56; rape, 115; Satrapi and, 141, 147; traumatic memory and, 115, 116; La Tristeza and, 90; visual-verbal, 163, 165 Wolk, Douglas, 242n4, 243n5 Womanews, 252n5 Women: adult men and young, 230n5; Antipornography Civil Rights Ordinance and, 228n28; authors re-signifying “cruddy,” 228n33; autobiographical genre in Iran and, 246n23; female bodies and, 59; films and, 91–92; first comic book created by all, 20–21, 22; as “fuckees,” 56; as ideological signs, 241n2; legal testimony in Iran and, 249n50; marginalization as cartoonists, 219n2; memoir and, 4, 221n15; Muslim, 138; operative notion of, 227n17; Satrapi on Western, 243n12; underground comix movement and, 20–24 Women Accepted for Volunteer Emergency Service (WAVES), 235n1 Wrinkling, 112, 238n29, 240n46 Writing Machines (Hayles), 238n28 Wynette, Tammy, 231n15 Yahrzeit candle, 252n3 Yellow journalism, 13 The Yellow Kid (Outcault), 13, 222n33 Young, Al, 245n20 Young Lust, 66 Zanganeh, Lila Azam, 245n20 Zap Comix (R Crumb), 16, 223n41 Zines, 235n3 Zwigoff, Terry, 226n13 index 297 G e n d e r a n d C u lt u r e s e r i e s continued Hamlet’s Mother and Other Women Carolyn G Heilbrun Rape and Representation Edited by Lynn A Higgins and Brenda R Silver Shifting Scenes: Interviews on Women, Writing, and Politics in Post-68 France Edited by Alice A Jardine and Anne M Menke Tender Geographies: Women and the Origins of the Novel in France Joan DeJean Unbecoming Women: British Women Writers and the Novel of Development Susan Fraiman The Apparitional Lesbian: Female Homosexuality and Modern Culture Terry Castle George Sand and Idealism Naomi Schor Becoming a Heroine: Reading About Women in Novels Rachel M Brownstein Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory Rosi Braidotti Engaging with Irigaray: Feminist Philosophy and Modern European Thought Edited by Carolyn Burke, Naomi Schor, and Margaret Whitford Second Skins: The Body Narratives of Transsexuality Jay Prosser A Certain Age: Reflecting on Menopause Edited by Joanna Goldsworthy Mothers in Law: Feminist Theory and the Legal Regulation of Motherhood Edited by Martha Albertson Fineman and Isabelle Karpin Critical Condition: Feminism at the Turn of the Century Susan Gubar Feminist Consequences: Theory for the New Century Edited by Elisabeth Bronfen and Misha Kavka Free ebooks ==> www.Ebook777.com Simone de Beauvoir, Philosophy, and Feminism Nancy Bauer Pursuing Privacy in Cold War America Deborah Nelson But Enough About Me: Why We Read Other People’s Lives Nancy K Miller Palatable Poison: Critical Perspectives on The Well of Loneliness Edited by Laura Doan and Jay Prosser Cool Men and the Second Sex Susan Fraiman Modernism and the Architecture of Private Life Victoria Rosner Virginia Woolf and the Bloomsbury Avant-Garde: War, Civilization, Modernity Christine Froula The Scandal of Susan Sontag Edited by Barbara Ching and Jennifer A Wagner-Lawlor Mad for Foucault: Rethinking the Foundations of Queer Theory Lynne Huffer G e nd e r an d C u ltu r e re ad ers Modern Feminisms: Political, Literary, Cultural Edited by Maggie Humm Feminism and Sexuality: A Reader Edited by Stevi Jackson and Sue Scott Writing on the Body: Female Embodiment and Feminist Theory Edited by Katie Conboy, Nadia Medina, and Sarah Stanbury www.Ebook777.com ... Cataloging-in-Publication Data Chute, Hillary L Graphic women: life narrative and contemporary comics / Hillary L Chute p cm — (Gender and culture) Includes bibliographical references and index ISBN 978-0-231-15062-0... Influences: Tradition, Revision, and Afro-American Women s Novels Michael Awkward continued on page 299 Hillary L Chute Graphic Women life narrative and ContemPorary ComiCS Columbia university Press... comic books and had such mandates as “in every instance good shall triumph over evil.”34 contEmporAry comics: AutobiogrAphicAl And AvAnt-gArdE contExts The work I consider in Graphic Women, as