There’s something queer about comics. Whether one looks to the alternative mutant kinships of superhero stories (the epitome of queer worldmaking), the ironic and socially negative narratives of independent comics (the epitome of queer anti-normativity), or the social stigma that makes the medium marginal, juvenile, and outcast from proper art (the epitome of queer identity), comics are rife with the social and aesthetic cues commonly attached to queer life. Moreover, the medium has had a long history as a top reading choice among those “queer” subjects variously called sexual deviants, juvenile delinquents, dropouts, the working class, and minorities of all stripes. Despite this, comics studies and queer theory have remained surprisingly alienated from one another. On the one hand, comics studies’ tendency to analyze the formal codes of sequential art separately from social questions of sexual identity and embodied difference has often...
Announcement|June 01 2016
American Literature (2016) 88 (2): 439-445.
Announcements. American Literature 1 June 2016; 88 (2): 439–445. doi: https://doi.org/10.1215/00029831-3533494
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