... regeneration of the comic book was made possible by the revamping of a key American fantasy figure, the superhero, from a transparent champion of the national interest to a genetic and species outcast mapping the limits of the human. This refashioning was most visible in the invention of the “mutant superhero...

...Jennifer Glaser Disaster Drawn: Visual Witness, Comics, and Documentary Form . By Chute Hillary L. . Cambridge : Belknap Press of Harvard Univ. Press . 2016 . 359 pp. Cloth , $35.00 ; e-book, $35.00 . The New Mutants: Superheroes and the Radical Imagination of American Comics...

...Darieck Scott; Ramzi Fawaz Copyright © 2018 by Duke University Press 2018 There’s something queer about comics. Whether one looks to the alternative mutant kinships of superhero stories (the epitome of queer world making), the ironic and socially negative narratives of independent comics...

... . The New Mutants: Superheroes and the Radical Imagination of American Comics . New York : New York Univ. Press . Halley Janet . 2008 . Split Decisions: How and Why to Take a Break from Feminism . Princeton, NJ : Princeton Univ. Press . Hesford Victoria . 2013 . Feeling Women’s...

... of the Constitution, 188–90. Fawaz, Ramzi. “‘Where No X-­Man Has Gone Before!’ Mutant Superheroes and the Cultural Politics of Popular Fantasy in Postwar America,” 355–87. Fraiman, Susan. “Domesticity beyond Sentiment: Edith Wharton, Decoration, and Divorce,” 479–507. Freeman, Elizabeth. Review...

... © 2015 by Duke University Press 2015 Announcement Call for Papers: Special Issue of American Literature:  “Queer about Comics” There’s something queer about comics. Whether one looks to the alternative mutant kinships of superhero stories (the epitome of queer worldmaking...

.... 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 mar- ginal, juvenile, and outcast from...

... Copyright © 2016 by Duke University Press 2016 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...

... Ramzi Fawaz’s The New Mutants (2016), Jeffrey Brown’s Black Superheroes, Milestone Comics, and Their Fans (2001), and Tahneer Oksman’s How Come Boys Get to Keep Their Noses? (2016), has taken extraordinary advantage of this possibility. One of the important consequences of this interdisciplinary...

... sister, frequently forgotten and written out of the character’s biography) and the mutant superhero Storm (a miniature version of the work Fawaz does in his magisterial 2016 The New Mutants: Superheroes and the Radical Imagination of American Comics ) merge historicization and formal visual analysis...

... of this cultural his- tory promises to reframe dominant national accounts of westward expansion, Hoo-Doo Cowboys also reshapes the regional identity of African American artistic representation in literary, musical, theatrical, and cinematic works and performances. X-Men and the Mutant Metaphor: Race...

... Fawaz and Deborah Whaley. References Fawaz Ramzi . 2016 . The New Mutants: Superheroes and the Radical Imagination of American Comics . New York : New York Univ. Press . Ferguson Roderick . 2004 . Aberrations in Black: Toward a Queer of Color Critique . Minneapolis : Univ...

... a dazzling array of texts, all demonstrably united by similar plot arcs, interests, characters, and narrative techniques. He suggests that there are two major plot arcs in the novel of human rights: the justice plot, which is a mutant form of the detective narrative, and the escape plot, which updates...

.... The politics Ramzi Fawaz explores in “‘Where No X-­Man Has Gone Before Mutant Superheroes and the Cultural Politics of Popular Fantasy in Postwar America,” by contrast, is bottom-­up, as he dem- onstrates how comic books responded to the demands of a changing demographic. While the original...

... is always at the end of an era. The apocalyptic strain in Cold War thinking, whether related to nuclear fear (as in Brunner’s study of Bomb verse or Steinle’s presen- tation of the culture wars as a mutant side effect of the Atomic Age) or an apocalyptic revision of self (as in Lardas’s and Trigilio’s...

.... 18 Leslie Fiedler, ‘‘The New Mutants in Collected Essays: Volume 2, 391, 390. 19 Susan Fraiman urges feminist theorists to reconsider Eve Sedgwick’s groundbreaking work on male homosocial...

... at Beyond Baroque—Amy Gerstler, the foxy librarian. Beyond Baroque rocks.” Cooper, Gerstler, Trinidad, Flanagan, and Weissman—along with Skelley and Ed Smith this group of friends made up the core of a new generation of Los Angeles poets, “punk poet mutants,” that writers like Laurel Delp ( 1982 ) found...

... of the history of science fiction on the colonial catastrophe. First, he argues that the psychic fuel for sci-fi encounters with time travelers, aliens, robots, mutants, and other parahuman subjectivities can be found in the social anxi- eties of a humbled Europe, one which could no longer imagine itself...

... of the history of science fiction on the colonial catastrophe. First, he argues that the psychic fuel for sci-fi encounters with time travelers, aliens, robots, mutants, and other parahuman subjectivities can be found in the social anxi- eties of a humbled Europe, one which could no longer imagine itself...

..., aliens, robots, mutants, and other parahuman subjectivities can be found in the social anxi- eties of a humbled Europe, one which could no longer imagine itself at the center of history after having been dethroned by the Copernican denial of a geocentric cosmos and by colonial encounters...