Graphic memories of the civil rights movement : reframing history in comics / Jorge J. Santos, Jr.

By: Material type: TextTextSeries: Publication details: Austin, TX : University of Texas Press, (c)2019.Edition: First editionDescription: 1 online resource (xi, 242 pages) : illustrationsContent type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
Subject(s): Genre/Form: LOC classification:
  • PN6714 .G737 2019
Online resources: Available additional physical forms:
Contents:
Introduction. Graphic memories in "black and white" -- The icon of the once and future King -- Bleeding histories on the march -- On photo-graphic narrative: "to look-- really look" into the darkroom -- The silence of our friends and memories of Houston's civil rights history -- Tropes, transfer, trauma: the lynching imagery of stuck rubber baby -- Epilogue. Cyclops was right: X-lives matter! -- Appendix. A conversation with Ho Che Anderson, author-artist of King.
Subject: The history of America's civil rights movement is marked by narratives that we hear retold again and again. This has relegated many key figures and turning points to the margins, but graphic novels and graphic memoirs present an opportunity to push against the consensus and create a more complete history. Graphic Memories of the Civil Rights Movement showcases five vivid examples of this: Ho Che Anderson's King (2005), which complicates the standard biography of Martin Luther King Jr.; Congressman John Lewis's three-volume memoir, March (2013-2016); Darkroom (2012), by Lila Quintero Weaver, in which the author recalls her Argentinian father's participation in the movement and her childhood as an immigrant in the South; the bestseller The Silence of Our Friends by Mark Long, Jim Demonakos, and Nate Powell (2012), set in Houston's Third Ward in 1967; and Howard Cruse's Stuck Rubber Baby (1995), whose protagonist is a closeted gay man involved in the movement. In choosing these five works, Jorge Santos also explores how this medium allows readers to participate in collective memory making, and what the books reveal about the process by which history is (re)told, (re)produced, and (re)narrativized. Concluding the work is Santos's interview with Ho Che Anderson.
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Includes bibliographies and index.

The history of America's civil rights movement is marked by narratives that we hear retold again and again. This has relegated many key figures and turning points to the margins, but graphic novels and graphic memoirs present an opportunity to push against the consensus and create a more complete history. Graphic Memories of the Civil Rights Movement showcases five vivid examples of this: Ho Che Anderson's King (2005), which complicates the standard biography of Martin Luther King Jr.; Congressman John Lewis's three-volume memoir, March (2013-2016); Darkroom (2012), by Lila Quintero Weaver, in which the author recalls her Argentinian father's participation in the movement and her childhood as an immigrant in the South; the bestseller The Silence of Our Friends by Mark Long, Jim Demonakos, and Nate Powell (2012), set in Houston's Third Ward in 1967; and Howard Cruse's Stuck Rubber Baby (1995), whose protagonist is a closeted gay man involved in the movement. In choosing these five works, Jorge Santos also explores how this medium allows readers to participate in collective memory making, and what the books reveal about the process by which history is (re)told, (re)produced, and (re)narrativized. Concluding the work is Santos's interview with Ho Che Anderson.

Introduction. Graphic memories in "black and white" -- The icon of the once and future King -- Bleeding histories on the march -- On photo-graphic narrative: "to look-- really look" into the darkroom -- The silence of our friends and memories of Houston's civil rights history -- Tropes, transfer, trauma: the lynching imagery of stuck rubber baby -- Epilogue. Cyclops was right: X-lives matter! -- Appendix. A conversation with Ho Che Anderson, author-artist of King.

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