12. Chronology, Country, and Consciousness in Wilfred Santiago’s In My Darkest Hour

Chapters in this book

1. Frontmatter i
2. Contents vii
3. Foreword; Or Reading within the Gutter ix
4. Multicultural Comics Today: A Brief Introduction 1
5. PART I. HISTORY, CONCEPTS, AND METHODS
6. 1. Race and Comix 26
7. 2. “ Authentic” Latinas/os and Queer Characters in Mainstream and Alternative Comics 39
8. 3. Native American Narratives from Early Art to Graphic Novels: 55
9. 4. Liminality and Mestiza Consciousness in Lynda Barry’s One Hundred Demons 73
10. 5. Black Nationalism, Bunraku, and Beyond: 93
11. 6. Birth of a Nation: 105
12. 7. Lost in Translation: 120
13. 8. Same Difference: 132
14. PART II. A MULTICULTURAL COMIC BOOK TOOLBOX
15. 9. “It ain’t John Shaft”: 148
16. 10. Invisible Art, Invisible Planes, Invisible People 157
17. 11. Wondrous Capers: The Graphic Novel in India 173
18. 12. Chronology, Country, and Consciousness in Wilfred Santiago’s In My Darkest Hour 189
19. 13. Finding Archives/Making Archives: 202
20. WORKS CITED 221
21. CONTRIBUTOR NOTES 235
22. INDEX 239