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Incognegro as Comic Book Hero and the Mirror Scene of Race Trauma Incognegro as Comic Book Hero and the Mirror Scene of Race Trauma
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The Temporalities of Incognegro and the Image-Ghosts of History The Temporalities of Incognegro and the Image-Ghosts of History
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The Politics of Viewer Positioning in Plenary Scenes of Lynching The Politics of Viewer Positioning in Plenary Scenes of Lynching
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The Sadistic Pleasure of Responding to History and the Final Lynching Scene The Sadistic Pleasure of Responding to History and the Final Lynching Scene
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Impersonating History and the Unintelligible Words of March Impersonating History and the Unintelligible Words of March
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Mirrors, Chickens, and Messianic History: The Visual Curricula of March Mirrors, Chickens, and Messianic History: The Visual Curricula of March
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5 Visual Pedagogies of Impossible Community in Incognegro and March
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Published:February 2017
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Abstract
This chapter examines how history operates in autographic texts as a domain of lost experience and community through an analysis of Mat Johnson and Warren Pleece's Incognegro: A Graphic Novel (2008) and John Lewis's memoir March (2013). Both Incognegro and March are graphic histories that revisit historical trauma, while, paradoxically, translating the tribulations of a people into the triumphal story of an exceptional individual. The chapter shows how Incognegro renovates traumatic black history via comic book conventions of the superhero and the form's potential to situate its viewing subjects within a politics of space that governs scenes of lynching. It also explains how March, a retelling of an epochal demand for black civil rights, visualizes precarious identification with the mute and illegible objects of traumatic history. Whereas Incognegro seeks impossible communion with violated subjects of race history, March proposes unexpected unions with animal subjects that invoke the slave past.
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