The remarkable story of the stylistic, cultural, and technical innovations that drove the surge of comics, caricature, and other print media in 19th-century Europe Taking its title from the 1844 visionary graphic novel by J. J. Grandville, this groundbreaking book explores the invention of print media--including comics, caricature, the illustrated press, illustrated books, and popular prints--tracing their development as well as the aesthetic, political, technological, and cultural issues that shaped them. The explosion of imagery from the late 18th century to the beginning of the 20th exceeded the print production from all previous centuries combined, spurred the growth of the international art market, and encouraged the cross-fertilization of media, subjects, and styles. Patricia Mainardi examines scores of imaginative and innovative prints, focusing on highly experimental moments of discovery, when artists and publishers tested the limits of each new medium, creating visual languages that extend to the comics and graphic novels of today. Another World unearths a wealth of visual material, revealing a history of how our image-saturated world came into being, and situating the study of print culture firmly within the context of art history.
During World War I, the publishers of America's crusading black newspapers faced a difficult dilemma. Would it be better to advance the interests of African Americans by affirming their patriotism and offering support of President Wilson's war for democracy in Europe, or should they demand that the government take concrete steps to stop the lynching, segregation, and disfranchisement of blacks at home as a condition of their participation in the war?
This study of their efforts to resolve that dilemma offers important insights into the nature of black protest, race relations, and the role of the press in a republican system. William Jordan shows that before, during, and after the war, the black press engaged in a delicate and dangerous dance with the federal government and white America -- at times making demands or holding firm, sometimes pledging loyalty, occasionally giving in.
But although others have argued that the black press compromised too much, Jordan demonstrates that, given the circumstances, its strategic combination of protest and accommodation was remarkably effective. While resisting persistent threats of censorship, the black press consistently worked at educating America about the need for racial justice.
From "one of our most prodigious constitutional scholars" (Jonathan Eig), the definitive history of how the ideal of birth equality reshaped the American Constitution, from antebellum debates over slavery and secession, to the Civil War and emancipation, to women's suffrage In 1840, millions of Black Americans groaned in the chains of slavery. By 1920, millions of American men and women of every race had won the vote. In Born Equal, the prizewinning constitutional historian Akhil Reed Amar recounts the dramatic constitutional debates that unfolded across these eight decades, when four glorious amendments abolished slavery, secured Black and female citizenship, and extended suffrage regardless of race or gender. At the heart of this era was the epic and ever-evolving idea that all Americans are created equal. The promise of birth equality sat at the base of the 1776 Declaration of Independence. But in the nineteenth century, remarkable American women and men--especially Elizabeth Cady Stanton, Frederick Douglass, Harriet Beecher Stowe, and Abraham Lincoln--elaborated a new vision of what this ideal demanded. Their debates played out from Seneca Falls to the halls of Congress, from Bleeding Kansas to Gettysburg, from Ford's Theater to the White House gates, ultimately transforming the nation and the world. An ambitious narrative history and a penetrating work of legal and political analysis, Born Equal is a vital new portrait of America's winding road toward equality.
Never before has the disturbing story of blackface and its piercing reflection of American society been so comprehensively told. With Darkology, Princeton historian Rhae Lynn Barnes meticulously unravels the complex, subterranean, and all-too-often expunged history of "Darkology"--the insidious study, commodification, and dehumanization of Black life, through which performers caricatured the enslaved and formerly enslaved for their supposed subservience and happy demeanor.
Given the extraordinary research reflected in Darkology, it's not surprising that Barnes spent twenty years tracking down "fading photographs, old movies, bureaucratic detritus, moldy scripts, and living witnesses, assembling an impressive archive that allowed her to demonstrate the astonishingly broad reach of blackface minstrelsy" (Laurel Thatcher Ulrich). Painstakingly piecing together these scattered shards of evidence, Barnes reveals the shocking extent to which blackface took center stage in every era of American history.
This was not a fringe activity. By 1830, as political resistance to slavery grew, blackface exploded from a niche performance into a venomous national export. Within a decade, hardly a theater in the country didn't put on minstrel shows. Following the Civil War, this grotesque entertainment soared, seeping from professional theaters into everyday amateur shows, print, and advertisements. It was everywhere: Elks Clubs, religious institutions, battlefields, universities, and schools. It wasn't just in the Jim Crow era; it defined it. The very name "Jim Crow" derives from minstrelsy's founding character.
Darkology dismantles the myth that blackface was a fleeting, post-Civil War phenomenon. Even in eras known for liberal progressivism, it flourished. Barnes unearths the startling fact that four-term president Franklin D. Roosevelt was a devotee who died hours before a blackface show he had commissioned at Warm Springs. It permeated U.S. military bases and was even used in World War II Japanese American concentration camps and German POW camps as a bizarre tool of "Americanization."
After WWII, the tide began to turn as Black veterans and mothers in places like suburban California protested the practice in schools. Still, blackface performances proved resilient, surfacing as late as 1969 at the University of Vermont. Even as the Civil Rights movement fought for equality, blackface remained present in American politics and white supremacist organizing through the Nixon and Ford administrations, its legacy still percolating in variable forms today.
By tracing minstrelsy's evolution through oral histories, material culture, and a wide range of multimedia sources, Barnes's "masterpiece" (David Blight) forces us to reckon with the myriad ways the American Dream wore blackface. Recasting this American story with "vivid and engaging storytelling" (Howard French), Darkology is a landmark work that peers beneath the boulders deliberately obscuring our past--illuminating a path toward a more just and equal society in America's future.
Given the extraordinary research reflected in Darkology, it's not surprising that Barnes spent twenty years tracking down "fading photographs, old movies, bureaucratic detritus, moldy scripts, and living witnesses, assembling an impressive archive that allowed her to demonstrate the astonishingly broad reach of blackface minstrelsy" (Laurel Thatcher Ulrich). Painstakingly piecing together these scattered shards of evidence, Barnes reveals the shocking extent to which blackface took center stage in every era of American history.
This was not a fringe activity. By 1830, as political resistance to slavery grew, blackface exploded from a niche performance into a venomous national export. Within a decade, hardly a theater in the country didn't put on minstrel shows. Following the Civil War, this grotesque entertainment soared, seeping from professional theaters into everyday amateur shows, print, and advertisements. It was everywhere: Elks Clubs, religious institutions, battlefields, universities, and schools. It wasn't just in the Jim Crow era; it defined it. The very name "Jim Crow" derives from minstrelsy's founding character.
Darkology dismantles the myth that blackface was a fleeting, post-Civil War phenomenon. Even in eras known for liberal progressivism, it flourished. Barnes unearths the startling fact that four-term president Franklin D. Roosevelt was a devotee who died hours before a blackface show he had commissioned at Warm Springs. It permeated U.S. military bases and was even used in World War II Japanese American concentration camps and German POW camps as a bizarre tool of "Americanization."
After WWII, the tide began to turn as Black veterans and mothers in places like suburban California protested the practice in schools. Still, blackface performances proved resilient, surfacing as late as 1969 at the University of Vermont. Even as the Civil Rights movement fought for equality, blackface remained present in American politics and white supremacist organizing through the Nixon and Ford administrations, its legacy still percolating in variable forms today.
By tracing minstrelsy's evolution through oral histories, material culture, and a wide range of multimedia sources, Barnes's "masterpiece" (David Blight) forces us to reckon with the myriad ways the American Dream wore blackface. Recasting this American story with "vivid and engaging storytelling" (Howard French), Darkology is a landmark work that peers beneath the boulders deliberately obscuring our past--illuminating a path toward a more just and equal society in America's future.
"A fascinating collection" of wartime cartoons from the beloved children's author and illustrator (The New York Times Book Review). For decades, readers throughout the world have enjoyed the marvelous stories and illustrations of Theodor Seuss Geisel, better known as Dr. Seuss. But few know the work Geisel did as a political cartoonist during World War II, for the New York daily newspaper PM. In these extraordinarily trenchant cartoons, Geisel presents "a provocative history of wartime politics" (Entertainment Weekly). Dr. Seuss Goes to War features handsome, large-format reproductions of more than two hundred of Geisel's cartoons, alongside "insightful" commentary by the historian Richard H. Minear that places them in the context of the national climate they reflect (Booklist). Pulitzer Prize-winner Art Spiegelman's introduction places Seuss firmly in the pantheon of the leading political cartoonists of our time. "A shocker--this cat is not in the hat!" --Studs Terkel
Discover the untold history of Black comic art and its groundbreaking creators.
Encyclopedia of Black Comics is a comprehensive reference guide spotlighting the work and impact of African American comic artists, writers, and industry figures. From early pioneers to contemporary innovators, this encyclopedia celebrates the diverse talent and contributions of Black creators to the world of comics.
Explore detailed entries on artists, writers, editors, and publishers, along with key characters, titles, and themes. Delve into the cultural and historical context of Black comics, examining their role in shaping representation, identity, and social commentary. A must-have resource for comic enthusiasts, scholars, and anyone seeking to understand the rich legacy of Black comics.
At a time of few opportunities for women in general and even fewer for African American women, Jackie Ormes (1911-85) blazed a trail as a popular cartoonist with the major black newspapers of the day. Her cartoon characters (including Torchy Brown, Candy, Patty-Jo, and Ginger) delighted readers and spawned other products, including an elegant doll with a stylish wardrobe and "Torchy Togs" paper dolls. Ormes was a member of Chicago's black elite, with a social circle that included the leading political figures and entertainers of the day. Her cartoons and comic strips provide an invaluable glimpse into American culture and history, with topics that include racial segregation, U.S. foreign policy, educational equality, the atom bomb, and environmental pollution, among other pressing issues of the times--and of today's world as well. This celebrated biography features a large sampling of Ormes's cartoons and comic strips, and a new preface.
Amid the controversy surrounding immigration and border control, the work of California cartoonist Lalo Alcaraz (b. 1964) has delivered a resolute Latino viewpoint. Of Mexican descent, Alcaraz fights for Latino rights through his creativity, drawing political commentary as well as underlining how Latinos confront discrimination on a daily basis. Through an analysis of Alcaraz's early editorial cartooning and his strips for La Cucaracha, the first nationally syndicated, political Latino daily comic strip, author Héctor D. Fernández L'Hoeste shows the many ways Alcaraz's art attests to the community's struggles.
Alcaraz has proven controversial with his satirical, sharp commentary on immigration and other Latino issues. What makes Alcaraz's work so potent? Fernández L'Hoeste marks the artist's insistence on never letting go of what he views as injustice against Latinos, the fastest growing ethnic group in the United States. Indeed, his comics predict a key moment in the future of the United States--that time when a racial plurality will steer the country, rather than a white majority and its monocultural norms.
Fernández L'Hoeste's study provides an accessible, comprehensive view into the work of a cartoonist who deserves greater recognition, not just because Alcaraz represents the injustice and inequity prevalent in our society, but because as both a US citizen and a member of the Latino community, his ability to stand in, between, and outside two cultures affords him the clarity and experience necessary to be a powerful voice.
Jaime Hernandez is one of the most humane, graceful, and imaginatively inexhaustible artists in American popular culture. Locas tells the story of Maggie Chascarrillo, a bisexual, Mexican-American woman attempting to define herself in a community rife with class, race, and gender issues.
Maggie's story begins in the early-1980s Southern California rock scene, when it was shifting from the excesses of the 1970s to the gritty basics of punk and new wave. Hardcore punk rock came to the fore, and the teenage Maggie finds herself drawn to the anarchy, energy, and diversity of the scene, which in Jaime's hands becomes a very real, habitable place populated with authentic human beings rather than stereotypes. She quickly befriends Hopey Glass, a feisty anti-authoritarian punkette who quickly becomes Maggie's on-again, off-again lover and a constant presence in her life as they navigate a devastatingly naturalistic world.
Created over 15 years from 1981-96 in the pages of the legendary comic book series Love and Rockets Vol. I #1-50, this new deluxe hardcover edition includes three stories that were not included in the previous edition.
The First World War was waged through the participation not just of soldiers but of men, women, and children on the home front. Mass-produced, full-color, large-format war posters were both a sign and an instrument of this historic shift in warfare. War posters celebrated, in both their form and content, the modernity of the conflict. They also reached an enormous international audience through their prominent display and continual reproduction in pamphlets and magazines in every combatant nation, uniting diverse populations as viewers of the same image and bringing them closer, in an imaginary and powerful way, to the war. Most war posters were aimed particularly at civilian populations. Posters nationalized, mobilized, and modernized those populations, thereby influencing how they viewed themselves and their activities. The home-front life--factory work, agricultural work, domestic work, the consumption and conservation of goods, as well as various forms of leisure--became, through the viewing of posters, emblematic of national identity and of each citizen's place within the collective effort to win the war. Essays by Jay Winter, Jeffrey T. Schnapp, Jennifer D. Keene, and others reveal the centrality of visual media, particularly the poster, within the specific national contexts of Britain, France, Germany, Russia, and the United States during World War I. Ultimately, posters were not merely representations of popular understanding of the war, but instruments influencing the reach, meaning, and memory of the war in subtle and pervasive ways.