Black comics : politics of race and representation by Sheena C. Howard, Ronald L. Jackson II

By Sheena C. Howard, Ronald L. Jackson II

Winner of the 2014 Will Eisner Award for most sensible Scholarly/Academic Work.

Bringing jointly members from a wide-range of serious views, Black Comics: Politics of Race and Representation is an analytic background of the various contributions of Black artists to the medium of comics. protecting comedian books, superhero comics, photo novels and sketch strips from the early twentieth century to the current, the e-book explores the ways that Black comedian artists have grappled with such issues because the Black event, gender identification, politics and social media.

Black Comics: Politics of Race and Representation introduces scholars to such key texts as:
The paintings of Jackie Ormes
Black girls superheroes from Vixen to Black Panther
Aaron McGruder's strip The Boondocks

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Though Aaron McGruder’s The Boondocks received much acclaim, it is still evident that Black cartoonists face some of the same racist ideological hegemony faced by early Black cartoonists in the early 1900s when it comes to tokenism and outlets for their work. The funny pages are still only peppered with comic strips that feature lead minority characters. As previously mentioned, racially aware comic strips by Black artists that attack social ills in the twenty-first century include but are not limited to: Jumpstart (Robb Armstrong), Quincy (Ted Shearer), Herb and Jamaal ( Stephen Bentley) and Curtis (Ray Billingsley).

1977), Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom. New York: Oxford University Press. Neill, M. and Calandra, B. (1996). “Life’s a sketch”. People, 45, (17), 69. Nelson, A. M. (2005), “Swing Papa and Barry Jordan: Comic strips and black newspapers in postwar Toledo”, in Proceedings of the Ohio Academy of History, Muskingum College, New Concord, 7–8 April 2005, pp. 61–74. Newhouse, D. (2009, July 9), “Dave Newhouse: ‘Wee Pals’ harmony extends to its executors’.

I was fortunate to find and photograph many of Ormes’s Torchy in Heartbeats strips that appeared in the Comic Section and have reproduced 18 of them in my book along with more than a hundred of her other cartoons and comics. In the “Obscurity of the Day” section of his blog, Holtz presents an entire eight-page color Comic Section from August 1953, “Over the next week or so I’m going to present all the comics from a rare copy of the section that I recently acquired (only the third I’ve found, though I’ve been searching them out for years)” (Holtz 2006).

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