This paper examines the holdings of several archives that house women's and queer comix. It considers the logics of comix creation, distribution, and collection, and their relationship to the formation of communities. Situating its analysis in relation to the reparative turn in queer history and arguments about queer utopianism, the paper considers these comix, most of which were produced and purchased from the 1970s to the 1990s, against the often libertarian, and misogynist, and better-known, underground comix of that era by figures like Robert Crumb, Spain Rodriguez, and S. Clay Wilson. It asks what sorts of relationships we might discern between the contents of women's and queer comix and the communities they represented and contributed to, and how archives of those comix inflect our understanding of that shared and contested history.
Meeting in the Archive: Comix and Collecting as Community
Nicholas Sammond is an associate professor in the Cinema Studies Institute at the University of Toronto. He is the author of Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation (Duke University Press, 2015) and Babes in Tomorrowland: Walt Disney and the Making of the American Child, 1930–1960 (Duke University Press, 2005), and the editor of and a contributor to Steel Chair to the Head: The Pleasure and Pain of Professional Wrestling (Duke University Press, 2005). Sammond's next major project, Fluid Resistance, explores the political and social uses of abjection in Cold War vernacular media.
Nicholas Sammond; Meeting in the Archive: Comix and Collecting as Community. Feminist Media Histories 1 July 2018; 4 (3): 96–118. doi: https://doi.org/10.1525/fmh.2018.4.3.96
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