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What do we really mean when we call something "graphic"? In
American Graphic, Rebecca Clark examines the "graphic" as a term
tellingly at odds with itself. On the one hand, it seems to evoke
the grotesque; on the other hand, it promises the geometrically
streamlined in the form of graphs, diagrams, and user interfaces.
Clark's innovation is to ask what happens when the same moment in a
work of literature is graphic in both ways at once. Her answer
suggests the graphic turn in contemporary literature is intimately
implicated in the fraught dynamics of identification. As Clark
reveals, this double graphic indexes the unseemliness of a lust-in
our current culture of information-for cool epistemological mastery
over the bodies of others. Clark analyzes the contemporary graphic
along three specific axes: the ethnographic, the pornographic, and
the infographic. In each chapter, Clark's explication of the double
graphic reads a canonical author against literary, visual and/or
performance works by Black and/or female creators. Pairing works by
Edgar Allan Poe, Vladimir Nabokov, and Thomas Pynchon with pieces
by Mat Johnson, Kara Walker, Fran Ross, Narcissister, and Teju
Cole, Clark tests the effects and affects of the double graphic
across racialized and gendered axes of differences. American
Graphic forces us to face how closely and uncomfortably yoked
together disgust and data have become in our increasingly graph-ick
world.
What do we really mean when we call something "graphic"? In
American Graphic, Rebecca Clark examines the "graphic" as a term
tellingly at odds with itself. On the one hand, it seems to evoke
the grotesque; on the other hand, it promises the geometrically
streamlined in the form of graphs, diagrams, and user interfaces.
Clark's innovation is to ask what happens when the same moment in a
work of literature is graphic in both ways at once. Her answer
suggests the graphic turn in contemporary literature is intimately
implicated in the fraught dynamics of identification. As Clark
reveals, this double graphic indexes the unseemliness of a lust-in
our current culture of information-for cool epistemological mastery
over the bodies of others. Clark analyzes the contemporary graphic
along three specific axes: the ethnographic, the pornographic, and
the infographic. In each chapter, Clark's explication of the double
graphic reads a canonical author against literary, visual and/or
performance works by Black and/or female creators. Pairing works by
Edgar Allan Poe, Vladimir Nabokov, and Thomas Pynchon with pieces
by Mat Johnson, Kara Walker, Fran Ross, Narcissister, and Teju
Cole, Clark tests the effects and affects of the double graphic
across racialized and gendered axes of differences. American
Graphic forces us to face how closely and uncomfortably yoked
together disgust and data have become in our increasingly graph-ick
world.
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