- What Kind of Studies Is Comics Studies?
- Why There Is No “Language of Comics”
- In Box: Rethinking Text in the Digital Age
- What Else Is a Comic? Between Bayeux and <i>Beano</i>
- Reading Spaces: The Politics of Page Layout
- I’m Not a Kid; I’m a Shark!: Identity Fluidity in Noelle Stevenson’s Young-Adult Graphic Novels
- The Cartoon on the Comics Page: A Phenomenology
- Bakhtinian Laughter and Recent Political Editorial Cartoons
- Radical Graphics: Australian Second-Phase Comics
- Columbia and the Editorial Cartoon
- Efficacy of Social Commentary through Cartooning
- Self-Regulation and Self-Censorship: Comics Creators in Czechoslovakia and Communist Eastern Bloc
- Forgetting at the Intersection of Comics and the Multimodal Novel: James Sie’s <i>Still Life Las Vegas</i>
- Irony, Ethics, and Lyric Narrative in Miriam Engelberg’s <i>Cancer Made Me a Shallower Person</i>
- Animals in Graphic Narrative
- The Replacements: Ethnicity, Gender, and Legacy Heroes in Marvel Comics
- Hammer in Hand: Feminist Community Building in Jason Aaron’s <i>Thor</i>
- Children in Comics: Between Education and Entertainment, Conformity and Agency
- Auto/biographics and Graphic Histories Made for the Classroom: <i>Logicomix</i> and <i>Abina and the Important Men</i>
- Candy and Drugs for Dinner: <i>Rat Queens</i>, Genre, and Our Aesthetic Categories
- <i>My Favorite Thing Is Monsters</i>: The Socially Engaged Graphic Novel as a Platform for Intersectional Feminism
- Paper or Plastic? Mapping the Transmedial Intersections of Comics and Action Figures
- Transformative Architectures in Postcolonial Hong Kong Comics
- Adaptation and Racial Representation in Dell/Gold Key TV Tie-ins
- Non-Compliants, Brimpers, and She-Romps: <i>Bitch Planet, Sex Criminals</i>, and Their Publics
- Literary Adaptations in Comics and Graphic Novels
- Comics Studies in America: The Making of a Field of Scholarship?
- Next Issue: Anticipation and Promise in Comics Studies
- Comics Studies as Interdiscipline
- Drawing, Redrawing, and Undrawing
Abstract and Keywords
This chapter places Emil Ferris’s graphic novel My Favorite Thing Is Monsters (2017) in a longer tradition of graphic novels that reflect on and intervene in ongoing social, cultural, and political debates. It argues that the work builds specifically on three foundational works that have been particularly influential in the graphic novel’s relatively short history as a literary genre: Art Spiegelman’s Maus, Alison Bechdel’s Fun Home, and Marjane Satrapi’s Persepolis. The chapter’s analysis of My Favorite Thing Is Monsters places it within a tradition of socially engaged graphic novels, showing how readers’ engagement with its narrative’s two main historical periods both builds intertextually on its literary forebears and at the same time revises our understanding of them by reading them through the prism of current social and political debates. Both aspects underline the importance of intersectional feminism as a way of thinking, writing, and engaging with history.
Department of Media and Culture Studies, University of Utrecht
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