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Amazing Adventures of Kavalier and Clay, The (Chabon), 234n21
Ambiguity: of self, 84, 86; from word-image combinations, 28–29
American Jewish women writers: home and, 93–94, 239n16; journeys for, 93; memories of, 93
Anxiety, 59; in Escape from “Special,” 122–26, 123, 127, 128–30, 129, 132, 132–33, 139; in Girl Stories, 146; in Make Me a Woman, 90, 91, 92–93, 106, 239n15
Are You My Mother? (Bechdel), 124
Assimilation, 241n16; in “Euro Dirty Laundry,” 55, 55; Jewish bodies and, 59; postassimilation, 3–4, 231n2
Audience: for Escape from “Special,” 117; for Girl Stories, 116–17; for Make Me a Woman, 82; for Spaniel Rage, 72–73, 238nn6–7
Beyond Ethnicity (Sollors), 44–45
Bintel Brief, A: Love and Longing in Old New York (Finck), 21; Cahan in, 223–25, 224, 227–28, 230; dis-affiliation in, 230; dislocation in, 223–25; emotion in, 227, 227; gaps in, 225–26; grandfather in, 225, 226; identity in, 222; Jewish identity in, 222–23, 228, 230; name of, 223; photographs in, 228, 229, 245n7; receptivity in, 227, 227–28; remembering in, 223–27; sources for, 222–23, 245n6; style of, 222–23, 224, 245n4; translation in, 223
Boundaries: “Euro Dirty Laundry” and, 53–54, 56–57; in “Goldie: A Neurotic Woman,” 38, 39, 44
Bunch (semiautobiographical character), 1, 236n7; interdependent word-image combination about, 28; isolation of, 49, 51; name of, 46–47, 237n16; opposition for, 49, 50–51; past of, 49, 49–50; pride of, 49, 51; reorientation of, 48–49, 49, 61, 62, 63; self-representations of, 26–28, 32–34, 33, 48, 60–61; speculations of, 47, 48–50, 49
“Bunch Her Baby & Grammaw Blabette, The” (Kominsky Crumb): architecture of, 61, 62; Jewish mother stereotype in, 60, 62, 63–64; reorientation in, 61, 62, 63; repetition in, 61, 62
Burstein, Janet Handler, 93
Call It Sleep (Roth, H.), 6
Cartoonists of Color Database, 231n4
Clementi, Federica, 235n4
Comics, 4, 90, 234n19; autobiographical, 30, 237n12; isolation of, 17–18; as medium, 3, 30; narrative, 67, 238n1; underground, 237n14
Comics and Sequential Art (Eisner), 234n18
Community, connection to, 180
Control, 57; by cartoonists, 161; of stereotypes, 59–60
Cover: of Escape from “Special,” 117, 119; of Girl Stories, 117, 118; of Need More Love, 35
Crumb, Robert, 25, 27, 236n6; Davis, V., and, 240n17; in “Euro Dirty Laundry,” 53–56, 55, 237n18; Honeybunch Kaminski from, 46–47; “Saving Face” by, 51–52
Dear World (Cardell), 238n6
Death anniversary (Yahrzeit), 244n21
Diana (semifictitious character): alienation and, 151–52; Barbies and, 150, 151; connection to, 154; self-definition and, 158–63, 159, 160
Diary of a Teenage Girl, The (Gloeckner), 161
Diaspora, 20; impotence of, 168; language of, 167
Differences, 2–3; alienation and, 163; in disconnection, 181–82, 182; in Israel, 181–82, 182, 186–88, 191–92; in Jewish American women’s identity, 5; in jobnik!, 204–5, 205, 208; in Make Me a Woman, 95–97, 96, 108–9
Dis-affiliation, 2–3, 20; in A Bintel Brief, 230; in comics and age, 120; connection and, 218; ethics and, 169; in Israel, 190–94; in Make Me a Woman, 106–7
Disturbing the Universe (Trites), 130
Divergent Jewish Cultures (Moore and Troen), 107
Doubly liminal border case, 231n1
Drawings, 196; sketchbooks for, 78
Drawing style: of Escape from “Special,” 121; in Girl Stories, 146; of jobnik!, 197; of Kominsky Crumb, 26–28, 31–32, 236n8
Drawn Together (Kominsky Crumb and Crumb), 236n6
Driscoll, Catherine, 240n4
“Dyspeptic Academic” (Davis, V.), 99–100
Epistemology of the Closet (Sedgwick), 164
Escape from “Special” (Lasko-Gross), 19–20, 241n6; anxiety in, 122–26, 123, 127, 128–30, 129, 132, 132–33, 139; audience for, 117; communities in, 127, 128, 133–34, 241n11; cover of, 117, 119; displacement in, 122, 125, 133–35; doll in, 122–24, 123, 241n7; drawing style of, 121; fear in, 126, 127, 128; “The First Mindfuck” in, 131–33, 132; gap in, 121–22; Girl Stories compared to, 140–41, 148; introspection in, 128–30, 129, 139; isolation in, 131–35, 136, 137–38, 139; Jewish identity in, 134–35, 136, 137–38, 140, 164, 166; “Kidnapped” in, 125–26, 127, 128–30, 129; memories in, 126, 128–29, 129; mother in, 122, 123, 125–26, 127, 128; rebellion in, 134–35, 137; self-extension in, 122–24; self-representation in, 138, 139; “special” in, 133–34, 137–38; structure of, 120–21, 125–26; subjectivity in, 129–30; symbols in, 135, 136, 137; teddy bear in, 124; transitions in, 124, 130–31; truth in, 126, 128–29, 129
“Euro Dirty Laundry” (Kominsky Crumb, Crumb, R., and Crumb, S.): assimilation in, 55, 55; boundaries and, 53–54, 56–57; comics collaboration for, 53–56, 55, 237n18; ethnic heritage in, 54–55, 55, 237n20, 238n21; stereotypes in, 55, 56–57; styles in, 53–54
Expectations: for Jewish women, 46; in Make Me a Woman, 100, 106–7, 109
“Faith in a Tree” (Paley), 14–15
Fear of Flying (Jong), 6–7
Female Grotesque, The (Russo), 63
“First Mindfuck, The” (Lasko-Gross), 131–33, 132
Fishman, Sylvia Barack, 93
Friedman, Susan Stanford, 9, 167, 169
“Gallery of Missing Husbands, The,” 228, 229
“‘Girl I Was, The’: The Construction of Memory in Fiction by American, Jewish Women” (Fishman), 93
Girl Stories (Weinstein), 19–20, 241n13, 241n16; adolescent body in, 152–53, 155, 159–62, 160; agency in, 145–47; alienation in, 151–52, 159–63, 160; anxiety in, 146; audience for, 116–17; Barbies in, 142, 149–51, 150; belonging in, 151, 153–54, 156, 158–59, 161–62; boyfriend in, 151–57, 155, 157; coloring in, 145–47; counternarrative in, 157–58; cover of, 117, 118; defiance in, 161; Diana in, 150, 151–52, 154, 158–63, 159, 160; distance in, 156, 162–63; drawing style in, 146; Escape from “Special” compared to, 140–41, 148; “freak” in, 147, 148, 151, 160–61; gender in, 156; high school in, 151–63, 155, 157, 159, 160; introduction of, 141–43, 142; Jewish identity in, 140–41, 162–64, 166; kissing in, 154–56, 155; noses in, 159–62, 160; outcasts in, 147, 148; parents in, 143, 163; performativity in, 156–58, 157; physical changes in, 152–53; queerness in, 150–51; quest in, 148–49, 152; school in, 141–43, 142, 146–47; self-portrayal in, 144, 145, 147–48, 148, 160–61; sense of self in, 153–54; sexuality in, 153; structure of, 141, 145; transformation in, 150–51; urgency in, 143–44, 144
Global and the Intimate, The (Pratt and Rosner), 10, 234n16
“Goldie: A Neurotic Woman” (Kominsky Crumb), 18–19, 37; boundaries in, 38, 39, 44; degeneration in, 42, 44; empowerment in, 41, 44–45; independence in, 44; isolation in, 39, 40–41, 41; Jewish identity in, 44–45; movement in, 41, 44; placement of, 45; profile in, 41, 42–43; puberty in, 39, 40–42; sense of self in, 38, 39, 40; style of, 38; symbols in, 43–44
Graphic Women (Chute), 10, 25
Home, 217; American Jewish women writers and, 93–94, 239n16; in Israel, 178, 183, 186, 220; in Make Me a Woman, 90, 91, 92–95; in Strangers, 219–20; transnationalism of, 169–70, 218
Honeybunch Kaminski (fictitious character), 46–47
How to Understand Israel in Sixty Days or Less; see Israel
Identity, 17; of adolescent girls, 117; affiliation and, 134–35; in A Bintel Brief, 222; in jobnik!, 198–99, 208, 209, 210–11; from memories, 221–22; in “Nose Job,” 1–2; self compared to, 68; spaces related to, 169; travel narratives related to, 184–85; see also Jewish identity
Identity positions, 24–25
Images, 28, 82, 83, 101, 102; in Need More Love, 26–27, 29, 31, 31–35, 33, 36, 37, 236n7; repetition of, 31–32; of Spaniel Rage, 73, 74, 75, 238n8
Interdependent word-image combination, 28
Interfaces (Smith and Watson), 26
Introduction: of Girl Stories, 141–43, 142; to Make Me a Woman, 81
Isolation: of Bunch, 49, 51; of comics, 17–18; as disconnection, 180; in Escape from “Special,” 131–35, 136, 137–38, 139; in “Goldie: A Neurotic Woman,” 39, 40–41, 41; in Israel, 180–85, 182
Israel (Glidden), 20, 169, 242n3, 242n6; aftermath to, 193–95, 194; agenda in, 174–75; airport security in, 175–78, 177, 243n10; bat mitzvah in, 176, 177; biases in, 184–85; coloring in, 170, 242n5; complications in, 189, 191–93; contradictions in, 187–91, 189; differences in, 181–82, 182, 186–88, 191–92; dis-affiliation in, 190–94; disconnection in, 180–83, 243n13; disorientation in, 175–79; engagement in, 182, 182–84, 188–90, 189; Hasidim and, 176–80, 243nn10–12; home in, 178, 183, 186, 220; homeland of, 186, 190–92; isolation in, 180–85, 182; Jewish identity in, 175–80, 185–90; jobnik! compared to, 195–97, 210; journalism related to, 184–85, 243nn14–15; maps in, 171–72, 173, 174; narratives in, 186–88, 187; propaganda and, 181, 181, 185; research on, 175, 243n9; secularity in, 178–80; self-portrayal in, 181, 181–83, 182; similarities in, 186–88, 190–92; “the situation” in, 181, 181, 185, 188–89, 189; spaces in, 171–72, 173, 174–76, 183; structure of, 170–71, 242n4, 242n7; subjectivity in, 172, 174; time in, 175–76, 183; tribal loyalties in, 192–93; truth in, 176, 178, 181, 188, 190, 192, 194, 215
“Is There Still a Jewish Question?” (Willis), 243n16
It Ain’t Me Babe: Women’s Liberation, 237n14
“JAP, the Yenta, and the Mame in Aline Kominsky Crumb’s Graphic Imagination, The” (Clementi), 235n4
Jewish affiliation: choice in, 2; dis-affiliation in, 2–3, 20
Jewish Americans: in history, 232n7; immigration of, 2, 21, 231n3; racial middleness of, 52
Jewish American women’s identity: antiessentialism and, 7–8; differences in, 5; noses and, 232n7; spaces in, 5–10
Jewish bodies, 162, 232n7, 235n4; assimilation and, 59; gender and, 52–53; of Kominsky Crumb, 24, 235n3; stereotypes of, 23, 59, 102–3
Jewish college students, 242n2
Jewish Graphic Novel, The, 234n21
Jewish Identities in American Feminist Art (Bloom, L.), 232n8, 238n22
Jewish identity, 5, 167; in A Bintel Brief, 222–23, 228, 230; in comics and age, 118, 120; disavowals in, 20; in Escape from “Special,” 134–35, 136, 137–38, 164, 166; in Girl Stories, 140–41, 162–64, 166; in “Goldie: A Neurotic Woman,” 44–45; in Israel, 175–80, 185–90; in Make Me a Woman, 86–89, 87, 95–114, 102, 108, 112; in Mess of Everything, A, 138, 140, 241n12; noses and, 232n7; past related to, 21; reconceptualization of, 3, 7–8; in travel narratives, 169–70
Jewish Images in the Comics (Strömberg), 234n21
“Jewish Memoir Goes Pow! Zap! Oy!” (Libicki), 243n17
Jewish mother stereotype, 6–7, 113, 232n9; in “The Bunch Her Baby & Grammaw Blabette,” 60, 62, 63–64
Jewish women cartoonists, 234n21; as outsiders, 17–18; sources for, 18
Jews and American Comics, 234n21
Jew’s Body, The (Gilman), 232n7
jobnik! an american girl’s adventures in the israeli army (Libicki), 244n20; bodies in, 199; difference in, 204–5, 205, 208; disengagement in, 207–8, 209; displacement in, 197–200, 202, 204–8, 209, 244n22; drawing style of, 197; Hebrew words in, 198, 201, 205, 244n21; identity in, 198–99, 208, 209, 210–11; Israel compared to, 195–97, 210; Israeli state in, 198–200, 244n21; mother in, 200, 201; perspective in, 196, 198, 244n18; photographs in, 197; psychological diagnosis in, 202, 203, 204; Rabin and, 199–200, 201, 244n21; romance in, 206, 207, 208; sexuality in, 205–7, 207; structure of, 196–97, 210, 244n19; time and space in, 197–200, 210
jobnik manifesto (Libicki), 195
Journalism: interviews in, 215–16, 217, 218; Israel related to, 184–85, 243nn14–15; Libicki and, 195–96, 211, 243n17, 244n23; visual subjectivity and, 196
Journalism as Practice (Borden), 243n15
“Just Think…I could’ve ended up looking like Marlo Thomas instead of Danny! If only I’d had a Nose Job”; see “Nose Job”
Kominsky Crumb, Aline, 237n16; background of, 24, 31, 45–46; comics collaboration of, 26–27, 51–56, 55, 236n6, 237nn18–19; critics of, 26; Davis, V., compared to, 67, 238n2; drawing style of, 26–28, 31–32, 236n8; engagement with, 235n4; as insider/outsider, 52, 65; Jewish body of, 24, 235n3; Love that Bunch, 3; marginalization of, 34–35, 236n11; motherhood and, 57, 63–64; names and, 60, 235n1; negativity about, 37–38; “Nose Job,” 1–2, 45, 49, 50–52; perception for, 60; photographs of, 29, 31, 31–32; plastic surgery of, 51–52; real self of, 29, 36, 37; self-control of, 57; self-exploration of, 64; serial related to, 24–25; stereotypes and, 18–19, 23–24; temperament of, 64–66; word-image combination of, 28–29; Yiddishisms from, 23; see also Need More Love
Ladydrawers Comics Collective, 231n4
Lena Finkle’s Magic Barrel (Ulinich), 231n3
Libicki, Miriam, 20; Fierce Ease by, 215–16, 217, 218; journalism and, 195–96, 211, 243n17, 244n23; Strangers by, 211, 218–20, 244n23, 244n27; see also jobnik! an american girl’s adventures in the israeli army; Towards a Hot Jew: The Israeli Soldier as Fetish Object
Life So Far (Friedan), 232n5
Living Autobiographically (Eakin), 68
Living with His Camera (Gallop), 34
Lost in Translation (Hoffman), 221–22
“Love, Marriage and Motherhood” (Kominsky Crumb), 53
Love that Bunch (Kominsky Crumb), 3
Make Me a Woman (Davis, V.), 19, 80; acceptance in, 101, 102; ambivalence in, 98–99; anonymous portraits in, 84, 85, 86, 239nn13–14; anxiety in, 90, 91, 92–93, 106, 239n15; apology in, 95, 96, 100–1; audience for, 82; bat mitzvah in, 86–89, 87, 97–98; belonging in, 99; coloring in, 81, 89–90, 92, 239n15; confusion in, 94–95, 97–99, 101, 240n17; difference in, 95–97, 96, 108–9; dis-affiliation in, 106–7; expectations in, 100, 106–7, 109; fantasy in, 107–9, 108; home in, 90, 91, 92–95; homesickness in, 95–97, 101, 102, 104–5; intimacy in, 110–12, 112; introduction to, 81–82; Israeli men in, 103, 107–9, 108; Jewish affiliation in, 97–99; Jewish identity in, 86–89, 87, 95–114, 102, 108, 112; Jewish men in, 105–6; materialism in, 98; non-Jewish boyfriend in, 109–12, 112, 240nn22–23; non-Jewish men in, 105–6, 109–13, 112, 240nn22–23; opening image in, 82, 83, 101, 102; perspective in, 97, 99–100; positions in, 96, 96–97; questioning in, 100, 110; reorientation in, 88–89, 113; representation in, 88; self-exile in, 101, 102, 104–5; self in, 68–69, 114; stereotypes in, 103–6, 112, 112–13; structure of, 89–90; time in, 92–93, 114
Making the Body Beautiful (Gilman), 235n4
Maus series (Spiegelman), 30, 115
“Meet the Band” (Lasko-Gross), 124
Memories, 231n2; of American Jewish women writers, 93; of birth, 126, 128; connection from, 223–24, 226–27, 227; in Escape from “Special,” 126, 128–29, 129; hungers from, 225–26; identity from, 221–22; notebook and, 225; in “Taxoplasmosis,” 122–24, 123
“Miami Makeover: (Almost) Anything for Beauty,” 64
“Moo Goo Gaipan” (Kominsky Crumb), 57–59, 58
Naked Ladies! Naked Ladies! Coloring Book (Barry), 84
Need More Love (Kominsky Crumb), 60–61, 62, 236n11; categorization of, 35; collage in, 37; cover of, 35; excess in, 35–37; identity positions in, 24–25; images in, 26–27, 29, 31, 31–35, 33, 36, 37, 236n7; photographs in, 31, 31–36; structure of, 29, 236n7; word-image combination in, 28–29, 35; see also “Bunch Her Baby & Grammaw Blabette, The”; “Euro Dirty Laundry”; “Goldie: A Neurotic Woman”; “Moo Goo Gaipan”; “Nose Job”
Non-Jewish female (shiksa), 235n2
“Nose Job” (Kominsky Crumb): identity in, 1–2; placement of, 45; positions in, 49, 50–51; rebellion in, 1–2; “Saving Face” and, 51–52; see also Bunch
Not the Israel My Parents Promised Me (Pekar), 168
Past: of Bunch, 49, 49–50; Jewish identity related to, 21
Persepolis (Satrapi), 156
Photographs, 233n14, 236n9; in A Bintel Brief, 228, 229, 245n7; in jobnik!, 197; of Kominsky Crumb, 29, 31, 31–32; in Need More Love, 31, 31–36; response to, 29–30
Photography: A Middle-Brow Art (Bourdieu), 34
“Pillowtalk” (Davis, V. and Alixopulos), 240n23
Portnoy’s Complaint (Roth, P.), 101, 102, 104
“Preparation Information” (Davis, V.), 98–99
Promise of Memory, The (Martens), 121–22
Quest for Jewish Belief and Identity in the Graphic Novel, The (Tabachnick), 234n21
Reading Autobiography (Smith and Watson), 134–35
Reading Comics (Wolk), 30
Rebellion: in Escape from “Special,” 134–35, 137; in “Nose Job,” 1–2
“Recalling ‘Home’ from Beneath the Shadow of the Holocaust: American Jewish Women Writers of the New Wave” (Burstein), 93
Reid-Walsh, Jacqueline, 149
“Re-Imagining the Jew’s Body” (Most), 235n4
Reinventing Womanhood (Heilbrun), 5
Repetition: in “The Bunch Her Baby & Grammaw Blabette,” 61, 62; of images, 31–32
Reviving Ophelia (Pipher), 117, 145
Risk-taking self-representation, 4
Rolling Blackouts (Glidden), 243n14
Russian Debutante’s Handbook, The (Shteyngart), 231n3
“Saving Face” (Crumb, R. and Kominsky Crumb), 51–52
Sedgwick, Eve Kosofsky, 164
“Self-Reflexive Graphic Narrative” (McDaniel), 25
“Self Visualization Activity” (Weinstein), 164, 165
Senderovich, Sasha, 231n3
Sense of self, 153–54; in “Goldie: A Neurotic Woman,” 38, 39, 40
Sexuality: in Girl Stories, 153; in jobnik!, 205–7, 207
Shiksa (non-Jewish female), 24, 235n2
Situation and the Story, The (Gornick), 65
Sources: for A Bintel Brief, 222–23, 245n6; for Jewish women cartoonists, 18
Spaces: in “The Best We Can Hope For,” 13–14; graphic narratives and, 10–11, 13–15; identity related to, 169; in Israel, 171–72, 173, 174–76, 183; in Jewish American women’s identity, 5–10; see also Davis, Vanessa; Time and space
Spaniel Rage (Davis, V.), 19, 68–69, 86, 238n3; audience for, 72–73, 238nn6–7; chronicling in, 75, 76, 77; edits of, 71–72; images of, 73, 74, 75, 238n8; juxtaposition within, 76, 77–78; narration of, 75; structure of, 70–71, 78; unification from, 78–79
Stereotypes, 3–4, 101; communities and, 103–4; control of, 59–60; in “Euro Dirty Laundry,” 55, 56–57; interethnicity in, 59; of Jewish bodies, 23, 59, 102–3; of Jewish mothers, 6–7, 60, 62, 63–64, 113, 232n9; of Jewish women, 57–59, 58, 102; Kominsky Crumb and, 18–19, 23–24; in Make Me a Woman, 103–6, 112, 112–13
“Stranger in a Strange Land” (Davis, V.), 95–97, 96
Structure: of diaries, 79–80; of Escape from “Special,” 120–21, 125–26; of Girl Stories, 141, 145; of Israel, 170–71, 242n4, 242n7; of jobnik!, 196–97, 210, 244n19; of Make Me a Woman, 89–90; of Need More Love, 29, 236n7; of Spaniel Rage, 70–71, 78
“Sunny South of France, The” (Kominsky Crumb), 53
Synchronic diversity, 8, 19
Tabachnick, Stephen E., 234n21
“Talkin’ ‘bout my Generation” (Davis, V.), 240n17
Talking Back (Antler), 102
“Taxoplasmosis: My Earliest Memory” (Lasko-Gross), 122–24, 123
Transitions: in comics and age, 117–18; in Escape from “Special,” 124, 130–31
Translations: of Hebrew words, 198, 205; from Yiddish, 223
Travel Writing (Blanton), 169
Trites, Roberta Seelinger, 130, 140
Truth: in Escape from “Special,” 126, 128–29, 129; in Israel, 176, 178, 181, 188, 190, 192, 194, 215
Twisted Sisters 2: Drawing the Line, 236n5
Twisted Sisters: A Collection of Bad Girl Art, 236n5
Unterzakhn (Corman), 245n7
Women’s autobiographies, 26
World of Our Fathers (Howe), 232n7
Wrestling with Zion (Kushner and Solomon), 189–90
“Writing Back: Rereading Adolescent Girlhoods Through Women’s Memoir” (Marshall and Rogers), 156
Yahrzeit (death anniversary), 244n21
You Don’t Mess with the Zohan (film), 103