by Frederick Luis Aldama

about Frederick Luis Aldama

Frederick Luis Aldama is Arts and Humanities Distinguished Professor of English at the Ohio State University. He is the award-winning author, co-author, and editor of forty books, including Your Brain on Latino Comics; Graphic Borders: Latino Comic Books Past, Present, and Future; and Graphic Indigeneity: Comics in the Americas and Australasia.

Hyphen

Like many in the United States I identify as Latino. Yet, if we put slight pressure on this identity category, it falls short. I’m Mexican-American, Guatemalan-American, and Irish-American. I’m GuaMex-Irish U.S. American. I’m of the hyphen. I create the hyphen. I activate the hyphen—a hyphen that signals how Latinas/os actively and constantly transform U.S. American identity categories themselves. Millions of Latinas/os in the United States are the product of multiple cultural identity categories (Allatson 2002; Caminero-Santangelo 2013). Whether one identifies as Latina/o, Hispana/o, Chicana/o, Nuyorican, Cubana/o, Juban (Jewish Cuban-American), and so on, one way or another Latinas/os inhabit in-between identity spaces. We inhabit the hyphen as Mexican-Americans, Dominican-Americans, Cuban-Americans, and as Central American-Americans, to use Arturo Arias’s (2003) term. And these hyphens splinter and multiply: Porto-Mexes, Cubo-Bolivians, Mex-Pakistanis, Black-Latinos, Luso-Latinos, among others. Each has a seeming infinite number of further variations. Each has its own history as a term. Mexican-Americans who want to foreground a politicized identity silence and displace the hyphen. For self-proclaimed Chicanas/os or Xicanas/os, the Nahuatl root sound of “ch” celebrates a new hyphenated relationship—one with our Indigenous ancestral past. We see the same move happen with Boricua, but this time to embrace the Taino ancestral roots...

Diversity

Everywhere we turn today, we see _diversity_ in all iterations of comic book story worlds. People of color and women are behind and in front of the camera lens in many of today’s wildly popular comic book films and TV shows. Netflix brought on African American music journalist and TV writer Cheo Hodari Coker to bring Luke Cage onto our smaller screens. Patty Jenkins gave a feminist touch to _Wonder Woman._ Ryan Coogler’s _Black Panther_ showed the world how hungry audiences are for a vibrant and vibrant and varied Black superhero cast. Maori director Taika Waititi centered _Thor: Ragnarok_ on a nonbinary superhero and a postcolonial imaginary. With Australasian James Wan directing Indigenous (Polynesian and Pawnee) actor Jason Momoa as Aquaman, questions of surveillance of racial identities are put front and center. Diversity in mainstream and indie in-print comics is making tremendous headway too. From fully realized gay characters like Kevin Keller in the Archie Comics universe and Anishinabe-Métis Elizabeth LaPensée’s Indigenous women in _Deer Woman_, to life for Arabic and West African French Parisians in the work of Caza (Philippe Cazaumayou) and Farid Boudjellal and Inoue Takehiko’s exploration of differently abled Japanese athletes in _REAL_ (2008–present), no stone is...