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table of contents
  1. Cover
  2. Half Title Page
  3. Title Page
  4. Copyright Page
  5. Epigraph
  6. Contents
  7. Introduction: Making Visible Archives
  8. 1. The Collage Activists: Hannah Alderfer, Beth Jaker, and Marybeth Nelson Frame the Feminist Sex Wars
  9. 2. The Comics Visionaries: Lee Marrs’s and Roberta Gregory’s Underground Feminism
  10. 3. The Newspaper Cartoonist: Alison Bechdel’s Queer Grassroots Networks
  11. 4. The Editor and Pedagogue: Gloria E. Anzaldúa’s Public Drawing
  12. 5. The Photographer and Curator: Nan Goldin’s Witness to HIV/AIDS
  13. Epilogue
  14. Acknowledgments
  15. Notes
  16. Bibliography
  17. Figure Descriptions
  18. Index
  19. About the Author

Contents

Introduction: Making Visible Archives

1. The Collage Activists: Hannah Alderfer, Beth Jaker, and Marybeth Nelson Frame the Feminist Sex Wars

2. The Comics Visionaries: Lee Marrs’s and Roberta Gregory’s Underground Feminism

3. The Newspaper Cartoonist: Alison Bechdel’s Queer Grassroots Networks

4. The Editor and Pedagogue: Gloria E. Anzaldúa’s Public Drawing

5. The Photographer and Curator: Nan Goldin’s Witness to HIV/AIDS

Epilogue

Acknowledgments

Notes

Bibliography

Figure Descriptions

Index

About the Author

Annotate

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Cover design by Crisis

Cover images reprinted with permission of Hannah Alderfer and Marybeth Nelson. Copyright Hannah Alderfer, Beth Jaker, Marybeth Nelson 1982, 1983. Scan courtesy of Visual Resources Center, Stanford University.

The University of Minnesota Press gratefully acknowledges the financial assistance provided for the publication of this book by the University of Florida College of Liberal Arts and Sciences and Center for the Humanities and the Public Sphere (Rothman Endowment).

Portions of chapter 2 are adapted from “Feminism Underground: The Comics Rhetoric of Lee Marrs and Roberta Gregory,” WSQ: Women’s Studies Quarterly 43, nos. 3/4 (Fall/Winter 2015): 203–22; copyright 2015 by the Feminist Press at the City University of New York; reprinted by permission of The Permissions Company, LLC on behalf of the publishers, www.feministpress.org; all rights reserved. Portions of chapter 3 are adapted from “‘The Lesbian Norman Rockwell’: Alison Bechdel and Queer Grassroots Networks,” American Literature 90, no. 2 (2018): 407–38; copyright 2018 Duke University Press; all rights reserved; reprinted by permission of the publisher, www.dukeupress.edu.

Images in chapter 4 from the Collection on Gloria Evangelina Anzaldúa are part of the Nettie Lee Benson Latin American Collection, University of Texas Libraries, The University of Texas at Austin; copyright by the Gloria E. Anzaldúa Literary Trust, Benson Latin American Collection, University of Texas Libraries. By permission of Stuart Bernstein Representation for Artists, New York, N.Y., and protected by the Copyright Laws of the United States. All rights reserved. The printing, copying, redistribution, or retransmission of this Content without express permission is prohibited.

Copyright 2023 by Margaret Galvan
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