![]() ![]() He sees, as he puts it it in the second panel, “the product of the southern tradition nobody likes to talk about. In this manner, he looks at his own reflection, his own identity, his own self. ![]() Throughout the scene, Zane looks at himself in the mirror as he transforms into “Incognegro.” The historical aspects of the scene, and the novel, link to various things such as the rape of Black women, passing novels, the violence of lynching, and more. The five panels that depict Zane crossing the color line warrant a deep examination, specifically in relation to the history that Zane speaks about and also in the ways that this scene, and the rest of the narrative, plays upon superhero tropes. ![]() I may discuss these aspects in future posts, but today I want to focus on a specific scene early in the novel, the scene where Zane become “Incognegro.” Zane Pinchback asks, “Who would pretend to be a white man in this world? What could be the possible advantage of that?” Zane’s questions encapsulate Incognergo and the ways that white supremacy and patriarchy oppress individuals. One of these will definitely be looking at Incognergo in relation to themes that James Baldwin discusses in his essay “Stranger in the Village.” As well, we will examine Francis Jefferson-White’s passing as a white male in the text. There are a lot of aspects of the book I could discuss, and that I want to discuss with students. In preparation for my fall literature class, I reread Mat Johnson and Warren Pleece’s Incognegro: A Graphic Mystery. ![]()
0 Comments
Leave a Reply. |