Michael A. Chaney
Associate Professor of EnglishChair, African and African American Studies
I specialize in nineteenth-century American literature and African American literature, mixed race representation, visual culture studies, autobiography, and comics and graphic novels. My latest book, Reading Lessons in Seeing: Mirrors, Masks, and Mazes in the Autobiographical Graphic Novel, examines "graphic novels" to illustrate how comics--both in form and function--are pedagogical, instructing readers on how they ought to be read. My academic writing tends to merge a healthy skepticism for the obvious with a passion for the unexpected and the theoretical, a perspective honed perhaps by my original calling as a visual artist. Recent essays appear or are forthcoming in such journals as American Literature, African American Review, Callaloo, Biography, College Literature, and ESQ. My creative writing tends to blur genres and modes, a perspective no doubt inspired by my own mixed race heritage. Recent creative credits include Prairie Schooner, The Minnesota Review, The Los Angeles Review, and Fourth Genre. I'm currently putting the finishing touches on an edited collection (for Oxford UP) about David Drake or Dave the Potter, an enslaved ceramicist and author from antebellum South Carolina, while continuing work on a collection of flash fiction called The Cartoonal and You, which fuses the form of the cartoon with lyric surrealism to explore perplexities of American race relations.
Reading Lessons in Seeing: Mirrors, Masks, and Mazes in the Autobiographical Graphic Novel. Forthcoming University Press of Mississippi, 2017.
“Autobiographical Graphic ‘Novels’ of Childhood.” Forthcoming in Auto/Biography Studies “What’s Next” Special Issue 32.2 (2017).
“Why Call Them Graphic Novels If They’re True? Classifying Fun Home’s Mirrors.” Forthcoming in Approaches to Teaching Alison Bechdel’s Fun Home, ed., Judith Gardiner. New York: MLA Press, 2017.
“Depicting African American Life in Graphics and Visual Cultures.” Forthcoming in A History of African American Autobiography, ed., Joycelyn Moody. Cambridge: Cambridge University Press, Dec 2016.
“Signifying Marks and The ‘Not Counted’ Inscriptions of Dave the Potter.” Forthcoming in Arizona Quarterly 72.3 (Autumn 2016).
“On the Nature of the Boundary in Comics Memoir: The Case of March.” Forthcoming in Comics an der Grenze: Sub/Versionen von Form und Inhalt, eds. Matthias Harbeck, Linda-Rabea Heyden, and Marie Schröer. Berlin: Bachmann, 2016. 31-40.
“Digression, Slavery, and Failing to Return in The Narrative of the Sufferings of Lewis Clarke.” Forthcoming from Biography: An Interdisciplinary Quarterly (Fall 2016).
"Horror Movies With Mom." Prairie Schooner (Fall 2016): 101-110.
“The Cartoonal Slave.” In The Psychic Hold of Slavery: Legacies in American Culture, eds. Soyica Colbert, Robert Patterson, and Aida Hussen. New Brunswick: Rutgers University Press, 2016. 168-94.
"Dave the Potter and the Churn of Time." Michigan Quarterly Review (Winter 2014): 1-6.
“Keeping Pictures, Keeping House: Harriet and Louisa Jacobs, Fanny Fern, and the Unverifiable History of Seeing the Mulatta.” ESQ 59.2 (2013): 263-290.
“Slave Memory Without Words in Kyle Baker’s Nat Turner.” Callaloo 36.2 (2013): 279-297.
“Not Just a Theme: Transnationalism and Form in Visual Narratives of US Slavery.” In Comics at the Crossroads: Transnational Perspectives on Graphic Narratives, eds. Christina Meyer, Shane Denson, and Daniel Stein: New York: Bloomsbury, 2013. 15-32.
“Mulatta Obscura: Camera Tactics and Linda Brent.” In Pictures and Progress, eds. Maurice O. Wallace and Shawn Michelle Smith. Durham: Duke University Press, 2012. 109-31.
“The Concatenate Poetics of Slavery and the Articulate Material of Dave the Potter.” African American Review 44.4 (2011): 607-18.
“Animal Subjects of the Graphic Novel.” College Literature 38.3 (2011): 129-149.
"E.E. Cummings's Tom: A Ballet and Uncle Tom's Doll-Dance of Modernism." Journal of Modern Literature 34:2 (2011) 22-44.
“Terrors of the Mirror and the Mise en Abyme of Graphic Novel Autobiography,” College Literature 38:3 (2011) 21-44.
“‘Heartfelt Thanks to Punch for the Picture’: Frederick Douglass and the Transnational Jokework of Slave Caricature,” American Literature 82:1 (2010) 57-90.
“Is There an African American Graphic Novel?” In Approaches to Teaching the Graphic Novel, ed. Stephen Tabachnick. New York: Modern Languages Association Press, 2009. 69-75.
“Drawing on History in Recent African American Graphic Novels,” MELUS: The Journal of the Society for the Study of the Multi-Ethnic Literature of the United States 32:3 (2007) 175-200.
“International Contexts of the Negro Renaissance.” In Cambridge Companion to the Harlem Renaissance, ed. George Hutchinson. Cambridge: Cambridge University Press, 2007. 41-54.
“The Gothic Aesthetics of Eminem” (co-authored with Jason Lindquist). Gothic Studies 9.1 (2007): 57-68.
“Coloring Whiteness and Blackvoice Minstrelsy: Representations of Race and Place in Static Shock, King of the Hill, and South Park.” Journal of Popular Film & Television 31.4 (2004): 167-75.
“Slave Cyborgs and the Black Infovirus: Ishmael Reed’s Cybernetic Aesthetics,” Modern Fiction Studies 49:2 (2003) 261-283.
“Traveling Harlem’s Europe: Vagabondage from Slave Narratives to Gwendolyn Bennett’s ‘Wedding Day’ and Claude McKay’s Banjo.” Journal of Narrative Theory 32.1 (2002): 52-76.
“Touring the Spectacle of Slavery at Magnolia Gardens Plantation.” Southern Quarterly 11.4 (2002): 126-40.
“Picturing the Mother, Claiming Egypt: My Bondage and My Freedom as Auto(bio)ethnography.” African American Review 35.3 (2001): 391-408.
“The Dismantling Evolution of Heroes: Aquaman’s Amputation.” International Journal of Comic Art 1.2 (1999): 55-65.
Keynote Address: “Where? Reflections on Richard McGuire’s Here and the Spatial Ontology of Comics.” International Comic Arts Forum. Univ. of South Carolina, Columbia SC. April 14, 2016.
Address, “Counting on Theory to Account for Dave the Potter’s 'Not Counted' Jar.” McKissick Museum, Columbia SC. April 12, 2016.
Plenary Speaker, “Graphic Novels Offer Reading Lessons in Seeing.” McComb Conference. Miami University, Oxford OH. March 12, 2016.
Plenary Speaker and Seminar Discussant, “History as Autobiography in Contemporary African American Comics and Graphic Narrative.” Hermanns Lecture Series. University of Texas, Arlington. October 23, 2015.
Plenary Speaker, “Race, the Human, and History in the Graphic Novel.” Honors College of Emerson College. Boston, MA. September 28, 2015.
Plenary Speaker, “Simultaneous History: Re-Seeing John Lewis’s Graphic Memoir March After Ferguson and Baltimore.” Futures of American Studies Institute. Dartmouth College. June 24, 2015.
Plenary Speaker, “What Can Krazy Kat Tell Us About Seriality and Comics Poetics?” Mass Media and Seriality in 1920s-1930s US Popular Visual Culture. Hannover, Germany. April 24, 2015.
Plenary Speaker, "Middle Passage, Community, Mise-en-abyme: Or, What Happens When Kyle Baker Changes the Tail of a Dead Slave’s Speech Balloon in Nat Turner into an Arrow?” Futures of American Studies Institute. Dartmouth College. June 19, 2014.
Plenary Speaker, “The Material Pedagogy of Dave the Potter—19th Century Slave, Poet, and Artisan.” Campus Lectures in Education, Siena College, March 21, 2013.
Keynote Address: “Picture Games in Story Frames: The Play Spaces of Graphic Novels.” Graduate Student Conference at the University of Montreal, Canada. March 16, 2012.
Plenary Speaker, “Flipped Scripts and Magnifying Glasses: Barthes’ Image Music Text and the Comics” Panel.” Interdisciplinary Methodology Conference: The Case of Comics Studies. University of Bern, Switzerland. 15 October 2011.
“Seeing the Social, Or How to Read a Graphic Novel.” TEdX Conference at Dartmouth College, March 6, 2011.
Plenary Speaker, “Pictorial Aurality in Kyle Baker’s Nat Turner.” Life Writing and the Graphic Novel: an International Conference. Ruhr University of Paderborn, Germany. July 2, 2010.