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This article focuses on North American gay comics, especially the 'gay ghetto' subgenre, and on the alternative gay comics that have been created in response to the genre's conventions. Gay comics have received little scholarly attention and this article attempts to begin redressing this balance, as well as turning attention to the contrasts between different genres within the field of gay comics. Gay ghetto comics and cartoons construct a dominant gay habitus, representing the gay community as relatively stable and unified, while the alternative gay male comics discussed critique the dominant gay habitus and construct instead an alternative gay--or 'queer'--habitus. The article focuses on the work on Robert Kirby, an influential cartoonist and editor of gay comics anthologies, and particularly on his story 'Private Club', in order to explore some of the typical themes and concerns of alternative gay ghetto comics.
For the last 30 years, lesbian and gay scholarship has investigated a varied range of LGBT cultural production including visual arts, film, theatre, music and literature but, nevertheless, it has almost completely ignored comics. Instead, it has mainly been gay comics creators themselves who have also acted as historians and scholars, documenting queer comics history in books and articles (see e.g. Mills 1986; Triptow 1989; Stangroom 2003; Hall 2012) This study is no exception, since I am a queer cartoonist as well as a historian.
In the majority of studies of queer comics, however, there is a tendency to see all comics produced by queer artists as 'alternative' or 'resistant' because of the fact of their existence in a heterocentric and homophobic culture. For example, Edward H. Sewell, Jr's essay 'Queer characters in comic strips' (2001) -- a rare example of an academic study of queer comics--argues that comic strips by queer creators, featuring queer characters and aimed at queer audiences, open up a space in which queers 'can acknowledge their own values [and] be authentic' (Sewell 2001: 253). However, I would emphasize that Sewell's analysis, like most studies of queer comics, lacks consideration of the differences within gay/queer culture.
This article focuses on North American gay male comic strips and cartoons, especially the sub-genre I call 'gay ghetto' comics, as well as on the alternative gay comics that have been created in part as a reaction to the conventions of the gay ghetto genre. In it, I argue that in fact there is a 'gay mainstream', or what Katherine Sender (2004), drawing on the work of Pierre Bourdieu, has described as a 'dominant gay habitus'. The more traditional gay ghetto comics I discuss in the first part of this article tend to reinforce the dominant gay habitus, while the alternative gay comics exemplified by the work of Robert Kirby tend to define themselves against this dominant gay habitus as much as they do against 'heterosexual' mainstream culture, and to participate in the construction of an alternative gay--or queer--habitus. 153554b96e