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The Cosmopolitics of Belonging: Model Minority Superheroes and Theological Imagination

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Abstract

This essay examines the process of shaping and reshaping US theological imagination through comic book superheroes and the role that Asian and Asian North American superhero characters play in that theological work. Comic book superheroes are not merely products of pop culture, but are characters that reveal shifting social, political, and theological understandings about individual and national identity, belonging, and power. Asian and Asian American superheroes have participated—or have been foreclosed from participating—in the creation, maintenance, and shifting of those theological and political understandings about national belonging and power. Asian American superheroes can act as model minority characters whose narratives sometimes expose what Cathy Park Hong labeled as “minor feelings”: affective experiences that are deemed as ugly, unsettled, and unassimilable into structures of white colonial capitalism and imperialism. Additionally, the serial nature of comic book superhero stories participates in this exposure of minor feelings. Asian American superhero narratives that dwell within minor feelings—specifically the minor feeling of shame—reveal the contradictions and hybridities, capacities and limitations, and critical choices about identity, power, and care that make communal belonging possible.

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Notes

  1. 1.

    Jeff Yang, “Introduction,” in DC Festival of Heroes: The Asian Superhero Collection, Kindle edition (New York: DC Comics, 2020), location 4.

  2. 2.

    X-Men writer Chris Claremont was also the inventor of the fictional island of Madripoor, whose imaginary location is said to be somewhere in the real world Strait of Malacca. Appearing in print for the first time in 1983, Madripoor is an orientalized version of Singapore, a modern-day pirate haven where lawlessness, exoticism, and criminal riches exist atop an impoverished underclass. Madripoor most recently appeared in the Marvel Comics University Disney+ television show The Falcon and the Winter Soldier, where it was critiqued for being an Asian-imagined location that lacked any visible Asian faces or bodies. See Therese Lacson, “Where are the Asians in The Falcon and the Winter Soldier’s Madripoor?” Comics Beat, https://www.comicsbeat.com/falcon-and-the-winter-soldier-asians-madripoor/; “Madripoor,” Marvel, https://www.marvel.com/comics/discover/2072/madripoor.

  3. 3.

    Zak Moy, “X-Men’s Jubilee: An Icon Short of Iconic. #StopAsianHate,” Medium, March 30, 2021, https://zakmoy.medium.com/x-mens-jubilee-an-icon-short-of-iconic-stopasianhate-3e180714b53a.

  4. 4.

    The organization #StopAAPIHate reported 6603 incidents of violence against Asian-identified people between March 19, 2020 and March 31, 2021, an increase from 3795 in the previous year. See Russell Jeung, Aggie J. Yellow Horse, and Charlene Cayanan, “Stop AAPI Hate National Report: 3/19/20 - 3/31/21,” May 6, 2021, #StopAAPIHate.org, https://stopaapihate.org/wp-content/uploads/2021/05/Stop-AAPI-Hate-Report-National-210506.pdf.

  5. 5.

    Yang, “Introduction.”

  6. 6.

    Heike Peckruhn, “Embodied Knowing: Body, Epistemology, Context, and Hermeneutics,” in What Is Constructive Theology?: Histories, Methodologies, and Perspectives, ed. Marion Grau (London: T&T Clark, 2020), 89.

  7. 7.

    Catherine E. Walsh and Walter Mignolo, On Decoloniality: Concepts, Analytics, Praxis (Durham: Duke University Press, 2018), 2.

  8. 8.

    Kwok Pui-lan, Postcolonial Imagination and Feminist Theology (Louisville, KY: Westminster John Knox, 2005), 30.

  9. 9.

    Willie James Jennings, The Christian Imagination: Theology and the Origins of Race (New Haven: Yale University Press, 2010), 6.

  10. 10.

    Jennings, The Christian Imagination, 8.

  11. 11.

    As described by Ranjana Khanna, symptomaticity indicates the co-connectedness and mutual dependence of realms of knowledge, structures, or systems necessary for understanding self, world, and Other. Rather than implying a base or foundation out of which all discourse, politics, or theology might separately grow, Khanna indicates that these structures are necessary to one another, reinforcing each other’s ideas, concepts, or imaginings. See Khanna, Dark Continents: Psychoanalysis and Colonialism (Durham, NC: Duke University Press, 2003), 34.

  12. 12.

    The most famous instance in the United States of this belief of comic books’ potential for causing degenerate behaviors in children occurred in the 1950s, when psychologist Fredric Wertham led a public crusade against what he claimed was comic books’ pathological influence on children, particularly around themes of violence, sex, and homosexuality. The crusade eventually led to a congressional hearing and the moves by the comics industry to self-censor what was considered to be adult content. See Anthony R. Mills, American Theology, Superhero Comics, and Cinema: The Marvel of Stan Lee and the Revolution of a Genre (New York: Routledge, 2014), 28.

  13. 13.

    Mills, American Theology, Superhero Comics, and Cinema, 26–27.

  14. 14.

    Mills, American Theology, Superhero Comics, and Cinema, 27.

  15. 15.

    The Golden Age of Comics in the United States marks the beginning of comic books as popular, mass media publications. This era began in 1938 with the publication of Action Comics #1, featuring the debut of the character Superman, and lasted until the 1950s. This era is known for the creation of some of the most lasting superhero characters, such as Superman, Batman, and Wonder Woman. The Silver Age of Comics followed the Golden Age, and lasted until about the mid-1970s, and featured the expansion of comics to include more superheroes and superhero teams and included more adult themes and stories based in reality. Later “ages” of comics—the Bronze and Modern Ages—continued to diversify and expand upon the work of Silver Age creators.

  16. 16.

    Ben Saunders, Do the Gods Wear Capes? Spirituality, Fantasy, and Superheroes (London: Bloomsbury Academic, 2013), 30.

  17. 17.

    Max J. Skidmore and Joey Skidmore, “More Than Mere Fantasy: Political Themes in Contemporary Comic Books,” Journal of Popular Culture 17, no. 1 (Summer 1983): 84.

  18. 18.

    Mills, American Theology, Superhero Comics, and Cinema, 46.

  19. 19.

    Greg Garrett, Holy Superheroes! (Louisville, Ky.: Westminster John Knox, 2008), 47.

  20. 20.

    Ramzi Fawaz, The New Mutants: Superheroes and the Radical Imagination of American Comics, (New York: New York University Press, 2015), 22.

  21. 21.

    Fawaz, The New Mutants, 204.

  22. 22.

    Christina Klein, Cold War Orientalism: Asia in the Middlebrow Imagination, 1945-1961 (Berkeley: University of California Press, 2003), 23.

  23. 23.

    Chris Ware in Jared Gardner, “Same Difference: Graphic Alterity in the Work of Gene Luen Yang, Adrian Tomine, and Derek Kirk Kim,” in Multicultural Comics: From Zap to Blue Beetle, ed. Frederick Luis Aldama and Derek Parker Royal (Chicago: University of Chicago Press, 2010), 135.

  24. 24.

    While writers and primary artists of mainstream comics during the Silver Age tended to be white men, Filipino American men worked at Marvel Comics as supporting artists such as inkers, letterers, and cover artists beginning in the 1980s, including Ernie Chan, Rudy Nebres, Tony DeZuniga, Alex Niño, Alfredo Alcala, and Nestor Redondo. See Rina Ayuyang, “Introduction,” in Marvel Voices: Identity #1, Kindle edition (New York: Marvel Comics, 2021), location 2, and Greg LaRocque, “Now There’s Something Different,” in Secret Identities: The Asian American Superhero Anthology (New York: The New Press, 2009), 81.

  25. 25.

    Mills, American Theology, Superhero Comics, and Cinema, 130.

  26. 26.

    Fawaz, The New Mutants, 24.

  27. 27.

    Fawaz, The New Mutants, 47.

  28. 28.

    Jeffrey A. Brown, Panthers, Hulks, and Ironhearts: Marvel, Diversity, and the 21st Century Superhero (New Brunswick, NJ.: Rutgers University Press, 2021), 89.

  29. 29.

    Brown, Panthers, Hulks, and Ironhearts, 89.

  30. 30.

    Jane Iwamura, Virtual Orientalism: Asian Religions and American Popular Culture (New York: Oxford University Press, 2011), 5.

  31. 31.

    Brown, Panthers, Hulks, and Ironhearts, 94; The first Asian American heroic character was government agent Jimmy Woo, who did not have mystical or superhuman powers. Woo appeared first in Marvel’s Yellow Claw series in the 1950s, and sporadically in Marvel series up to the present day. See Brown, Panthers, Hulks, and Ironhearts, 92.

  32. 32.

    Jubilee explains her powers in her first appearance in The Uncanny X-Men #244. See Chris Claremont and Marc Silvestri, “Ladies Night,” The Uncanny X-Men #244, Kindle edition (New York: Marvel Comics, 2013), location 2.

  33. 33.

    Iwamura, Virtual Orientalism, 133.

  34. 34.

    Mills, American Theology, Superhero Comics, and Cinema, 99.

  35. 35.

    Cathy Park Hong, Minor Feelings: An Asian American Reckoning (New York: One World, 2020), 9–10.

  36. 36.

    Park Hong, Minor Feelings, 22.

  37. 37.

    Park Hong, Minor Feelings, 55.

  38. 38.

    Park Hong, Minor Feelings, 56.

  39. 39.

    Sara Ahmed, The Promise of Happiness (Durham, NC: Duke University Press, 2010), 69.

  40. 40.

    Karen Bray, Grave Attending: A Political Theology for the Unredeemed (New York: Fordham University Press, 2020), 127.

  41. 41.

    Michael Chabon in Ruth Meyers, Serial Fu Manchu: The Chinese Supervillain and the Spread of Yellow Peril Ideology (Philadelphia: Temple University Press, 2014), 124 (emphasis in original).

  42. 42.

    Umberto Eco, “The Myth of Superman,” in Arguing Comics: Literary Masters on a Popular Medium, ed. Jeet Heer and Kent Worcester (Jackson: University of Mississippi Press, 2005), 139.

  43. 43.

    Meyers, Serial Fu Manchu, 123.

  44. 44.

    Brown, Panthers, Hulks, and Ironhearts, 89.

  45. 45.

    Jodi Kim, Ends of Empire: Asian American Critique and the Cold War (Minneapolis: University of Minnesota Press, 2010), 30 (italics in original).

  46. 46.

    Park Hong, Minor Feelings, 75.

  47. 47.

    Park Hong, Minor Feelings, 75, italics in original.

  48. 48.

    Paul Gilroy, Postcolonial Melancholia (New York: Columbia University Press, 2005), 99.

  49. 49.

    Park Hong, Minor Feelings, 78.

  50. 50.

    Park Hong, Minor Feelings, 57.

  51. 51.

    Park Hong, Minor Feelings, 63.

  52. 52.

    Jeff Yang and Jeff Castro, “Preface: In the Beginning,” in Secret Identities: The Asian American Superhero Anthology, ed. Jeff Yang, Parry Shen, Keith Chow, and Jerry Ma (New York: The New Press, 2009), 10.

  53. 53.

    This story seems to homage the graphic narrative Citizen 13660, in which Miné Okubo includes a scene where her character sits on a bus, surrounded by a sea of white faces, looking at her “with suspicion and distrust,” while she looks back at them with her arms crossed defiantly. See Miné Okubo, Citizen 13660 (Seattle, University of Washington Press, 1983), 12.

  54. 54.

    Jonathan Tsuei and Jerry Ma, “9066” in Secret Identities, 27.

  55. 55.

    Tsuei and Ma, “9066,” 27.

  56. 56.

    Tsuei and Ma, “9066” in Secret Identities, 27–28.

  57. 57.

    Kripa Joshi, “Miss Moti, Shattered,” in Shattered, 131 (ellipses in original).

  58. 58.

    Joshi, “Miss Moti, Shattered,” 131.

  59. 59.

    Ayuyang, “Introduction” in X-Men Voices, location 2.

  60. 60.

    Christina Strain, “Identity” in Marvel Voices: Identity #1, location 44.

  61. 61.

    Richard Delgado and Jean Stefancic, “Introduction” to Critical Race Theory: The Cutting Edge (Philadelphia, PA: Temple University Press, 2013), 3.

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Schwartz, B.Y. (2023). The Cosmopolitics of Belonging: Model Minority Superheroes and Theological Imagination. In: Pae, Kj.C., Lee, B. (eds) Embodying Antiracist Christianity. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-37264-3_4

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