It’s Friday, I’m burnt out, and I’m doing the mom thing today (chasing the kid around nearly an hour past his naptime as he hasn’t eaten his lunch yet). So today I’m going to post a preview of my LGBTQIA+ Fantastika symposium paper – in abstract form. You can find full details of the event here:
But Where Do The Babies Come From?: Evaluating the Effect of Mothers as Matriarchs in Monstress, Wonder Woman, and Y: The Last Man
What happens in a world where there are no men or patriarchs?How are political alliances arranged? How are relations formed? And where do the babies come from? These are some of the questions posed in the works of Monstress, Wonder Woman, and Y: The Last Man. Although men still exist in the world of Marjorie Liu and Sana Takeda’s Monstress, it is striking that the political alliance between the Dawn Court and the Dusk court are made via the marriage of two females. While patriarchal marriage alliances are generally made in order to combine bloodlines, Monstress blatantly ignores this objective. In contrast, while in the original Wonder Woman comics, Hippolyta creates her daughter Diana from clay, in the 2011 retcon DC changed this parthenogenetic birth so that Diana is created from the union of Zeus and Hippolyta, reaffirming the role of heterosexual parentage. Meanwhile, Brian K. Vaughan’s Y: The Last Man undermines this heterosexual/binary parentage completely. At the beginning of the series, Yorick Brown and his pet monkey Ampersand are the only two living males left on the entire planet, as a mysterious illness kills anyone with a Y chromosome. One of the explanations offered for this illness is, due to viable cloning, males were no longer necessary, and Mother Nature destroyed them. All three graphic narratives offer interesting perspectives of the place and space of men within a queered world. While these texts are still fairly conservative (as they do not engage in sustained conversation about either intersexuality or pansexuality), each narrative still reveals insights into the binary nature of power structures and family dynamics. This paper will begin this dialogue as the first steps of a larger project examining power and gender roles in fantasy fiction.
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