The theme of cannibalism is taboo but pervasive, abhorrent yet enticing. Compelling examples of the postmodern cannibal and the rupture that it unveils are springing up in the increasingly popular world of comics[1]. These comics do not just provide visual representations of a hybrid cannibal that draws upon ideas of canonical authors. Instead, the postmodern cannibalistic comics that I am analyzing deconstruct the categories that canonical pre-modern and contemporary literature alike relies upon. The Walking Dead by Robert Kirkman and Crossed: Volume I by Garth Ennis[2] challenge the definitive nature of groups “human” and “animal[3].” These narratives expose that there is no “us” and no “them,” but rather suggest that the nuances and crossovers between human (glorified/civilized) and animal(beast/savage) are infinite, unveiling a Derridean abyss through the cannibal figure.
In order to establish a solid foundation for my argument, I will present some historical/contextual background for the cannibalism narrative in canonical literature. Cannibalism, both literal and figurative, is depicted across a wide range of literary styles, genres, and periods. Cannibals appear in works ranging from the epic poetry of Ovid to the dramatic works of Shakespeare, to the travel narratives of New World explorers, to the modern castaway narrative by Golding. These canonical works are important for establishing the general anxiety the cannibal continues to evoke; something that I will not challenge in my argument. I will present a close reading of three canonical cannibal narratives; Tereus, Procne, and Philomela from Ovid’s Metamorphoses, Titus Andronicus by William Shakespeare, and Lord of the Flies by William Golding. Each of these stories examines a different way that cannibalism is dangerous and their messages have persisted through time to contemporary literary works. More so than any fantastical monster, the cannibal has the power to unveil the monstrosity of humanity. In these works, the effective ”animalizing” of the cannibal allows for a misguided, but comforting notion of the human subject as “above” “them.”
The hybrid cannibal of the postmodern cannibalism narrative reveals an important rupture that dismantles the age-old reliance upon constructed categories “human” and “animal.” The cannibal figures in the comics I will investigate do not offer the same sense of relief or protection from the “other.” They demonstrate that the human subject is merely a constructed identity that really bears no weight. The Walking Dead (Robert Kirkman) and Crossed (Garth Ennis) will be the primary sources for my investigation into the deconstruction of “humanness” and the revelation of a seething rupture between man and animal/other. A major interest of both these series is in the loss of the subject in the face of the “animal-other.” The obvious threat is always the cannibal, but in both narratives, the overwhelming anxiety is about becoming one of “them” and therefore losing subjectivity, something that is considered synonymous with humanity. Both texts reveal, however, that what constitutes “us” and “them” can change on a day-to-day basis, constantly risking putting man in the “wrong” category.
My argument will challenge some of the existing arguments regarding cannibals and zombies. For one, I will consider zombies cannibals because they are indeed humans (though former humans) who feed on human flesh. Second, my argument strays from the traditional argument that consumption narratives of the postmodern period are (almost) always a statement about capitalism in the western world. Richard King acknowledges the reliance upon this kind of interpretation of zombies and cannibalism in his article “The (Mis)Uses of Cannibalism in Contemporary Cultural Critique.” He asserts, “The new cultural subject associated with late capitalism possesses a ‘still operative cannibal ego’” and continues to explain the flaws in relying on this system of signification wholly in the analysis of cannibalism (114). While the value of these analyses should not be undermined, I strongly believe that there is more to be uncovered within these narratives. Comics are not always accepted as “valuable” or “literary” texts, but these works have a huge readership. The popularity alone speaks to the cultural relevance of the genre, but the texts themselves offer opportunity for rich analysis.
Within the rich potential for analysis in the particular works I have selected, I will have to confront the issues of race, gender and politics that appear so rampantly throughout both. Though this is not a paper specifically on those subjects, it is crucial that I acknowledge that there are indeed many problems, challenges and commentaries on each within both Crossed and The Walking Dead. Race and gender in particular may warrant a side discussion as they both play an important role in topics of subjectivity and “otherization.”
My thesis will guide the reader from information about the roots of the cannibalism narrative, to the “meat” of my argument. First, I will examine the cannibal as a figure in both series. There are certain traits that are important to consider that come from the pre-modern and classical cannibals (e.g. cognition and the marked body). The cannibal is generally signified by his body and the way it differs from that of “civilized” man. This tradition is upheld in Crossed and The Walking Dead and it is significant to highlight what the cannibal body looks like before considering what this visual representation signifies, or fails to signify. I want to discuss how the postmodern hybrid is both unique and similar to the canonical cannibal and how the figure’s representation points to certain anxieties. After a close analysis of the cannibal or group of cannibals, I plan to pull apart the narratives down to the language used in order to illustrate how definitive categories “human” vs. “subhuman” appear and are consequently undone.
Overriding the entire paper will be the theoretical framework of Derrida. I will highlight the particular language and concepts that I intend to use in the introduction of my paper. This way the reader will be aware of the general guiding principals underlying my argument. The historical section will serve as a way of understanding conventional tropes and then my discussion of Crossed and The Walking Dead will be drawn on comparatively to deconstruct those particular tropes to challenge the dichotomy between “human” and “animal.” Though a close reading of primary texts will drive my argument, I will support my claims with secondary sources to strengthen my discussion.
[1] Note that “comics” and “graphic novels” are used somewhat interchangeably. The two series that I will investigate, The Walking Dead and Crossed were each published first as individual issues of comics. Issues have been compiled into larger collections of graphic novels.
[2] I am considering the writers the authors of these works, however it is only fair to acknowledge that comics are very much a collaborative effort between writer and artist(s).
[3] The term “animal” will be used including notions of the Other. When reading the term “animal” the reader should consider this figure an “animal-other” as a way of understanding that this is a category considered not only separate from the group “human,” but also threatening to and less-than humans.
