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This chapter explores how Dykes to Watch Out For establishes a playful and deprecating relationship with queer theory that is simultaneously a hallmark of Alison Bechdel’s individual craft and something made possible by the unique formal properties of comics. Specifically, this chapter considers instances where Bechdel uses the gutters of the comic to represent how knowledge can be lost or obfuscated as it moves through (everyday, public) time that is teeming with distractions. As a result, the collected DTWOF is stirring, instructive even, for anyone invested in critical theory’s capacity to affect meaningful and sustained change. The method developed in the chapter draws on the significance of the gutter as identified in comics criticism; it advocates placing one’s attention on the gutters and focusing on how information is shown to be successfully, or unsuccessfully, transmitted across them.

In both Fun Home and Dykes to Watch Out For, Alison Bechdel draws avatars of herself as a butch lesbian who has an admiration for “masculine beauty,” while preferring the company of women and the politics of Leftist lesbian feminism. In the “Cartoonist’s Introduction” to Dykes to Watch Out For, she describes how as a child she had “a curious fixation with the iconography of masculinity” and drew only male figures until years later she asked herself, “What if I stopped drawing guys and started drawing dykes?” (Essential Dykes viii, xiii). But she did continue drawing men as well, centering Fun Home on the depiction of her father’s dilemmas as a closeted gay man trying to fit American ideals of manhood. So Bechdel gives us sad past and potentially optimistic future visions of masculinity and sexuality. This chapter analyzes Bechdel’s men both externally and internally, first with attention to the ways in which she draws the repressed Bruce Bechdel, Alison’s father in Fun Home, and outgoing Stuart, progressive partner to one of Bechdel’s Dykes to Watch Out For, then to considering what she shows us of their thoughts and emotions in the social environments they inhabit.

This chapter explores the numerous and heretofore overlooked physical, personal, and psychological areas of overlap between Mo Testa in Dykes to Watch Out For and Linus van Pelt in Charles Schulz’s Peanuts. Many of Mo’s signature traits and hallmark qualities are ones she shares with Linus: from her insecurity and intellectualism to her philosophical nature and her role as reflective commentator for the group. Indeed, even Mo’s penchant for striped clothing can be seen as taking a sartorial cue from Linus, who is always clad in a t-shirt with strikingly similar horizontal stripes. While Bechdel never identified Schulz as an inspiration for her work nor the Peanuts gang as a model for her DTWOF crew, the suggestive echoes between Mo and Linus seem too numerous to be merely coincidental. Exploring the similarities between Mo and Linus reveals a compelling kinship between Bechdel’s work and one of the most well-known strips in the history of American comics, while it also sheds new light on the relationship that DTWOF has to its socio-cultural milieu.

The Comics of Alison Bechdel is the first full-length volume dedicated to the comics art of Alison Bechdel, beginning with her early work on the long-running serial comic strip Dykes to Watch Out For and including original scholarship on her acclaimed memoirs Fun Home and Are You My Mother?. This introductory essay orients readers to Bechdel’s career—her childhood in Beech Creek, her involvement in LGBTQ activism and lesbian comix, her move inward towards life writing, and the mainstream cultural recognition prompted by the adaptation of Fun Home into a Tony Award-winning Broadway musical—as well as to current trends in Bechdel scholarship. The chapter focuses on the themes of intimacy and the self in Bechdel’s work.

Alison Bechdel’s groundbreaking comic strip Dykes To Watch Out For, which ran from 1983 to 2008 in mostly independent, alternative newspapers as well as online, had an important effect on representing and shaping the LGBTQ, and especially the lesbian, community in the latter decades of the 20^th century and the first decade of the 21^st century, a time of great change for the LGBTQ community. Within the world of the comic strip, information, information behavior, and the exchange of information play a key role in helping build and maintain community among the (mostly lesbian) characters. In turn, the identities of the individual members of that community are shaped by that evolving community. This essay will use Jaeger and Burnett’s theory of information worlds as a framework for examining how information and information behaviors help to form and maintain the information world of the lesbian community depicted in Dykes To Watch Out For. It will demonstrate that, as an insider in a marginalized community, Bechdel framed the information world of that community through her art and exported it to other communities outside of her world, thus helping to shape the information worlds of “real-world” lesbian communities over the quarter century that the strip was published.

First published in 1983 in Womanews, and later widely syndicated, Alison Bechdel’s Dykes To Watch Out For (DTWOF) series not only created an unparalleled historical archive of queer culture, it also shaped both the lesbian comix and queer comics that came after it in remarkable ways. Through her use of a wide range of characters having pointed conversations about then-current events and politics, debating identity, desire, and shifting representation, or simply going out to dinner at Café Topaz, the local vegetarian restaurant, Bechdel catalogues a life history of these lesbians and their community—even as that community shifts in unanticipated ways, as our understanding of binary gender shifts and continues to do so today. For a strip that initially included no men, DWTOF ended up including a number of male characters in order to explore what “male” meant through drag king culture, non-binary characters, and characters who identify as transgender.