Abstract
ABSTRACT: This article examines a series of Captain America stories by Black creators and locates these works in the tradition of "shadow books," as defined by Kevin Young in his study of Black culture and artistic expression, The Grey Album: On the Blackness of Blackness. Truth: Red, White, and Black by Robert Morales and Kyle Baker; The Crew , written by Christopher Priest and drawn by Joe Bennett; and Morales' truncated 2004 run on Marvel's flagship Captain America title are all examples of what Young calls "shadow books," works by Black creators that subvert conventional meanings and are in turn "disallowed, vanished": out of print for years, sometimes with plots that were cut short and never completed, their events only glancingly recognized (or retroactively altered) in Marvel's continuity. This article focuses, in particular, on the retroactive revision of a key plot point from Truth: Red, White, and Black , and the way in which this editorial revision functions as an act of erasure in a broader struggle over the representation of American history.
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