Drama!

Hidden Agenda?: Promoting Diversity and Inclusion


In Sam’s discussion questions on Monday, she brought up that some critics and challengers of Drama accuse Raina Telgemeier of hiding an LGBTQ+ agenda in her work. The only way in which the queer aspects of the book are hidden is that they are not explicitly stated on the cover or in the blurb on the back cover that outlines the plot. Drama is extremely inclusive and accepting in other identities, as well, even though characters never bring explicit attention to the diversity. There are numerous characters of color and characters with non-European names. Jesse and Justin’s identities are discussed not only with them being gay, but also as people of color with a–presumably– immigrant father who places high academic expectations on them which results in them trying to hide or change their identities. These layers to their identities and characters are a great example of intersectionality, even though very little of this is pointedly stated, and much of it must be drawn from subtext. 

Telgemeier also makes a point to include Jesse and Justin introducing Callie to bubble tea and Yoshi’s J Mart, which increases the cultural diversity of the novel in relatively subtle ways. Telgemeier then devotes an entire page (page 49) to Justin searching for Manga at the bookstore. These efforts to increase diversity are not hidden, but they are not the main focus of the plot and are easy to miss if you do not pay attention. 

The Intermission on pages 140-142 is one of my favorite scenes because it is “deceptively simple,” to use Scott’s phrasing. One might even skip over these pages because there is no text on them. However, they seem to paint a clear picture of the ideal world Telgemeier envisions with her novel; people of all different ages, backgrounds, races, and ability statuses coming together. On page 140, I especially wanted to note that there is a child being pushed in a wheelchair by their mom. Ableism and ability status often get left behind when talking about discrimination and the aspects of one’s identity. Disabled characters are rarely included in the media, and when they are, they are most often played by a nondisabled person. Again, Telgemeier’s work promotes diversity and inclusion without her needing to become a philosopher or sociologist. She does not make any profound sociological or philosophical statement about the plights of these characters. She tells her readers that her characters simply are who they are– and that is enough.


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