This article analyzes how Anya Ulinich’s graphic novel Lena Finkle’s Magic Barrel (2014) engages in and expands upon Jewish writing practices. I argue that through her use of the graphic novel as a medium, Ulinich both draws on and subverts masculine writing practices and images of women that have dominated Jewish literature and culture. Through her cross-discursive, intertextual, multi-directional writing, Ulinich depicts her protagonist Lena as gaining a sense of self, but one that is fragmentary and constantly experienced and re-pictured through memory and in relationship to others. Ulinich also raises the question, without providing a stable answer, as to the place of Soviet Jewish memory in Jewish-American life, experience, and literature. She places Russian, Jewish, and American writing and gender norms in conversation with each other, suggesting the difficulty of reconciling these different visions for women and modernity.

中文翻译：

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“男人国度的游客”：Anya Ulinich 的图画小说 Lena Finkle 的 Magic Barrel 中的性、自我和多元现代性

本文分析了 Anya Ulinich 的图画小说 Lena Finkle's Magic Barrel (2014) 如何参与和扩展犹太写作实践。我认为，通过使用图画小说作为媒介，乌利尼奇既借鉴又颠覆了主导犹太文学和文化的男性写作习惯和女性形象。通过她的交叉、互文、多方向的写作，乌利尼奇将她的主人公莉娜描绘成获得了一种自我感，但这种自我意识是碎片化的，通过记忆和与他人的关系不断经历和重新描绘。乌利尼奇还提出了一个问题，但没有提供稳定的答案，即苏联犹太人的记忆在犹太裔美国人的生活、经历和文学中的地位。她将俄罗斯、犹太和美国的写作和性别规范放在彼此的对话中，