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| Author | : Michael G. Cooke |
| Publisher | : New Haven [Conn.] : Yale University Press |
| Total Pages | : 241 |
| Release | : 1984 |
| Genre | : African Americans |
| ISBN | : 9780300032185 |
""For the serious student of black writers and black writing, this book is provocative and challenging, not to mention original. If one's appetite for black literature is large, this book will be a continuous source of nourishment.""-Charlayne Hunter-Gault
| Author | : Shelly Eversley |
| Publisher | : Routledge |
| Total Pages | : 120 |
| Release | : 2004-03-29 |
| Genre | : Literary Criticism |
| ISBN | : 1135883343 |
In this book, Shelly Eversley historicizes the demand for racial authenticity - what Zora Neale Hurston called 'the real Negro' - in twentieth-century American literature. Eversley argues that the modern emergence of the interest in 'the real Negro' transforms the question of what race an author belongs into a question of what it takes to belong to
| Author | : John Kevin Young |
| Publisher | : Univ. Press of Mississippi |
| Total Pages | : 242 |
| Release | : 2006 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 160473549X |
Jean Toomer's Cane was advertised as a book about Negroes by a Negro, despite his request not to promote the book along such racial lines. Nella Larsen switched the title of her second novel from Nig to Passing, because an editor felt the original title might be too inflammatory. In order to publish his first novel as a Book-of-the-Month Club main selection Richard Wright deleted a scene in Native Son depicting Bigger Thomas masturbating. Toni Morrison changed the last word of Beloved at her editor's request and switched the title of Paradise from War to allay her publisher's marketing concerns. Although many editors place demands on their authors, these examples invite special scholarly attention given the power imbalance between white editors and publishers and African American authors. Black Writers, White Publishers: Marketplace Politics in Twentieth-Century African American Literature examines the complex negotiations behind the production of African American literature. In chapters on Larsen's Passing, Ishmael Reed's Mumbo Jumbo, Gwendolyn Brooks's Children Coming Home, Morrison's Oprah's Book Club selections, and Ralph Ellison's Juneteenth, John K. Young presents the first book-length application of editorial theory to African American literature. Focusing on the manuscripts, drafts, book covers, colophons, and advertisements that trace book production, Young expands upon the concept of socialized authorship and demonstrates how the study of publishing history and practice and African American literary criticism enrich each other. John K. Young is an associate professor of English at Marshall University. His work has appeared in journals such as College English, African American Review, and Critique.
| Author | : John Cullen Gruesser |
| Publisher | : University Press of Kentucky |
| Total Pages | : 240 |
| Release | : 2000 |
| Genre | : Literary Criticism |
| ISBN | : 9780813132549 |
Black on Black provides the first comprehensive analysis of the modern African American literary response to Africa, from W.E.B. Du Bois's The Souls of Black Folk to Alice Walker's The Color Purple. Combining cutting-edge theory, extensive historical and archival research, and close readings of individual texts, Gruesser reveals the diversity of the African American response to Countee Cullen's question, ""What is Africa to Me?""John Gruesser uses the concept of Ethiopianism--the biblically inspired belief that black Americans would someday lead Africans and people of the diaspora to a brig.
| Author | : Paul Laurence Dunbar |
| Publisher | : |
| Total Pages | : 156 |
| Release | : 1903 |
| Genre | : African Americans |
| ISBN | : |
| Author | : Marvin Dunn |
| Publisher | : University Press of Florida |
| Total Pages | : 301 |
| Release | : 1997-11-19 |
| Genre | : History |
| ISBN | : 0813059577 |
The first book devoted to the history of African Americans in south Florida and their pivotal role in the growth and development of Miami, Black Miami in the Twentieth Century traces their triumphs, drudgery, horrors, and courage during the first 100 years of the city's history. Firsthand accounts and over 130 photographs, many of them never published before, bring to life the proud heritage of Miami's black community. Beginning with the legendary presence of black pirates on Biscayne Bay, Marvin Dunn sketches the streams of migration by which blacks came to account for nearly half the city’s voters at the turn of the century. From the birth of a new neighborhood known as "Colored Town," Dunn traces the blossoming of black businesses, churches, civic groups, and fraternal societies that made up the black community. He recounts the heyday of "Little Broadway" along Second Avenue, with photos and individual recollections that capture the richness and vitality of black Miami's golden age between the wars. A substantial portion of the book is devoted to the Miami civil rights movement, and Dunn traces the evolution of Colored Town to Overtown and the subsequent growth of Liberty City. He profiles voting rights, housing and school desegregation, and civil disturbances like the McDuffie and Lozano incidents, and analyzes the issues and leadership that molded an increasingly diverse community through decades of strife and violence. In concluding chapters, he assesses the current position of the community--its socioeconomic status, education issues, residential patterns, and business development--and considers the effect of recent waves of immigration from Latin America and the Caribbean. Dunn combines exhaustive research in regional media and archives with personal interviews of pioneer citizens and longtime residents in a work that documents as never before the life of one of the most important black communities in the United States.
| Author | : Gayle Wald |
| Publisher | : Duke University Press |
| Total Pages | : 267 |
| Release | : 2000-07-24 |
| Genre | : Literary Criticism |
| ISBN | : 0822380927 |
As W. E. B. DuBois famously prophesied in The Souls of Black Folk, the fiction of the color line has been of urgent concern in defining a certain twentieth-century U.S. racial “order.” Yet the very arbitrariness of this line also gives rise to opportunities for racial “passing,” a practice through which subjects appropriate the terms of racial discourse. To erode race’s authority, Gayle Wald argues, we must understand how race defines and yet fails to represent identity. She thus uses cultural narratives of passing to illuminate both the contradictions of race and the deployment of such contradictions for a variety of needs, interests, and desires. Wald begins her reading of twentieth-century passing narratives by analyzing works by African American writers James Weldon Johnson, Jessie Fauset, and Nella Larsen, showing how they use the “passing plot” to explore the negotiation of identity, agency, and freedom within the context of their protagonists' restricted choices. She then examines the 1946 autobiography Really the Blues, which details the transformation of Milton Mesirow, middle-class son of Russian-Jewish immigrants, into Mezz Mezzrow, jazz musician and self-described “voluntary Negro.” Turning to the 1949 films Pinky and Lost Boundaries, which imagine African American citizenship within class-specific protocols of race and gender, she interrogates the complicated representation of racial passing in a visual medium. Her investigation of “post-passing” testimonials in postwar African American magazines, which strove to foster black consumerism while constructing “positive” images of black achievement and affluence in the postwar years, focuses on neglected texts within the archives of black popular culture. Finally, after a look at liberal contradictions of John Howard Griffin’s 1961 auto-ethnography Black Like Me, Wald concludes with an epilogue that considers the idea of passing in the context of the recent discourse of “color blindness.” Wald’s analysis of the moral, political, and theoretical dimensions of racial passing makes Crossing the Line important reading as we approach the twenty-first century. Her engaging and dynamic book will be of particular interest to scholars of American studies, African American studies, cultural studies, and literary criticism.
| Author | : Kenneth W. Warren |
| Publisher | : Harvard University Press |
| Total Pages | : 193 |
| Release | : 2011-05-03 |
| Genre | : Social Science |
| ISBN | : 0674268261 |
African American literature is over. With this provocative claim Kenneth Warren sets out to identify a distinctly African American literature—and to change the terms with which we discuss it. Rather than contest other definitions, Warren makes a clear and compelling case for understanding African American literature as creative and critical work written by black Americans within and against the strictures of Jim Crow America. Within these parameters, his book outlines protocols of reading that best make sense of the literary works produced by African American writers and critics over the first two-thirds of the twentieth century. In Warren’s view, African American literature begged the question: what would happen to this literature if and when Jim Crow was finally overthrown? Thus, imagining a world without African American literature was essential to that literature. In support of this point, Warren focuses on three moments in the history of Phylon, an important journal of African American culture. In the dialogues Phylon documents, the question of whether race would disappear as an organizing literary category emerges as shared ground for critical and literary practice. Warren also points out that while scholarship by black Americans has always been the province of a petit bourgeois elite, the strictures of Jim Crow enlisted these writers in a politics that served the race as a whole. Finally, Warren’s work sheds light on the current moment in which advocates of African American solidarity insist on a past that is more productively put behind us.
| Author | : Qiana J. Whitted |
| Publisher | : |
| Total Pages | : 244 |
| Release | : 2009 |
| Genre | : Literary Criticism |
| ISBN | : |
Focusing on the representations of spiritual crisis in twentieth-century African American fiction and autobiography, Qiana J. Whitted asks how some of the most distinguished writers of this tradition wrestle with the inexplicable nature of God and the experience of unmerited natural and moral sufferings such as racial oppression. Although this spiritual and existential dilemma of "the problem of evil" is not unique to African Americans, writers such as Countée Cullen, Richard Wright, James Baldwin, Ernest Gaines, Alice Walker, and Toni Morrison offer paradigmatic examples of it in black life and culture after World War I. Whitted argues that these spiritual struggles so often articulated through the cry for divine justice are central to an understanding of modern black literary engagements with religion. Chapters explore the discourse of religious doubt and questioning through the crucified black Christ and the mourner's bench tropes, womanist spiritual infidelity, and the humanist improvisations of blues narratives. For too long, the author contends, literary critics have explained this suffering through platitudes of endurance and communal redemption, valorizing problematic notions of unquestioned faith and self-sacrifice. By questioning what is at stake for African Americans who call for divine justice, Whitted challenges the assumptions about African American religiosity by revealing an alternative tradition of narrative dissent and philosophical engagement. In doing so, she broadens the horizons of critical inquiry in black literary and cultural studies.
| Author | : Keith Byerman |
| Publisher | : Univ of North Carolina Press |
| Total Pages | : 241 |
| Release | : 2006-05-18 |
| Genre | : Literary Criticism |
| ISBN | : 080787678X |
With close readings of more than twenty novels by writers including Ernest Gaines, Toni Morrison, Charles Johnson, Gloria Naylor, and John Edgar Wideman, Keith Byerman examines the trend among African American novelists of the late twentieth century to write about black history rather than about their own present. Employing cultural criticism and trauma theory, Byerman frames these works as survivor narratives that rewrite the grand American narrative of individual achievement and the march of democracy. The choice to write historical narratives, he says, must be understood historically. These writers earned widespread recognition for their writing in the 1980s, a period of African American commercial success, as well as the economic decline of the black working class and an increase in black-on-black crime. Byerman contends that a shared experience of suffering joins African American individuals in a group identity, and writing about the past serves as an act of resistance against essentialist ideas of black experience shaping the cultural discourse of the present. Byerman demonstrates that these novels disrupt the temptation in American society to engage history only to limit its significance or to crown successful individuals while forgetting the victims.
