JAMES BALDWIN, TONI MORRISON, AND THE RHETORICS OF BLACK MALE SUBJECTIVITY
Half Title Page
Title Page
Copyright
Dedication
CONTENTS
ACKNOWLEDGMENTS
INTRODUCTION: Negotiating: "Innocence,” “Romance,” and the Discursive Divide
RESISTING SUBJECTIVICATION
DIACHRONIC SUBJECTIVITIES
ATEMPORAL SUBJECTIVITIES
INNOCENCE, ROMANCE, THE DISCURSIVE DIVIDE
ABJECTION AND THE DISCURSIVE DIVIDE
TOWARD A RHETORIC OF AFRICAN AMERICAN MALE SUBJECTIVITY
CHAPTER 1: “Help Me This Mornin’s Bad”: Songs, Narratives, and Other Rhetorical Acts in Beloved
CHAPTER 2: “My Witness Is in Heaven and My Record Is on High”: Discoursing the Spiritual and the Secular in Go Tell It on the Mountain
CHAPTER 3: “Look at the Nigger!”: Mimicry, the Black Male Artist, and Tell Me How Long the Train’s Been Gone
SUBJECTIVITY, THE BLACK ARTIST, AND TELL ME HOW LONG THE TRAIN’S BEEN GONE
CHAPTER 4: “My Great-Granddaddy Could Fly!”: Negotiating Cultural History and Family Legacies in Song of Solomon
CHAPTER 5: “Promontory of Despair”: Baldwin’s Gay Sensibilities in If Beale Street Could Talk
CHAPTER 6: “Stop Loving Your Ignorance—It Isn’t Lovable”: Tar Baby and the Rhetoric of Responsibility
GENDERED SUBJECTIVITIES
MORRISON’S GRAMMAR OF RESPONSIBILITY
CODA: Beyond Baldwin and Morrison
BIBLIOGRAPHY
INDEX