Contributors. Richard K. Barksdale, Bernard W. Bell, Mary Kemp Davis, Peaches M. Henry, Betty Harris Jones, Rhett S. Jones, Julius Lester, Donnarae MacCann, Charles H. Nichols, Charles H. Nilon, Arnold Rampersad, David L. Smith, Carmen Dubryan, John H. Wallace, Kenny Jackson Williams, Fredrick Woodard
As early as the 1780s, African Americans told stories that enabled them to survive and even thrive in the midst of unspeakable assault. Tracing previously unexplored narratives from the late eighteenth century to the 1920s, Laurie Maffly-Kipp brings to light an extraordinary trove of sweeping race histories that African Americans wove together out of racial and religious concerns.
Asserting a role in God's plan, black Protestants sought to root their people in both sacred and secular time. A remarkable array of chroniclers—men and women, clergy, journalists, shoemakers, teachers, southerners and northerners—shared a belief that narrating a usable past offered hope, pride, and the promise of a better future. Combining Christian faith, American patriotism, and racial lineage to create a coherent sense of community, they linked past to present, Africa to America, and the Bible to classical literature. From collected shards of memory and emerging intellectual tools, African Americans fashioned stories that helped to restore meaning and purpose to their lives in the face of relentless oppression.
In a pioneering work of research and discovery, Maffly-Kipp shows how blacks overcame the accusation that they had no history worth remembering. African American communal histories imagined a rich collective past in order to establish the claim to a rightful and respected place in the American present. Through the transformative power of storytelling, these men and women led their people—and indeed, all Americans—into a more profound understanding of their interconnectedness and their prospects for a common future.
The second phase of the civil rights movement (1965-1973) was a pivotal period in the development of ethnic groups in the United States. In the years since then, new generations have asked new questions to cast light on this watershed era. No longer is it productive to consider only the differences between ethnic groups; we must also study them in relation to one another and to U.S. mainstream society.
In "Shakin' Up" Race and Gender, Marta E. Sánchez creates an intercultural frame to study the historical and cultural connections among Puerto Ricans, African Americans, and Chicanos/as since the 1960s. Her frame opens up the black/white binary that dominated the 1960s and 1970s. It reveals the hidden yet real ties that connected ethnics of color and "white" ethnics in a shared intercultural history. By using key literary works published during this time, Sánchez reassesses and refutes the unflattering portrayals of ethnics by three leading intellectuals (Octavio Paz, Daniel Patrick Moynihan, and Oscar Lewis) who wrote about Chicanos, African Americans, and Puerto Ricans. She links their implicit misogyny to the trope of La Malinche from Chicano culture and shows how specific characteristics of this trope—enslavement, alleged betrayal, and cultural negotiation—are also present in African American and Puerto Rican cultures. Sánchez employs the trope to restore the agency denied to these groups. Intercultural contact—encounters between peoples of distinct ethnic groups—is the theme of this book.
A deft study of the evolving literary aesthetic of one of the first avant-garde black writers in America.
In Split-Gut Song, Karen Jackson Ford looks at what it means to be African American, free, and creative by analyzing Jean Toomer's main body of work, specifically, his groundbreaking creation Cane. When first published in 1923, this pivotal work of modernism was widely hailed as inaugurating a truly artistic African American literary tradition. Yet Toomer's experiments in literary form are consistently read in terms of political radicalism—protest and uplift—rather than literary radicalism.
Ford contextualizes Toomer's poetry, letters, and essays in the literary culture of his period and, through close readings of the poems, shows how they negotiate formal experimentation (imagism, fragmentation, dialect) and traditional African American forms (slave songs, field hollers, call-and-response sermons, lyric poetry). At the heart of Toomer's work is the paradox that poetry is both the saving grace of African American culture and that poetry cannot survive modernity. This contradiction, Ford argues, structures Cane, wherein traditional lyric poetry first flourishes, then falters, then falls silent.
The Toomer that Ford discovers in Split-Gut Song is a complicated, contradictory poet who brings his vexed experience and ideas of racial identity to both conventional lyric and experimental forms. Although Toomer has been labelled a political radical, Ford argues that politics is peripheral in his experimental, stream-of-consciousness work. Rather Toomer exhibits a literary radicalism as he struggles to articulate his perplexed understanding of race and art in 20th-century America.
In a culture deeply divided along ethnic lines, the idea that the relationship between blacks and Jews was once thought special—indeed, critical to the cause of civil rights—might seem strange. Yet the importance of blacks for Jews and Jews for blacks in conceiving of themselves as Americans, when both remained outsiders to the privileges of full citizenship, is a matter of voluminous but perplexing record. It is this record, written across the annals of American history and literature, culture and society, that Eric Sundquist investigates. A monumental work of literary criticism and cultural history, Strangers in the Land draws upon politics, sociology, law, religion, and popular culture to illuminate a vital, highly conflicted interethnic partnership over the course of a century.
Sundquist explores how reactions to several interlocking issues—the biblical Exodus, the Holocaust, Zionism, and the state of Israel—became critical to black–Jewish relations. He charts volatile debates over social justice and liberalism, anti-Semitism and racism, through extended analyses of fiction by Bernard Malamud, Paule Marshall, Harper Lee, and William Melvin Kelley, as well as the juxtaposition of authors such as Saul Bellow and John A. Williams, Lori Segal and Anna Deavere Smith, Julius Lester and Philip Roth. Engaging a wide range of thinkers and writers on race, civil rights, the Holocaust, slavery, and related topics, and cutting across disciplines to set works of literature in historical context, Strangers in the Land offers an encyclopedic account of questions central to modern American culture.
Winner, American Book Award, Before Columbus Foundation, 2012
Super Black places the appearance of black superheroes alongside broad and sweeping cultural trends in American politics and pop culture, which reveals how black superheroes are not disposable pop products, but rather a fascinating racial phenomenon through which futuristic expressions and fantastic visions of black racial identity and symbolic political meaning are presented. Adilifu Nama sees the value—and finds new avenues for exploring racial identity—in black superheroes who are often dismissed as sidekicks, imitators of established white heroes, or are accused of having no role outside of blaxploitation film contexts.
Nama examines seminal black comic book superheroes such as Black Panther, Black Lightning, Storm, Luke Cage, Blade, the Falcon, Nubia, and others, some of whom also appear on the small and large screens, as well as how the imaginary black superhero has come to life in the image of President Barack Obama. Super Black explores how black superheroes are a powerful source of racial meaning, narrative, and imagination in American society that express a myriad of racial assumptions, political perspectives, and fantastic (re)imaginings of black identity. The book also demonstrates how these figures overtly represent or implicitly signify social discourse and accepted wisdom concerning notions of racial reciprocity, equality, forgiveness, and ultimately, racial justice.
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