Black Feminism and Traumatic Legacies in Contemporary African American Literature expands on a literary tradition where Black writers articulate the impact of slavery's legacy over time. Along with Black Feminist studies, this book demonstrates how trauma studies can transcend Eurocentric roots by encompassing traumatic experiences of other cultures through intersectionality.
Reading Contemporary African American Literature focuses on the subject of contemporary African American popular fiction by women. Bragg’s study addresses why such work should be the subject of scholarly examination, describes the events and attitudes which account for the critical neglect of this body of work, and models a critical approach to such narratives that demonstrates the distinctive ways in which this literature captures the complexities of post-civil rights era black experiences. In making her arguments regarding the value of popular writing, Bragg argues that black women’s popular fiction foregrounds gender in ways that are frequently missing from other modes of narrative production. They exhibit a responsiveness and timeliness to the shifting social terrain which is reflected in the rapidly shifting styles and themes which characterize popular fiction. In doing so, they extend the historical function of African American literature by continuing to engage the black body as a symbol of political meaning in the social context of the United States. In popular literature Beauty Bragg locates a space from which black women engage a variety of public discourses.
Masculinity Under Construction: Literary Re-Presentations of Black Masculinity in the African Diaspora analyzes Black male identity as constructed by Black male authors. In each chapter, Dr. Jefferson-James discusses a different "construction" or definition of masculine identity produced by men of African descent on the continent of Africa, in the Caribbean, and in North America. Combing through the works of James Baldwin, Chinua Achebe, Ralph Ellison, George Lamming, and other pan-African authors, Masculinity Under Construction argues for the importance of analyzing the historical context that contributed to the formation of Black male identity. Additionally, Dr. Jefferson-James draws a relationship between Black feminists and writers, such as Anna Julia Cooper and her contemporaries, and these works of literature viewed as primarily about Black masculinity.
Existentialist Thought in African American Literature Before 1940 is the first collection of its kind to break new ground in arguing that long before its classification by Jean-Paul Sartre, African American literature embodied existentialist thought. To make its case, this daring book dissects eight notable texts: Frederick Douglass’s Narrative of the Life of Frederick Douglass (1845) and My Bondage and My Freedom (1855), Sojourner Truth’s Ain’t I A Woman (1861), Harriet Jacobs’s Incidents in the Life of A Slave Girl (1861), Sutton E. Griggs’s Imperium in Imperio (1899), James Weldon Johnson’s Autobiography of an Ex-Colored Man (1912), and Nella Larsen’s Quicksand (1928) and Passing (1929). It explores and addresses a wide range of complex philosophical concepts such as: authenticity, potentiality-for-authentic living, bad faith, and existentialism from the Christian point of view. The use of interdisciplinary studies such as gender studies, queer studies, Christian ethics, mixed-race studies, and existentialism, allows the authors within this book to lend unique perspectives in examining selected African American literary works.
The six novels that John Edgar Wideman wrote from 1987 to 2017 enable reassessment of the quarantining of the Black Arts movement by African American literary history. These works transform the novel into a charm or functional tool of the black arts, taking writing beyond the act of written representation.
The Jazz Trope takes a look at the African American lifestyle through the lens of jazz, blues, and spirituals. Through the pioneering efforts of Albert Murray, Ralph Ellison, Houston Baker, Henry Louis Gates, Jr., Ishmael Reed, Amiri Baraka, and other notable scholars who have related jazz, spirituals, and blues to African American life and culture, The Jazz Trope offers an opportunity to add scholarship to the perception of African American identity as a creative attempt to survive a unique history and struggle. Transcending structure and the perimeters that it limits, African American musical statements were produced out of a human need to be free. Using jazz as a metaphor for escaping slavery, jazz can be seen as a creative attempt to exceed restriction through the act of improvisation; jazz takes a known melody and changes it to create a personal identity. The literary genre of African American life reflects this melding of musical milieu. It tells through tropes of the folktale, novel, self-script, slave narrative, myth, and legend a unique American experience and history. This book also explores motives and schemes that were hidden behind musical codes, illustrating that jazz (interrelated with its foundation in blues and spirituals) existed as a pre-musical statement and, then, manifested as it is more popularly known: as a musical statement. The Jazz Trope allows students to grasp the jazz song structure within this work and liken it to the tropes that it emits: a true American identity.
Ancestral Voices, Healing Narratives: Female Ghosts in Contemporary US and Caribbean Fiction examines four novels by Erna Brodber, Zoé Valdés, Sandra Cisneros, and Maryse Condé. In this unique comparative analysis, Kristina S. Gibby explores the significance of female ghosts—specifically maternal figures, who haunt female narrators, inspiring them to transcribe the dead’s obfuscated (hi)stories and recover their family memory. The author argues that these female ghosts subvert historiographic power structures through a matrilineal succession of knowledge via oral traditions of storytelling, inevitably broadening historical consciousness and asserting the value of fiction in the face of historical rupture. Gibby contends that in form and content, these novels disrupt patriarchal and Western expectations of time and epistemology. They favor cyclical temporality (highlighted by the spirits’ uncanny return), which underscores relational understanding and challenges the exclusive and limiting constraints of linear time. This book makes important contributions to inter-American literary criticism with its narrow focus on female authors who confront the horrors of history through maternal spirits.
New Criticism and Pedagogical Directions for Contemporary Black Women Writers spans the contemporary era into the AfroFuture. It begins with Ann Petry, who has been forcibly mashed into masculinized critical paradigms, and ends by introducing audiences to Black speculative and Science Fiction writers.
This book analyzes representative works of African American fiction, film, and music in which interracial desire appears in the context of same sex desire. In close readings of these "texts," Stefanie K. Dunning explores the ways in which the interracial intersects with queerness, blackness, whiteness, class, and black national identity. She shows that representations of interracial desire do not follow the logic of racial exclusion. Instead they are metaphorical and anti-biological. Rather than diluting race, interracial desire makes race visible. By invoking the interracial, black gay and lesbian artists can remake our conception of blackness.
This book critically examines classic works of literature and film to suggest ways in which study of fictional characters, cultural themes, and vivid imagery helps us to grapple with, understand, and find resolutions for, problems that seriously concern Americans, including uniformed officers and public officials, as well as the general populace in today’s turbulent times. Chapter 1 analyzes Harriet Beecher Stowe’s Uncle Tom’s Cabin and Tony Scott’s Enemy of the State to support the author’s theory that contemporary police violence against young African-American men is a result of “persistence of vision” whereby the powerful Fugitive Slave Laws of the American Civil War era exert a continuing influence upon the minds of law enforcement officers and almost all African Americans. Chapter 2 “Zora Neale Hurston: Africa Transported to America” discusses Jonah’s Gourd Vine and Their Eyes Were Watching God to reveal the West African Vodun cosmological theology that informs and determines the lifelong trajectory of macho male protagonist John Buddy Pearson and feminist female protagonist Janie Mae Crawford in their quests for love and spiritual fulfillment. She suggests the Civil War disrupted a theological affinity shared by African Americans with Christian Americans, a kinship at the heart of Hurston’s oeuvre. Chapter 3 reveals the West African origin of the theological design in Juan Rulfo’s Pedro Paramo: A Novel of Mexico and in short fiction works by several contemporary Mexican writers while also investigating the impact, in particular the toll in human suffering, of violent confrontations taking place along the border shared by Mexico and the U.S. Her critical analysis highlights the stream of consciousness narrative technique, which probes the depths of human agony exacted by violations of international boundaries. She demonstrates Shakespeare’s influence. Moreover, as a specialist in Comparative and English Literature, she contributes to Shakespeare scholarship on Hamlet, Prince of Denmark unprecedented insight into the meaning and significance of King Hamlet’s ghost, expanding traditional Christian perspectives and providing historical and textual explications that encompass West African Vodun cosmology. Dr. Watanabe diagnoses Hamlet’s madness as a funky aspect of Shakespeare’s knowledge of “voodoo.”
