Gary Edward Holcomb – författare
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While stowed away on a transatlantic freighter, Lafala is discovered and locked away in an icy-cold closet, resulting in the loss of his frostbitten legs. When his successful lawsuit against the shipping company brings big bucks, Lafala returns to Marseille to resume his affair with Aslima, a Moroccan prostitute. With its scenes of black bodies seeking pleasure and fighting for freedom even when stolen, shipped, and sold for parts, Romance in Marseille explores the heritage of slavery amid a predatory modern economy.
374 kr
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A collection of private correspondence from one of the Harlem Renaissance’s brightest and most radical voices The Jamaican-born, queer author Claude McKay (1890–1948) was a central figure of the Harlem Renaissance. His 1919 poem “If We Must Die” expressed a revolutionary vision for militant Black protest art, while his novels, including Home to Harlem, Banjo, and Banana Bottom, described ordinary Black life in lyrical prose. Yet for all that McKay connected himself to Harlem, he was a restless world traveler who sought spiritual, artistic, and political sustenance in France, Spain, Moscow, and Morocco. Brooks E. Hefner and Gary Edward Holcomb bring together two decades of McKay’s never-before-published dispatches from the road with correspondents including W. E. B. Du Bois, Langston Hughes, Alain Locke, Max Eastman, and Louise Bryant. With wit, wisdom, insight, and sometimes irascible temper, McKay describes how he endured harassment from British authorities in London and worked alongside Leon Trotsky and Alexander Kerensky in Bolshevik Moscow. He reflects on Paris’s Lost Generation, immerses himself in the Marseille dockers’ noir subculture, and observes French colonialism in Morocco. Providing a new perspective on a unique figure of American modernism, this collection reveals McKay gossiping, cajoling, and confiding as he engages in spirited debates and challenges the political and artistic questions of the day.
614 kr
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266 kr
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Claude McKay’s abandoned novel Romance in Marseille (circa 1929–1933), first published by Penguin Classics in February 2020, has been praised as a new-old text that transcends historical boundaries, resonating with both the present moment and the hundred-year-old era of the New Negro. This special issue offers the first-ever collection of academic essays on this novel, which arrived as an instant classic: both a benchmark of the Harlem Renaissance and a fresh statement that could have been written for twenty-first-century readers. Using McKay’s Romance as a critical compass point, the authors map new directions and historical territories in Black modernism, queer theory, disability studies, Marxist/materialist thought, and other established and emerging areas. ContributorsStephanie J. Brown, Nissa Ren Cannon, Zainab Cheema, Rich Cole, Michael J. Collins, David B. Hobbs, Gary Edward Holcomb, William J. Maxwell, Eric H. Newman, Laura Ryan, Jesse W. Schwartz, Agnieszka Tuszynska, Laura Winkiel
418 kr
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Teaching Hemingway and Race provides a practicable means for teaching the subject of race in Hemingway’s writing and related texts—from how to approach ethnic, nonwhite international, and tribal characters to how to teach difficult questions of racial representation. Rather than suggesting that Hemingway’s portrayals of cultural otherness are incidental to teaching and reading the texts, the volume brings them to the fore.Included in the collection are Marc Dudley’s instruction on how students may recognize “multiple selves at work in a text”; Margaret E. Wright-Cleveland’s approach to In Our Time, informed by American studies and women’s studies; and Ross Tangedal’s discussion of imperialism in Hemingway’s two nonfiction books. Other topics addressed include questions of developing vigorous learning outcomes when teaching Hemingway, Hemingway’s fascination with Latin America, teaching the Harlem Renaissance through Hemingway, discussing Hemingway’s “Soldier’s Home” and Langston Hughes’s “Home” in tandem, discussing the black presence in The Sun Also Rises, and a means for comparing how Jean Toomer, Ernest Gaines, and Hemingway deal with the issue of race. This latest volume in the Teaching Hemingway series includes ten essays by leading scholars that place racial markers in their historical context, while also illuminating those connections for scholars, classroom teachers, and students. Readers will find it refreshing and enlightening to encounter essays that juxtapose Hemingway’s work alongside Alain Locke’s The New Negro and explore Hemingway’s influence on Jean Toomer, Langston Hughes, Ralph Ellison, Ernest Gaines, and other black writers.