Race and American Culture – serie

When Tom Gossett's Race: The History of an Idea in America appeared more than a generation ago, it explored the impact of race theory on literature in a way that anticipated the entire current scholarly discourse on the subject. Though it has gone out of print, it has never been rendered obsolete. Its reprinting is a boon to younger scholars in particular who are unfamiliar with its rich presentation of fact and its clear, efficient analysis, from which so much later theorizing has developed. With a new afterword by and about the author, and an introduction by series editors Arnold Rampersad and Shelley Fisher Fishkin, this edition should find a wide readership among young scholars and students working in African-American, literary, and cultural studies.

Throughout literary history, the figure of the mother has been the subject of much critical attention. While traditional studies have focused on women writers and the maternal, Laura Anne Doyle pairs literary movements not often considered together--Modernism and the Harlem Renaissance--to show how the figure of the mother haunts modern novels from their very opening pages.Figures such as the slave mother in the Prologue to Invisible Man, Lena Grove in Light in August, and Sethe in Beloved, Doyle shows, form a tradition that marks the tip of a cultural iceberg, the peaking expression of a cultural matrix at once racial and sexual, literary and scientific. Exploding the assumed persona of the mother, Doyle formulates a theory of "racial patriarchy" in which the circumspection of reproduction within racial borders engenders what she calls the "race mother" figure in literary and cultural narratives.Making use of heterogeneous materials, ranging from kinship studies to histories of slavery, Bordering on the Body traces the symbolic operations of the "race mother" from Romanticism and nineteenth-century biology to eugenics and twentieth-century fiction. This newest title in the Race and American Culture series offers a breakthrough in race and gender theory, a racial reconfiguration of modernism, and a reinterpretation of discourses of nature since Romanticism.

Who Set You Flowin is the first sustained study of migration as it is portrayed in African American literature, letters, music and painting. This book, identifies the "migration narrative" as a dominant African American cultural tradition. Covering a period from 1923 to 1992, Griffin provides close readings of novels, autobiographies, songs, poetry and painting; in so doing she carves out a framework that allows for a more inclusive reading of African American cultural forms.

Twentieth-century America has witnessed the most widespread and sustained movement of African-Americans from the South to urban centres in the North. Who Set You Flowin'? examines the impact of this dislocation and urbanization, identifying the resulting Migration Narratives as a major genre in African-American cultural production. Griffin takes an interdisciplinary approach with readings of several literary texts, migrant correspondence, painting, photography, rap music, blues, and rhythm and blues. From these various sources Griffin isolates the tropes of Ancestor, Stranger, and Safe Space, which, though common to all Migration Narratives, vary in their portrayal. She argues that the emergence of a dominant portrayal of these tropes is the product of the historical and political moment, often challenged by alternative portrayals in other texts or artistic forms, as well as intra-textually. Richard Wright's bleak, yet cosmopolitan portraits were countered by Dorothy West's longing for Black Southern communities. Ralph Ellison, while continuing Wright's vision, reexamined the significance of Black Southern culture. Griffin concludes with Toni Morrison embracing the South "as a site of African-American history and culture," "a place to be redeemed."

Using an interdisciplinary approach, this book argues that American artistry in the Sixties can be understood as one of the most vital and compelling interrogations of modernity. James C. Hall finds that the legacy of slavery and the resistance to it have by necessity made African Americans among the most incisive critics and celebrants of the Enlightenment inheritance. Focusing on the work of six individuals--Robert Hayden, William Demby, Paule Marshall, John Coltrane, Romare Bearden, and W.E.B. DuBois--Mercy, Mercy Me seeks to recover an American tradition of evaluating the "dialectic of the Enlightenment."

Although psychoanalytic theory is one of the most important and influential tools in contemporary literary criticism, to date it has had very little impact on the study of African-American literature and culture. Now, Claudia Tate argues that psychoanalytic paradigms can produce rich readings of African-American desire, alienation, and subjectivity. Tate summarizes the work of such figures as Freud and Lacan, with references to their contemporary literary proponents, and examines a series of texts by Emma Kelly, W.E.B. DuBois, Richard Wright, Zora Neale Hurston, and Nella Larsen.This provocative new book will serve as an introduction to psychoanalytic theory and its application for African-American literature and culture. Tate strikes unchartered territory, and her work will be of great interest to scholars and students in African-American studies.

When Tom Gosset's Race: The History of an Idea in America appeared more than a generation ago, it explored the impact of race theory on literature in a way that anticipated the entire current scholarly discourse on the subject. Though it has gone out of print, it has never been rendered obsolete. Its reprinting is a boon to younger scholars in particular who are unfamiliar with its rich presentation of fact and its clear, efficient analysis, from which so much later theorizing has developed. With a new afterword by and about the author, and an introduction by series editors Arnold Rampersad and Shelley Fisher Fishkin, this edition should find a wide readership among young scholars and students working in African-American, literary, and cultural studies.

In the late nineteenth century, the stereotype of the black male as sexual beast functioned for white supremacists as an externalized symbol of social chaos against which all whites would unite for the purpose of national renewal. The emergence of this stereotype in American culture and literature during and after Reconstruction was related to the growth of white-on-black violence, as white lynch mobs acted in "defence" of white womanhood, the white family, and white nationalism. In Rape, Race, and Lynching Sandra Gunning investigates American literary encounters with the conditions, processes, and consequences of such violence through the representation of not just the black rapist stereotype, but of other crucial stereotypes in mediating moments of white social crisis: "lascivious" black womanhood; avenging white masculinity; and passive white femininity. Gunning argues that these figures together signify the tangle of race and gender representation emerging from turn-of-the-century American literature. The book brings together Charles W. Chestnutt, Kate Chopin, Thomas Dixon, David Bryant Fulton, Pauline Hopkins, Mark Twain, and Ida B. Wells: famous, infamous, or long-neglected figures who produced novels, essays, stories, and pamphlets in the volatile period of the 1890s to the early 1900s, and who contributed to the continual renegotiation and redefinition of the terms and boundaries of a national dialogue on racial violence.

In his new book, Robert Reid-Pharr argues that black gender and sexuality have always played a crucial role in questions of black national identity. He identifies the origins of a "national" African American literature in the founding of the Black press in 1827 and the beginnings of a novelistic tradition in the antebellum period. Reid-Pharr shows how state conventions, churches, newspapers, and novels -- predominantly aimed at Northeastern Black communities -- were integral in shaping the ideal of the black family.

This book examines racial impersonations - i.e., blackface - in modern American film, fiction, poetry, painting, photography, and journalism. Gubar shows how the white popular imagination has evolved through a series of oppositional identities that are dependent on the idea of black others. She draws from an extensive range of illustrative work, with examples from high and low culture, from turn-of-the century to present day.

The creation of the Aunt Jemima trademark from an 1889 vaudeville performance of a play called "The Emigrant" helped codify a pervasive connection between African American women and food. In Black Hunger, Doris Witt demonstrates how this connection has operated as a central structuring dynamic of twentieth-century US psychic, cultural, sociopolitical, and economic life.Taking as her focus the tumultuous era of the late 1960s and early 1970s, when soul food emerged as a pivotal emblem of white radical chic and black bourgeois authenticity, Witt explores how this interracial celebration of previously stigmatized foods such as chitterlings and watermelon was linked to the contemporaneous vilification of black women as slave mothers. By positioning African American women at the nexus of debates over domestic servants, black culinary history, and white female body politics, Black Hunger demonstrates why the ongoing narrative of white fascination with blackness demands increased attention to the internal dynamics of sexuality, gender, class, and religion in African American culture.Witt draws on recent work in social history and cultural studies to argue for food as an interpretive paradigm which can challenge the privileging of music in scholarship on African American culture, destabilize constrictive disciplinary boundaries in the academy, and enhance our understanding of how individual and collective identities are established.

This study examines the role of race in the construction of history and the validation of knowledge. Using Martin Bernal's Black Athena and its critiques as an entrée into the historical inquiries of African American intellectuals and many of their African counterparts, Keita engages the contested legacy of writing history in America. Ranging from 1700 BCE to the late twentieth century, he offers a new perspective on the challenge of building new historiographies and epistemologies.

Tropes ranging from Houston Baker's "bluesman," to Henry Louis Gates' "signifyin'" to Geneva Smitherman's "talkin' and testifyin'" to bell hooks' "talking back" to Cheryl Wall's "worrying the line" all affirm the power of sonance and sound in the African American literary tradition. The collection of essays in Speaking in Tongues and Dancing Diaspora contributes to this tradition by theorizing the preeminence of voice and narration (and the consequences of their absence) in the literary and cultural performances of black women. Looking to work by such prominent black female authors as Alice Walker, Sherley Anne Williams, Toni Morrison, Zora Neal Hurston, among many others, Mae G. Henderson provides a deeply felt reflection on race and gender and their effects within the discourse of speaker and listener.

The New Red Negro: The Literary Left and African American Poetry, 1930-1946 surveys African American poetry between the onset of the Depression and the early days of the Cold War. The New Red Negro considers the relationship between the thematic and formal choices of African American poets and organized ideology from the "proletarian" early 1930s to the "neo-modernist" late 1940s. This study examines poetry by writers who are canonical, less well-known, and virtually unknown.

The second volume in Oxford's new Race and American Culture series, The Dialect of Modernism uncovers the crucial role of racial masquerade and linguistic imitation in the emergence of literary modernism. Rebelling against the standard language, and literature written in it, modernists, such as Joseph Conrad, Gertrude Stein, T.S. Eliot, Ezra Pound, and William Carlos Williams reimagined themselves as racial aliens and mimicked the strategies of dialect speakers in their work. In doing so, they made possible the most radical representational strategies of modern literature, which emerged from their attack on the privilege of standard language. At the same time, however, another movement, identified with Harlem, was struggling to free itself from the very dialect the modernists appropriated, at least as it had been rendered by two generations of white dialect writers. For writers such as Claude McKay, Jean Toomer, and Zora Neale Hurston, this dialect became a barrier as rigid as the standard language itself. Thus, the two modern movements, which arrived simultaneously in 1922, were linked and divided by their different stakes in the same language. In The Dialect of Modernism, Michael North shows, through biographical and historical investigation, and through careful readings of major literary works, that however different they were, the two movements are inextricably connected, and thus, cannot be considered in isolation. Each was marked, for good and bad, by the other.

Neo-slave Narratives is a study in the political, social, and cultural content of a particular literary form -- the novel of slavery cast as a first-person slave narrative. After discerning the social and historical factors surrounding the first appearance of that literary form in the 1960s, the author explores the complex relationship between nostalgia and critique, while asking how African-American intellectuals at different points between 1976 and 1990 remember and use the site of slavery to represent the crucial cultural debates that arose during the sixties.

In this groundbreaking, interdisciplinary study Anne A. Cheng argues that we have to understand racial grief not only as the result of racism but also as a foundation for racial identity. She proposes that racial identification is itself already a melancholy act - a social category that is imaginatively supported through a dynamic of loss and compensation, by which the racial other is at once rejected and retained, denigrated and idealized. Drawing upon history, literature and theatre - the book ranges from Rodgers and Hammerstein to David Henry Whang, Brown v. Board of Education to Anne Deveare Smith, Ralph Ellison to Maxine Hong Kingston - Cheng demonstrates that racial melancholia permeates our fantasies of citizenship, assimilation, and social health. A provocative look at a timely cultural dilemma, this study is essential reading for anyone interested in race studies, critical theory, or psychoanalysis.

This book examines racial impersonations - i.e., blackface - in modern American film, fiction, poetry, painting, photography, and journalism. Gubar shows how the white popular imagination has evolved through a series of oppositional identities that are dependent on the idea of black others. She draws from an extensive range of illustrative work, with examples from high and low culture, from turn-of-the century to present day.

Race and Resistance: Literature and Politics in Asian America examines the idealisation of Asian America by its intellectuals, the saturation of Asian America with capitalist practices, and the challenges posed by Asian America's ideological diversity. Viet Nguyen argues that Asian American intellectuals need to examine their own assumptions about race, culture, and politics, and he makes his case through the example of literature, which still remains a cultural arena of cultural production for Asian Americans. Significantly, in examining Asian American literature, what we find is that the literature embodies the complexities, conflicts, and potential future options of Asian American culture.

In this groundbreaking, interdisciplinary study Anne Anlin Cheng argues that we have to understand racial grief not only as the result of racism but also as a foundation for racial identity. The Melancholy of Race proposes that racial identification is itself already a melancholic act--a social category that is imaginatively supported through a dynamic of loss and compensation, by which the racial other is at once rejected and retained. Using psychoanalytic theories on mourning and melancholia as inroads into her subject, Cheng offers a closely observed and carefully reasoned account of the minority experience as expressed in works of art by, and about, Asian-Americans and African-Americans. She argues that the racial minority and dominant American culture both suffer from racial melancholia and that this insight is crucial to a productive reimagining of progressive politics. Her discussion ranges from "Flower Drum Song" to "M. Butterfly," Brown v. Board of Education to Anna Deavere Smith's "Twilight," and Invisible Man to The Woman Warrior, in the process demonstrating that racial melancholia permeates our fantasies of citizenship, assimilation, and social health. Her investigations reveal the common interests that social, legal, and literary histories of race have always shared with psychoanalysis, and situates Asian-American and African-American identities in relation to one another within the larger process of American racialization. A provocative look at a timely subject, this study is essential reading for anyone interested in race studies, critical theory, or psychoanalysis.