Author: John Kevin Young
Publisher: Univ. Press of Mississippi
Release Date: 2006
Genre: Language Arts & Disciplines
Jean Toomer's "Cane" was advertised as "a book about Negroes by a Negro," despite his request not to promote the book along such racial lines. Nella Larsen switched the title of her second novel from "Nig" to "Passing," because an editor felt the original title "might be too inflammatory." In order to publish his first novel as a Book-of-the-Month Club main selection Richard Wright deleted a scene in "Native Son" depicting Bigger Thomas masturbating. Toni Morrison changed the last word of "Beloved" at her editor's request and switched the title of "Paradise" from "War" to allay her publisher's marketing concerns. Although many editors place demands on their authors, these examples invite special scholarly attention given the power imbalance between white editors and publishers and African American authors. "Black Writers, White Publishers: Marketplace Politics in Twentieth-Century African American Literature" examines the complex negotiations behind the production of African American literature. In chapters on Larsen's "Passing," Ishmael Reed's "Mumbo Jumbo," Gwendolyn Brooks's "Children Coming Home," Morrison's "Oprah's Book Club" selections, and Ralph Ellison's "Juneteenth," John K. Young presents the first book-length application of editorial theory to African American literature. Focusing on the manuscripts, drafts, book covers, colophons, and advertisements that trace book production, Young expands upon the concept of socialized authorship and demonstrates how the study of publishing history and practice and African American literary criticism enrich each other. John K. Young is an associate professor of English at Marshall University. His work has appeared in journals such as "College English," "African American Review," and "Critique."
Ständig wachsende Vielfalt der amerikanischen Literatur. Von den Puritanern bis zur Postmoderne beleuchtet das beliebte Standardwerk alle wichtigen Autoren und ihre Werke. Ausführliche Porträts der indianischen und der Chicano-Literatur, der afro-, jüdisch- und asiatisch-amerikanischen Literatur tragen dem für die Literatur Nordamerikas charakteristischen Phänomen der Multikulturalität Rechnung. Die 3. Auflage wurde um jüngste Entwicklungen ergänzt, wie z. B. die Literatur nach 9/11. Mit einem Kapitel zu Literaturkritik und feministischen Literaturstudien.
The Crisis, founded by W.E.B. Du Bois as the official publication of the NAACP, is a journal of civil rights, history, politics, and culture and seeks to educate and challenge its readers about issues that continue to plague African Americans and other communities of color. For nearly 100 years, The Crisis has been the magazine of opinion and thought leaders, decision makers, peacemakers and justice seekers. It has chronicled, informed, educated, entertained and, in many instances, set the economic, political and social agenda for our nation and its multi-ethnic citizens.
Author: Madhu Dubey
Publisher: University of Chicago Press
Release Date: 2007-11-01
Genre: Social Science
Signs and Cities is the first book to consider what it means to speak of a postmodern moment in African-American literature. Dubey argues that for African-American studies, postmodernity best names a period, beginning in the early 1970s, marked by acute disenchantment with the promises of urban modernity and of print literacy. Dubey shows how black novelists from the last three decades have reconsidered the modern urban legacy and thus articulated a distinctly African-American strain of postmodernism. She argues that novelists such as Octavia Butler, Samuel Delany, Toni Morrison, Gloria Naylor, Ishmael Reed, Sapphire, and John Edgar Wideman probe the disillusionment of urban modernity through repeated recourse to tropes of the book and scenes of reading and writing. Ultimately, she demonstrates that these writers view the book with profound ambivalence, construing it as an urban medium that cannot recapture the face-to-face communities assumed by oral and folk forms of expression.
Author: Mildred R. Mickle
Publisher: Salem PressInc
Release Date: 2010
Genre: Literary Criticism
With her mastery of traditional verse forms and insightful treatment of race, Gwendolyn Brooks carved a unique space for herself within American poetry. This title offers an introduction that reflects on Brooks' legacy, locating her work as a bridge between the poets of the Harlem Renaissance and the poets of the black arts movement.
Author: John F. Callahan
Publisher: Oxford University Press, USA
Release Date: 2004
Genre: Social Science
The books that comprise the 'Casebooks in Criticism' series offer edited in-depth readings and critical notes and studies on the most important classic novels. This volume explores Ellison's 'Invisible Man'.
Author: John K. Young
Publisher: University of Iowa Press
Release Date: 2017-01-15
Genre: Literary Criticism
“You can tell a true war story if you just keep on telling it,” Tim O’Brien writes in The Things They Carried. Widely regarded as the most important novelist to come out of the American war in Viet Nam, O’Brien has kept on telling true war stories not only in narratives that cycle through multiple fictional and non-fictional versions of the war’s defining experiences, but also by rewriting those stories again and again. Key moments of revision extend from early drafts, to the initial appearance of selected chapters in magazines, across typescripts and page proofs for first editions, and through continuing post-publication variants in reprints. How to Revise a True War Story is the first book-length study of O’Brien’s archival papers at the University of Texas’s Harry Ransom Center. Drawing on extensive study of drafts and other prepublication materials, as well as the multiple published versions of O’Brien’s works, John K. Young tells the untold stories behind the production of such key texts as Going After Cacciato, The Things They Carried, and In the Lake of the Woods. By reading not just the texts that have been published, but also the versions they could have been, Young demonstrates the important choices O’Brien and his editors have made about how to represent the traumas of the war in Viet Nam. The result is a series of texts that refuse to settle into a finished or stable form, just as the stories they present insist on being told and retold in new and changing ways. In their lack of textual stability, these variants across different versions enact for O’Brien’s readers the kinds of narrative volatility that is key to the American literature emerging from the war in Viet Nam. Perhaps in this case, you can tell a true war story if you just keep on revising it.