Abstract

Through an analysis of Little Mr. Thimblefinger and His Queer Country (1894) by Joel Chandler Harris and The Conjure Woman and Other Conjure Tales (1899) by Charles Chesnutt, this essay attempts to account for a late nineteenth-century genre termed the queer fantastic. In so doing, it suggests that in the late nineteenth century, the term queer, as a signifier of distorted time, became central to debates over race and the nature of folkloric belonging.

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