Search Results for Colson Whitehead

...Sean McCann Abstract In bringing literary sophistication to the zombie story, Colson Whitehead and Ling Ma also transformed the ideological core of the genre, changing it from a narrative of civilizational collapse and survival to a drama of professional-class status anxiety and status election...

...) and Jazz (1992), Gloria Naylor’s Mama Day (1988), Samuel Delany’s Stars in My Pocket like Grains of Sand (1984), and Colson Whitehead’s Intuitionist (1999). The point of convergence of these novels, in Dubey’s account, is their more troubled handling of the dilemmas that shoot through postmodern...

...) and Jazz (1992), Gloria Naylor’s Mama Day (1988), Samuel Delany’s Stars in My Pocket like Grains of Sand (1984), and Colson Whitehead’s Intuitionist (1999). The point of convergence of these novels, in Dubey’s account, is their more troubled handling of the dilemmas that shoot through postmodern...

...) and Jazz (1992), Gloria Naylor’s Mama Day (1988), Samuel Delany’s Stars in My Pocket like Grains of Sand (1984), and Colson Whitehead’s Intuitionist (1999). The point of convergence of these novels, in Dubey’s account, is their more troubled handling of the dilemmas that shoot through postmodern...

...), and Colson Whitehead’s Intuitionist (1999). The point of convergence of these novels, in Dubey’s account, is their more troubled handling of the dilemmas that shoot through postmodern urban culture: “What forms of knowable com- munity are available in the novel environs of postmodern urban life? How...

...) and Jazz (1992), Gloria Naylor’s Mama Day (1988), Samuel Delany’s Stars in My Pocket like Grains of Sand (1984), and Colson Whitehead’s Intuitionist (1999). The point of convergence of these novels, in Dubey’s account, is their more troubled handling of the dilemmas that shoot through postmodern...

...), and Colson Whitehead’s Intuitionist (1999). The point of convergence of these novels, in Dubey’s account, is their more troubled handling of the dilemmas that shoot through postmodern urban culture: “What forms of knowable com- munity are available in the novel environs of postmodern urban life? How...

..., or the many examples of literary genre ctions Colson Whitehead s Zone One (2011) and Marlon James s Black Leopard, Red Wolf (2019) come immediately to mind that seem precisely to resist turning out market-friendly version of their genres. Here again, Sinykin s normative claim that conglomerate-era ction...

... particularly like works that are intensely provocative of thought on big, serious issues but that leave the reader or viewer almost completely in the dark as to what the author “really thinks”—if, indeed, the author has settled views. Two favorites of mine are Colson Whitehead’s Intuitionist and Tom...

..., “The texts of Danzy Senna, Colson Whitehead, Emily Raboteau, Aaron McGruder, Nate Creekmore, Dave Chappelle, Carl Hancock Rux, and Lezley Saar offer a prolegomenon to a progressive mixed race aesthetics and activism” (20). Elam is to be praised for situating aesthetic production as a form...

..., “The texts of Danzy Senna, Colson Whitehead, Emily Raboteau, Aaron McGruder, Nate Creekmore, Dave Chappelle, Carl Hancock Rux, and Lezley Saar offer a prolegomenon to a progressive mixed race aesthetics and activism” (20). Elam is to be praised for situating aesthetic production as a form...

... “Eve” or the “Race Remixed” series in the New York Times (2011). As Elam claims, “The texts of Danzy Senna, Colson Whitehead, Emily Raboteau, Aaron McGruder, Nate Creekmore, Dave Chappelle, Carl Hancock Rux, and Lezley Saar offer a prolegomenon to a progressive mixed race aesthetics...

..., “The texts of Danzy Senna, Colson Whitehead, Emily Raboteau, Aaron McGruder, Nate Creekmore, Dave Chappelle, Carl Hancock Rux, and Lezley Saar offer a prolegomenon to a progressive mixed race aesthetics and activism” (20). Elam is to be praised for situating aesthetic production as a form...

... “Eve” or the “Race Remixed” series in the New York Times (2011). As Elam claims, “The texts of Danzy Senna, Colson Whitehead, Emily Raboteau, Aaron McGruder, Nate Creekmore, Dave Chappelle, Carl Hancock Rux, and Lezley Saar offer a prolegomenon to a progressive mixed race aesthetics...

... “Eve” or the “Race Remixed” series in the New York Times (2011). As Elam claims, “The texts of Danzy Senna, Colson Whitehead, Emily Raboteau, Aaron McGruder, Nate Creekmore, Dave Chappelle, Carl Hancock Rux, and Lezley Saar offer a prolegomenon to a progressive mixed race aesthetics...

... “Eve” or the “Race Remixed” series in the New York Times (2011). As Elam claims, “The texts of Danzy Senna, Colson Whitehead, Emily Raboteau, Aaron McGruder, Nate Creekmore, Dave Chappelle, Carl Hancock Rux, and Lezley Saar offer a prolegomenon to a progressive mixed race aesthetics...

... “Eve” or the “Race Remixed” series in the New York Times (2011). As Elam claims, “The texts of Danzy Senna, Colson Whitehead, Emily Raboteau, Aaron McGruder, Nate Creekmore, Dave Chappelle, Carl Hancock Rux, and Lezley Saar offer a prolegomenon to a progressive mixed race aesthetics...

... . 2006 . Three Books of Occult Philosophy . In Agrippa’s Occult Philosophy: Natural Magic, edited by Whitehead Wills F. . Mineola, NY : Dover . Alanus de Insulis [Alain de Lille] . 1855 . Summae Arte Praedictatoria . In vol. 210 of Patrologia Cursus Completus: Series Latina, edited...