...Taylor Johnston-Levy This article explores how antiracism cultivates happiness among white subjects and how that emotion alienates people of color. It argues that a cohort of twentieth-century African American writers critiqued this happy antiracism in their fiction, examining Richard Wright’s...

... de-regionalizing of African American writers in the Midwest is far more typical.1 As African Americans migrated north and west in the wake of the Civil War and into the Modern era, extending the African American diaspora, they were instrumental in defining the distinct flavor...

... on. Gettin’ You Offn th’ Groun Ezra Pound and African-American Modernism edited by Michael Coyle Orono, Maine: National Poetry Foundation, 2001.272 pages Steven Yao In the early 1990s, writers and scholars such as Toni Morrison and Mi­ chael North broke from established modes...

... in African American literary studies: Religious and Biblical traditions that engender faith are argu­ ably the most important cultural feature to African Americans, and therefore also to African American writers who write about black culture. However, despite the large amount...

... and with mainstream presses. However, because of the relative visibility of African American writers over Latinx writers at the time, the former is more readily considered as part of the American literary canon than the latter. Moving into the twentieth century, Fernandez focuses on New York City as a publishing...

..., and what might be the consequences of our definition. Of course, writers and editors have been addressing such questions ever since they began anthologizing African American literature, a phenomenon Henry Louis Gates, Jr. has tracked all the way back to 1849 (32). But scholars are increasingly...

... black modernistic subjectivity leads him, in turn, to redefine African American subjectivity as a project of egocentric reinvention. He emphasized the psychological complexities of black modern writers, complexities that stemmed in part from their moral interrogation of the status quo...

... to coincide with the March on Washington, the event’s organizational center was the African American writer and intellectual Julian Mayfield, who had begun his arts career in the late 1940s acting, directing, and writing plays in New York and was a well-known novelist and activist by the time he moved...

... notes that “part of her ambition was to explore new subject matter previously off limits to African American writers, who were expected to stick to writing about their ‘own’ people and the lives they presumably knew best” (347). Larsen may also have been motivated by public tastes, writing in a July 31...

... War scholarship. 383 Damjana Mraović-O’Hare Notes 1. For more details, see the notes from the 2012 LSE-GWU-UCSB Graduate Conference on the Cold War. 2. Two important accounts of mid-century African-American writers’ associations with Communism are Richard Wright’s “I Want...

... of “democracy’s self-mythology” when it comes to racial injustice in the colonies has its corollary in the United States, where there is a long tradition of African American writers, from Frederick Douglass to Richard Wright, issuing a vigorous challenge to the idea that totalitarianism is an aberration...

... of African American writers. Richard Wright’s Black perspective on the working class in “The Ethics of Living Jim Crow,” which has been called “the most powerful piece of writing in American Stuff ” ( Mangione [1972] 1996 : 245), seems, for example, to have informed the racial presence in mid-1940s poems...

... to resolve dis­ cursive tensions or interpretive differences but brings them into dialogue. In Discrepant Engagement, he sought to initiate conversation about cor­ respondences between African American and Anglo-American innovative and experimental writers, a conversation that he found often fell...

... to this conversation on the American side was Langston Hughes, who had spent his career developing a network of writers and intellectuals of color throughout North America, the Caribbean, Latin America, and Europe. Beginning in 1953 when he accepted an invitation to judge an African short story competition...

... writers to be influenced by other Negroes more than should ordinarily be expected.” If Virginia Woolf was correct when she claimed that “books speak to other books,” it is also true that works of literature created by African Americans often extend, or signify upon, other works in the black tradition...

...). In her account, “Although Hurston devoted much of her life as a writer and anthropologist to documenting African American discursive, dialogic, and narrative forms of cultural expression, her conception of narrative’s social and psychological status is considerably more skeptical than such celebration...

... oversimplified the nature of modernism and so have obscured the ways in which postcolo­ nial writers have productively adapted modernist strategies and ideals. While those interested in postcolonial theory have tended to casti­ gate modernism, those who study African American or Caribbean...

... demonstrates how Ellison’s specific techniques in representing cinematic experience exemplify, ironically, his primary allegiance to literary narrative. © 2020 Hofstra University 2020 African American writers American literature film Juneteenth novel visual culture “In the beginning...

..., Ebony, which launched its first issue in the same year Brooks published her first volume of verse, A Street in Bronzeville. Bryant argues that both Ebony and Brooks—in a time of “expanded white audiences for African American writers” (87)—took on similar projects, and both anticipated critical...

.... African American writers of the period were also less likely to see their own failures as fodder for art. In Wallace Thurman’s Infants of the Spring (1932), a Depression-era postmortem on the aspirations of the Harlem Renaissance, Eustace, a queer singer, “wanted to branch out and entrance larger...