Margo N. Crawford - What is African American Literature?

1 1Philip Gourevitch, ed. The Paris Review Interviews, Vol. 2, (New York: Picador, 2007), 388.

2 2Alain Locke, “Negro Youth Speaks,” in The New Negro, ed. Alain Locke. (1925; reprint, New York: Touchstone, 1992), 48.

3 3Fred Moten, Black and Blur (Durham: Duke University Press, 2017), 85. Moten’s words are “acknowledging what it is to own dispossession, which cannot be owned but by which one can be possessed” (85).

4 4Alain Locke, The New Negro (1925; reprint, New York: Touchstone, 1992), 48.

5 5Jean Fagan Yellin, Harriet Jacobs: A Life (New York: Basic Civitas Books, 2004), 122.

6 6Walter Benn Michaels, The Shape of the Signifier: From 1967 to the End of History (Princeton, 2004), 113.

7 7Gwendolyn Brooks, “Poets Who Are Negroes,” Phylon (1940–1956), Vol. 11, No. 4 (4th Qtr., 1950), 312.

8 8Ralph Ellison, Invisible Man (New York: Vintage Books, 1995 [1952]), 438.

9 9Robert Stepto, in Afro‐American Literature: The Reconstruction of Instruction, argues that 1970s survey courses of African American literature use the literature as a springboard for a discussion of the “non‐literary.” He emphasizes “the simple, haunting fact that Afro‐American history and social science are being taught while Afro‐American language, literature, and literacy are not” (9).Dexter Fisher and Robert B. Stepto, ed. Afro‐American Literature: The Reconstruction of Instruction (New York: The Modern Language Association of America, 1979), 9.

10 10Raymond Williams, The Sociology of Culture (Chicago: University of Chicago, 1981), viii.

11 11Michael Boyce Gillespie, Film Blackness: American Cinema and the Idea of Black Film (Durham: Duke University, 2016).

12 12Alexis Pauline Gumbs and Mattilda Bernstein Sycamore, “We Are Always Crossing: Alexis Pauline Gumbs,” Bomb, 22 March 2018.

13 13Fawz Kabra, “Interview with John Akomfrah” July 5, 2018. Ocula.com

14 14Amiri Baraka, ‘Technology & Ethos” in Raise Rage Rays Raze: Essays Since 1965 (New York: Random House, 1971)

15 15Alexis Pauline Gumbs, M Archive: After the End of the World (Durham and London: Duke University Press, 2018), 51.

16 16Ashon T. Crawley, Blackpentecostal Breath: The Aesthetics of Possibility (New York: Fordham University Press, 2017), 52–53.

17 17Walker writes, “Cane was for Toomer a double ‘swan song.’ He meant it to memorialize a culture he thought was dying, whose folk spirit he considered beautiful, but he was also saying good‐bye to the “Negro” he felt dying in himself. Cane then is a parting gift, and no less precious because of that. I think Jean Toomer would want us to keep its beauty, but let him go” (65). Alice Walker, In Search of Our Mothers’ Gardens (Orlando: Harcourt Inc., 1983)

18 18Darby English, How to See a Work of Art in Total Darkness (Cambridge: Massachusetts Institute of Technology Press, 2010)

19 19“Richard Wright Describes the Birth of Black Boy,” New York Post, 30 November 1944, B6.

20 20Michael Warner’s theory in Publics and Counterpublics (2005).

21 21Book cover quote, Middleton A. Harris, The Black Book (New York: Random House, 1974)

22 22Ibid., preface, unpaginated.

23 23In Our Terribleness, unpaginated.

24 24Jacques Derrida, “Signature, Event, Context” in Margins of Philosophy, trans. Alan Bass (Chicago: University of Chicago Press, 1985)

25 25Andrei Gorea, “Thoughts on Specific Nerve Energies.” Representations of Vision: Trends and Tacit Assumptions in Vision Research, ed. Andrei Gorea (Cambridge: Cambridge University Press, 1991), 219–230.

26 26Toni Morrison, Beloved (New York: Vintage, 2004), 61.

27 27Ameer Baraka (Amiri Baraka), “We Are Our Feeling: The Black Aesthetic” (Negro Digest, September 1969), 5.

28 28Fredric Jameson, The Antinomies of Realism (London & New York: Verso, 2013), 76.

29 29Jonathan Flatley, “Reading for Mood,” Representations, Vol. 140, No. 1, Fall 2017, pp. 137–158.

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