Abstract:This article is the first analysis of the importance of Mexico for the postwar neo-avant-garde British poet Tom Raworth (1938–2017). Focusing on his poetry of the late 1960s and early 1970s, it traces the centrality of Mexico, Latin America, and Spanish to Raworth's work, beginning with connections forged in the internationalist intellectual milieu at the University of Essex in 1967 and concluding with his brief residence in Mexico City in the summer of 1973. Drawing on extensive new archival material, it centers on Raworth's friendship and correspondence with the Mexican writer José Emilio Pacheco (1939–2014). The article demonstrates how these exchanges gave political impetus to Raworth's experiments with the institutional forms of language-learning and how Raworth's critical engagement with Nahuatl in 1968 enabled the temporary reconciliation of linguistic experiment with decolonial politics through a critique of state violence and imperial time. Lastly, it argues that Raworth's interrogation of writing itself in the early 1970s was articulated through the "Mexican" tropes of the mirror and the mask, which provided Mesoamerican analogues for his concern with linguistic instability and the limits of expressive selfhood.
{"title":"\"i wish i were my / self – mexican\": Tom Raworth and Mexico","authors":"Daniel Eltringham","doi":"10.1353/lit.2023.0001","DOIUrl":"https://doi.org/10.1353/lit.2023.0001","url":null,"abstract":"Abstract:This article is the first analysis of the importance of Mexico for the postwar neo-avant-garde British poet Tom Raworth (1938–2017). Focusing on his poetry of the late 1960s and early 1970s, it traces the centrality of Mexico, Latin America, and Spanish to Raworth's work, beginning with connections forged in the internationalist intellectual milieu at the University of Essex in 1967 and concluding with his brief residence in Mexico City in the summer of 1973. Drawing on extensive new archival material, it centers on Raworth's friendship and correspondence with the Mexican writer José Emilio Pacheco (1939–2014). The article demonstrates how these exchanges gave political impetus to Raworth's experiments with the institutional forms of language-learning and how Raworth's critical engagement with Nahuatl in 1968 enabled the temporary reconciliation of linguistic experiment with decolonial politics through a critique of state violence and imperial time. Lastly, it argues that Raworth's interrogation of writing itself in the early 1970s was articulated through the \"Mexican\" tropes of the mirror and the mask, which provided Mesoamerican analogues for his concern with linguistic instability and the limits of expressive selfhood.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"50 1","pages":"33 - 4"},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45431398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Megan L Corbin, Daniel Eltringham, T. Sommer, Roberta Wolfson, Peter J. McKenna, Mollie Barnes, Madeline L. Zehnder
Abstract:This article is the first analysis of the importance of Mexico for the postwar neo-avant-garde British poet Tom Raworth (1938–2017). Focusing on his poetry of the late 1960s and early 1970s, it traces the centrality of Mexico, Latin America, and Spanish to Raworth's work, beginning with connections forged in the internationalist intellectual milieu at the University of Essex in 1967 and concluding with his brief residence in Mexico City in the summer of 1973. Drawing on extensive new archival material, it centers on Raworth's friendship and correspondence with the Mexican writer José Emilio Pacheco (1939–2014). The article demonstrates how these exchanges gave political impetus to Raworth's experiments with the institutional forms of language-learning and how Raworth's critical engagement with Nahuatl in 1968 enabled the temporary reconciliation of linguistic experiment with decolonial politics through a critique of state violence and imperial time. Lastly, it argues that Raworth's interrogation of writing itself in the early 1970s was articulated through the "Mexican" tropes of the mirror and the mask, which provided Mesoamerican analogues for his concern with linguistic instability and the limits of expressive selfhood.
{"title":"Editorial Remarks: Fifty Years of College Literature","authors":"Megan L Corbin, Daniel Eltringham, T. Sommer, Roberta Wolfson, Peter J. McKenna, Mollie Barnes, Madeline L. Zehnder","doi":"10.1353/lit.2023.0000","DOIUrl":"https://doi.org/10.1353/lit.2023.0000","url":null,"abstract":"Abstract:This article is the first analysis of the importance of Mexico for the postwar neo-avant-garde British poet Tom Raworth (1938–2017). Focusing on his poetry of the late 1960s and early 1970s, it traces the centrality of Mexico, Latin America, and Spanish to Raworth's work, beginning with connections forged in the internationalist intellectual milieu at the University of Essex in 1967 and concluding with his brief residence in Mexico City in the summer of 1973. Drawing on extensive new archival material, it centers on Raworth's friendship and correspondence with the Mexican writer José Emilio Pacheco (1939–2014). The article demonstrates how these exchanges gave political impetus to Raworth's experiments with the institutional forms of language-learning and how Raworth's critical engagement with Nahuatl in 1968 enabled the temporary reconciliation of linguistic experiment with decolonial politics through a critique of state violence and imperial time. Lastly, it argues that Raworth's interrogation of writing itself in the early 1970s was articulated through the \"Mexican\" tropes of the mirror and the mask, which provided Mesoamerican analogues for his concern with linguistic instability and the limits of expressive selfhood.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"50 1","pages":"1 - 115 - 116 - 145 - 146 - 153 - 3 - 33 - 34 - 4 - 56 - 57 - 86 - 87"},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42668807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:For much of the late twentieth century pleasure was marginalized as an object of study in literary criticism. Recent attempts (Timothy Aubry, Robert S. Lehman et al.) at redressing this have often appealed to Kant's aesthetics with its open avowal of pleasure as the basis of judgement. Kant's universalism, however, has been largely held at arm's length out of a worry that it underwrote hegemonic canons. Yet Kant himself disputes the claims of external authorities in matters of taste and his account of the universal voice of aesthetic judgements underwrites no rules or models that would give objective form to a canon. To enjoy—in Kantian terms—a canonical work is to enjoy sociably, but without any objective marker of unity to that sociability. I follow Lyotard and de Duve in arguing for the relevance to democratic politics of the transcendental community of Kant's aesthetics. The task Kant has bequeathed literary critics is not the establishment or defence of a canon, but rather the interrogation of how the pleasure in texts is both a mode of sociability and a means of engaging with phenomena in their singularity.
摘要:在20世纪后期的大部分时间里，快乐作为文学批评的研究对象被边缘化了。最近的尝试(Timothy Aubry, Robert S. Lehman等人)在纠正这个问题时，经常诉诸于康德的美学，其公开承认快乐是判断的基础。然而，康德的普遍主义在很大程度上被人们与之保持距离，因为人们担心它会助长霸权主义的教条。然而，康德自己对品味问题上的外部权威的主张提出了异议，他对审美判断的普遍声音的描述没有认可任何规则或模型，这些规则或模型将给予标准客观形式。用康德的话说，享受一部经典作品就是社交性的享受，但没有任何客观的统一标志。我赞同利奥塔和德迪夫的观点，认为康德美学的先验共同体与民主政治有关。康德留给文学批评家的任务不是建立或捍卫一个经典，而是质疑文本中的乐趣如何既是一种社交模式，又是一种与奇异现象接触的手段。
{"title":"Kant, the Canon, and Pleasure's Transcendental Sociability","authors":"James Phillips","doi":"10.1353/lit.2022.0025","DOIUrl":"https://doi.org/10.1353/lit.2022.0025","url":null,"abstract":"Abstract:For much of the late twentieth century pleasure was marginalized as an object of study in literary criticism. Recent attempts (Timothy Aubry, Robert S. Lehman et al.) at redressing this have often appealed to Kant's aesthetics with its open avowal of pleasure as the basis of judgement. Kant's universalism, however, has been largely held at arm's length out of a worry that it underwrote hegemonic canons. Yet Kant himself disputes the claims of external authorities in matters of taste and his account of the universal voice of aesthetic judgements underwrites no rules or models that would give objective form to a canon. To enjoy—in Kantian terms—a canonical work is to enjoy sociably, but without any objective marker of unity to that sociability. I follow Lyotard and de Duve in arguing for the relevance to democratic politics of the transcendental community of Kant's aesthetics. The task Kant has bequeathed literary critics is not the establishment or defence of a canon, but rather the interrogation of how the pleasure in texts is both a mode of sociability and a means of engaging with phenomena in their singularity.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"49 1","pages":"682 - 710"},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47347136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In this article I use Toni Morrison's literary criticism in "Unspeakable Things Unspoken" and "Playing in the Dark" as models for readings of Walt Whitman's "Democratic Vistas," "Ethiopia Saluting the Colors," and "Reconciliation." These readings are done in service of a reflection on American literature as a field of study at our current historical moment in the context of the Black Lives Matter movement and the COVID-19 pandemic. I argue that an American literature curriculum organized by an impulse toward Black liberation rather than canon diversification must relinquish temptations to "remake" the American literary canon to open up possibilities for other ways of conceptualizing democracy after American Empire (drawing on Morrison's charge that "Canon-building is Empire-building").
{"title":"The Unspeakable Whiteness in Whitman's Democracy: Empire and the Limits of American Literature","authors":"Jesse A. Goldberg","doi":"10.1353/lit.2022.0024","DOIUrl":"https://doi.org/10.1353/lit.2022.0024","url":null,"abstract":"Abstract:In this article I use Toni Morrison's literary criticism in \"Unspeakable Things Unspoken\" and \"Playing in the Dark\" as models for readings of Walt Whitman's \"Democratic Vistas,\" \"Ethiopia Saluting the Colors,\" and \"Reconciliation.\" These readings are done in service of a reflection on American literature as a field of study at our current historical moment in the context of the Black Lives Matter movement and the COVID-19 pandemic. I argue that an American literature curriculum organized by an impulse toward Black liberation rather than canon diversification must relinquish temptations to \"remake\" the American literary canon to open up possibilities for other ways of conceptualizing democracy after American Empire (drawing on Morrison's charge that \"Canon-building is Empire-building\").","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"49 1","pages":"652 - 681"},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45666763","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay offers a cross-historical, politically responsive reading of one line from Titus Andronicus: "My fleece of woolly hair that now uncurls" (2.3. 34). No critic, to my knowledge, has ever noticed this description as anything more than an obvious representation of its speaker's, Aaron's, racial difference; film, for its part, has either cut it from the script or kept it as an unperformed and therefore oddly inconsequential line. Specifically, what has not been explored or explained is the performative magic of a Black man straightening his kinky "black" hair in a Roman forest on an early modern stage. Addressing and drawing on the under-appreciated interdisciplinary value of a Black Studies critical consciousness, this essay argues that Aaron's hair straightening represents Shakespeare's racialization of Ovid's Metamorphoses in an effort to develop for England a liberating, pro-creative alternative to the Roman literary tradition. In this regard, Titus is an anti-colonial play, and Aaron its anti-colonial hero. And it is through the application of Ovidian magic to his hair—like the application of a poetic hot comb or hair relaxer—that Shakespeare imagines a post-colonial future for England.
{"title":"\"My fleece of woolly hair that now uncurls\": Shakespeare's Titus Andronicus, \"Black\" Hair, and the Revenge of Postcolonial Education","authors":"Eric L. De Barros","doi":"10.1353/lit.2022.0023","DOIUrl":"https://doi.org/10.1353/lit.2022.0023","url":null,"abstract":"Abstract:This essay offers a cross-historical, politically responsive reading of one line from Titus Andronicus: \"My fleece of woolly hair that now uncurls\" (2.3. 34). No critic, to my knowledge, has ever noticed this description as anything more than an obvious representation of its speaker's, Aaron's, racial difference; film, for its part, has either cut it from the script or kept it as an unperformed and therefore oddly inconsequential line. Specifically, what has not been explored or explained is the performative magic of a Black man straightening his kinky \"black\" hair in a Roman forest on an early modern stage. Addressing and drawing on the under-appreciated interdisciplinary value of a Black Studies critical consciousness, this essay argues that Aaron's hair straightening represents Shakespeare's racialization of Ovid's Metamorphoses in an effort to develop for England a liberating, pro-creative alternative to the Roman literary tradition. In this regard, Titus is an anti-colonial play, and Aaron its anti-colonial hero. And it is through the application of Ovidian magic to his hair—like the application of a poetic hot comb or hair relaxer—that Shakespeare imagines a post-colonial future for England.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"49 1","pages":"628 - 651"},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44121985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:What happens when we read an Austen novel "horizontally"—that is, in opposition to the vertical framing established by the author? This essay answers this question by examining the case of absent insects in Austen's Emma. After a review of how a traditional, humanistic reading of the novel unfolds, the essay proposes an alternative view to explore how the novel has omitted vital biological agents and processes in favor of a particular androcentric viewpoint, one in which humans not only reign supreme, but also display a high degree of separation from and imperviousness to the natural world. The essay argues that, in the wake of Covid 19, this mythic (if highly pleasurable) view of the human warrants critical reexamination. Thus, while the essay demonstrates an alternative reading practice to a canonical text, it also proposes new, biologically informed approaches to teaching such texts in the literature classroom. In other words, it suggests that literary study has much to gain from newer biological definition of that it means to be human.
{"title":"Living without Insects in Jane Austen's Emma: A Horizontal Reading","authors":"E. Wallace","doi":"10.1353/lit.2022.0022","DOIUrl":"https://doi.org/10.1353/lit.2022.0022","url":null,"abstract":"Abstract:What happens when we read an Austen novel \"horizontally\"—that is, in opposition to the vertical framing established by the author? This essay answers this question by examining the case of absent insects in Austen's Emma. After a review of how a traditional, humanistic reading of the novel unfolds, the essay proposes an alternative view to explore how the novel has omitted vital biological agents and processes in favor of a particular androcentric viewpoint, one in which humans not only reign supreme, but also display a high degree of separation from and imperviousness to the natural world. The essay argues that, in the wake of Covid 19, this mythic (if highly pleasurable) view of the human warrants critical reexamination. Thus, while the essay demonstrates an alternative reading practice to a canonical text, it also proposes new, biologically informed approaches to teaching such texts in the literature classroom. In other words, it suggests that literary study has much to gain from newer biological definition of that it means to be human.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"49 1","pages":"599 - 627"},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45775905","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay examines, for the first time, William Gaddis's stint as a scriptwriter for the US Army's Signal Corps Pictorial Services (APS). Through comparative analysis of a battle-documentary script that Gaddis wrote for the APS and his writing of the novel
{"title":"William Gaddis, the Us Army, and the Unwriting of an American War Novel","authors":"Jason Arthur","doi":"10.1353/lit.2022.0026","DOIUrl":"https://doi.org/10.1353/lit.2022.0026","url":null,"abstract":"Abstract:This essay examines, for the first time, William Gaddis's stint as a scriptwriter for the US Army's Signal Corps Pictorial Services (APS). Through comparative analysis of a battle-documentary script that Gaddis wrote for the APS and his writing of the novel","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"49 1","pages":"711 - 739"},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46038361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article analyzes Homemade Love, a children's picture book by Black feminist writer, theorist, and cultural critic bell hooks. I specifically examine how hooks renders her child protagonist in relation to space. By linking girlhood with the domestic bliss of an intimate Black home, hooks aligns Black childhood with notions of innocence and respatializes Black girlhood, lifting it from real-world invisibility and pejorative notions of Black girlhood. I read Homemade Love in concert with hooks's memoir as well as her other non-fiction essays to reveal a blueprint for her children's book that gestures to the familial homes she encountered in her native Kentucky. Characterized by a love ethic, the quasi-fictional space of Homemade Love provides a kid-friendly theorization of homeplace, grafted onto a child's world. The book expresses hooks's longstanding feminist praxis and issues an unassuming challenge to anti-Blackness and a necessary fictional map of Black girl freedom.
{"title":"A Blueprint for Black Girlhood: bell hooks's Homemade Love","authors":"E. Greenlee","doi":"10.1353/lit.2022.0018","DOIUrl":"https://doi.org/10.1353/lit.2022.0018","url":null,"abstract":"Abstract:This article analyzes Homemade Love, a children's picture book by Black feminist writer, theorist, and cultural critic bell hooks. I specifically examine how hooks renders her child protagonist in relation to space. By linking girlhood with the domestic bliss of an intimate Black home, hooks aligns Black childhood with notions of innocence and respatializes Black girlhood, lifting it from real-world invisibility and pejorative notions of Black girlhood. I read Homemade Love in concert with hooks's memoir as well as her other non-fiction essays to reveal a blueprint for her children's book that gestures to the familial homes she encountered in her native Kentucky. Characterized by a love ethic, the quasi-fictional space of Homemade Love provides a kid-friendly theorization of homeplace, grafted onto a child's world. The book expresses hooks's longstanding feminist praxis and issues an unassuming challenge to anti-Blackness and a necessary fictional map of Black girl freedom.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"49 1","pages":"468 - 499"},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47945855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Jason Reynolds's Stamped: Racism, Antiracism, and You (2020) joins a centuries-long tradition of adapting adult books for children. This paper argues that Stamped is an antiracist text that raises important, interconnected questions about adaptation, purpose, and audience. Like many history texts about Black experiences in the US such as Julius Lester's To Be a Slave (1968) and James Baldwin's The Fire Next Time (1963), Stamped reveals the line between children's and adult literature is fabricated, as racism is not restricted by age, and racism impacts Blacks and non-blacks across generations. While To Be a Slave and The Fire Next Time are among a number of possible precursors, Stamped aligns with these two nonfiction texts because just as Stamped was written in the wake of the Black Lives Matter movement, the other two were also born out of significant social movements and can be read as antiracist texts. Reynolds's style, storytelling techniques, and formatting transforms Kendi's history book, Stamped from the Beginning, to a text with a broader audience and purpose.
{"title":"Jason Reynolds's Stamped: A Young Adult Adaptation for All Ages","authors":"KaaVonia Hinton","doi":"10.1353/lit.2022.0019","DOIUrl":"https://doi.org/10.1353/lit.2022.0019","url":null,"abstract":"Abstract:Jason Reynolds's Stamped: Racism, Antiracism, and You (2020) joins a centuries-long tradition of adapting adult books for children. This paper argues that Stamped is an antiracist text that raises important, interconnected questions about adaptation, purpose, and audience. Like many history texts about Black experiences in the US such as Julius Lester's To Be a Slave (1968) and James Baldwin's The Fire Next Time (1963), Stamped reveals the line between children's and adult literature is fabricated, as racism is not restricted by age, and racism impacts Blacks and non-blacks across generations. While To Be a Slave and The Fire Next Time are among a number of possible precursors, Stamped aligns with these two nonfiction texts because just as Stamped was written in the wake of the Black Lives Matter movement, the other two were also born out of significant social movements and can be read as antiracist texts. Reynolds's style, storytelling techniques, and formatting transforms Kendi's history book, Stamped from the Beginning, to a text with a broader audience and purpose.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"49 1","pages":"500 - 523"},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46553564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Faith Ringgold exemplifies Black female creative expression. Drawing upon her own experience as a Black woman artist in America as well as the quiltmaking tradition, marked with resistance and protest, she produced picture books which are counterstories to the existing narratives of Black life. The article demonstrates how Ring-gold's stories foster resistance and resilience by featuring children exercizing agency, as well as offering "counter" images. It provides examples of how the narratives acknowledge Black pain while accentuating Black joy. It focuses on the characters' subversive strategies such as flying or secrecy. The article ends with the conclusion that Ringgold challenges ideas about who counts as a children's writer as well as what kinds of cultural work picture books do.
{"title":"In Search of Faith Ringgold's Picture Books","authors":"Ewa Klęczaj-Siara","doi":"10.1353/lit.2022.0017","DOIUrl":"https://doi.org/10.1353/lit.2022.0017","url":null,"abstract":"Abstract:Faith Ringgold exemplifies Black female creative expression. Drawing upon her own experience as a Black woman artist in America as well as the quiltmaking tradition, marked with resistance and protest, she produced picture books which are counterstories to the existing narratives of Black life. The article demonstrates how Ring-gold's stories foster resistance and resilience by featuring children exercizing agency, as well as offering \"counter\" images. It provides examples of how the narratives acknowledge Black pain while accentuating Black joy. It focuses on the characters' subversive strategies such as flying or secrecy. The article ends with the conclusion that Ringgold challenges ideas about who counts as a children's writer as well as what kinds of cultural work picture books do.","PeriodicalId":44728,"journal":{"name":"COLLEGE LITERATURE","volume":"49 1","pages":"448 - 467"},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47322558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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