This final part of the collection emphasizes “the possibility that pleasure and risk, excitement and disappointment can reside in a single experience” (237) for performers, critics, and audiences across different temporalities, such as in Mario Lamothe’s reading of queer Haitian “self-possessed lives” (246) in art photography. Finally, Joshua Chambers-Letson brings us back to the Introduction’s evoked “care” by tracing Black feminist performance art’s “revelation” of repetition in everyday life within “the sphere of performative behavior that reproduces the world anew each day [and] coheres through routines and rituals that accumulate into performative reality, whereby a social fiction (that a body lying right in front of you is not, in fact, there) becomes a material fact” (277). Rather than stop at the “gotcha” moment of revelation, however, and like the Nyong’o essay that begins the collection, Chambers-Letson argues that this genealogy of work by Black feminist performance artists (as well as the theories of José Esteban Muñoz that course throughout the collection) create a different temporality of the present that insists on incommensurability. It is through this articulation of knowing race differently through the “savvy virtuosity” of Black and minoritarian performance that these two books collaborate on new epistemologies in the field.
{"title":"Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism by Alex Zamalin (review)","authors":"P. Rankine","doi":"10.1353/afa.2022.0035","DOIUrl":"https://doi.org/10.1353/afa.2022.0035","url":null,"abstract":"This final part of the collection emphasizes “the possibility that pleasure and risk, excitement and disappointment can reside in a single experience” (237) for performers, critics, and audiences across different temporalities, such as in Mario Lamothe’s reading of queer Haitian “self-possessed lives” (246) in art photography. Finally, Joshua Chambers-Letson brings us back to the Introduction’s evoked “care” by tracing Black feminist performance art’s “revelation” of repetition in everyday life within “the sphere of performative behavior that reproduces the world anew each day [and] coheres through routines and rituals that accumulate into performative reality, whereby a social fiction (that a body lying right in front of you is not, in fact, there) becomes a material fact” (277). Rather than stop at the “gotcha” moment of revelation, however, and like the Nyong’o essay that begins the collection, Chambers-Letson argues that this genealogy of work by Black feminist performance artists (as well as the theories of José Esteban Muñoz that course throughout the collection) create a different temporality of the present that insists on incommensurability. It is through this articulation of knowing race differently through the “savvy virtuosity” of Black and minoritarian performance that these two books collaborate on new epistemologies in the field.","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45014235","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}
importance of photography and mass media to the modern civil rights movement but also how the trauma of white supremacy and anti-Black violence continues to haunt, threaten, and end our lives. As Smith considers the civil rights and Black Power movements of the 1960s and ’70s, chapter six, “Photographic Reenactments,” examines Carrie Mae Weems’s Constructing History, a body of work about the era that includes a series of blackand-white photographs and a video that Weems created with art students in Atlanta. As part of the project, the artists re-created some of the era’s iconic images through photographed performances. Through these reenactments, Smith shows how the multilayered project draws attention to links between photography and history. Moving from photograph to performance to photograph, the students and their guide attempt expressly to embody the past, experience its present weight, and imagine what may be useful to carry forward to the future. In chapter seven, “False Returns,” Smith reflects on Taryn Simon’s The Innocents (2002), a photographic project in which the artist documents legal cases of mistaken identification by photographing exonerated individuals at the sites with which they were wrongly, fatefully associated. Here, Smith discusses Simon’s subjects, who were “misrecognized as the perpetrators of violent crimes on the basis of mug shots and other visual aids” in relation to longer histories and practices of racial profiling and criminal identification (152). Smith carefully considers the way in which the project both challenges and upholds photography’s powerful and painful relation to criminal identification and the prison industrial complex. In her Coda, “A Glimpse Forward,” Smith explores Dawoud Bey’s The Birmingham Project (2012-13), in which Bey recalls the white supremacist bombing of the Sixteenth Street Baptist Church on September 15, 1963 by pairing portraits of residents the age of the four murdered African American girls with portraits of people the age the martyred victims would have been, had they been free to survive. In describing this project, Smith writes: “Bey’s work looks back, but also forward to a viewer whom it asks to take up the unfinished work of racial justice” (14). In its mindful activation of past, present, and future, Bey’s Birmingham Project crystallizes Smith’s aims and intentions in Photographic Returns. Like many of the artists whose work she engages, she impels her audience both “to look back and move forward” (173) as we continue to struggle for racial justice and build the world we need to survive. For Smith, “the time of photography,” like the time for justice, is now.
摄影和大众媒体对现代民权运动的重要性，以及白人至上主义和反黑人暴力的创伤如何继续困扰、威胁和结束我们的生命。当史密斯思考20世纪60年代和70年代的民权和黑人权力运动时，第六章“摄影再现”考察了Carrie Mae Weems的《构建历史》，这是一部关于这个时代的作品，包括一系列黑白照片和Weems与亚特兰大艺术生一起创作的视频。作为该项目的一部分，艺术家们通过摄影表演重新创造了那个时代的一些标志性图像。通过这些重演，史密斯展示了这个多层次的项目如何吸引人们对摄影和历史之间联系的关注。从一张照片到另一张表演再到一张照片，学生们和他们的导游试图明确地体现过去，体验它现在的重量，并想象什么可能对未来有用。在第七章“虚假回报”中，史密斯回顾了塔琳·西蒙的《无辜者》（2002年），这是一个摄影项目，艺术家通过在与他们错误、致命地联系在一起的地点拍摄无罪的个人，记录了错误识别的法律案件。在这里，史密斯讨论了西蒙的受试者，他们“因面部照片和其他视觉辅助工具而被误认为是暴力犯罪的肇事者”，与种族貌相和犯罪识别的长期历史和做法有关（152）。史密斯仔细考虑了该项目如何挑战并维护摄影与犯罪识别和监狱工业综合体之间强大而痛苦的关系。在她的Coda《向前一瞥》中，Smith探讨了Dawoud Bey的伯明翰项目（2012-13），在该项目中，Bey回忆起1963年9月15日白人至上主义者对第十六街浸信会教堂的轰炸，她将四名被谋杀的非裔美国女孩年龄的居民的肖像与殉难者的年龄的人的肖像配对，如果他们能自由生存的话。在描述这个项目时，史密斯写道：“贝的作品回顾了过去，但也展望了观众，它要求观众承担起尚未完成的种族正义工作”（14）。在对过去、现在和未来的专注激活中，贝的伯明翰项目明确了史密斯在《摄影归来》中的目标和意图。和她从事工作的许多艺术家一样，在我们继续为种族正义而战，建设我们生存所需的世界时，她敦促观众“回顾过去，向前迈进”（173）。对史密斯来说，“摄影的时代”，就像伸张正义的时代一样，就是现在。
{"title":"Are You Entertained? Black Popular Culture in the Twenty-First Century ed. by Simone C. Drake and Dwan K. Henderson (review)","authors":"Janée A. Moses","doi":"10.1353/afa.2022.0033","DOIUrl":"https://doi.org/10.1353/afa.2022.0033","url":null,"abstract":"importance of photography and mass media to the modern civil rights movement but also how the trauma of white supremacy and anti-Black violence continues to haunt, threaten, and end our lives. As Smith considers the civil rights and Black Power movements of the 1960s and ’70s, chapter six, “Photographic Reenactments,” examines Carrie Mae Weems’s Constructing History, a body of work about the era that includes a series of blackand-white photographs and a video that Weems created with art students in Atlanta. As part of the project, the artists re-created some of the era’s iconic images through photographed performances. Through these reenactments, Smith shows how the multilayered project draws attention to links between photography and history. Moving from photograph to performance to photograph, the students and their guide attempt expressly to embody the past, experience its present weight, and imagine what may be useful to carry forward to the future. In chapter seven, “False Returns,” Smith reflects on Taryn Simon’s The Innocents (2002), a photographic project in which the artist documents legal cases of mistaken identification by photographing exonerated individuals at the sites with which they were wrongly, fatefully associated. Here, Smith discusses Simon’s subjects, who were “misrecognized as the perpetrators of violent crimes on the basis of mug shots and other visual aids” in relation to longer histories and practices of racial profiling and criminal identification (152). Smith carefully considers the way in which the project both challenges and upholds photography’s powerful and painful relation to criminal identification and the prison industrial complex. In her Coda, “A Glimpse Forward,” Smith explores Dawoud Bey’s The Birmingham Project (2012-13), in which Bey recalls the white supremacist bombing of the Sixteenth Street Baptist Church on September 15, 1963 by pairing portraits of residents the age of the four murdered African American girls with portraits of people the age the martyred victims would have been, had they been free to survive. In describing this project, Smith writes: “Bey’s work looks back, but also forward to a viewer whom it asks to take up the unfinished work of racial justice” (14). In its mindful activation of past, present, and future, Bey’s Birmingham Project crystallizes Smith’s aims and intentions in Photographic Returns. Like many of the artists whose work she engages, she impels her audience both “to look back and move forward” (173) as we continue to struggle for racial justice and build the world we need to survive. For Smith, “the time of photography,” like the time for justice, is now.","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49600496","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}
{"title":"Stolen Time: Black Fad Performance and the Calypso Craze by Shane Vogel, and: Race and Performance after Repetition ed. by Soyica Diggs Colbert, Douglas A. Jones, Jr., and Shane Vogel (review)","authors":"Samantha Pinto","doi":"10.1353/afa.2022.0034","DOIUrl":"https://doi.org/10.1353/afa.2022.0034","url":null,"abstract":"","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41246885","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:Focusing on Love Story Black, William Demby's 1978 novel, this article considers how it can be classified as part of what Pancho Savery calls the "Third Plane." Given that Demby's first novel Beetlecreek was published in 1950, while the other Third Plane artists' major works were first published in the late 1960s/early 1970s, Demby is not normally included in this group. Ultimately, I argue that Love Story Black shares many important features with other Third Plane books and should be counted among them, allowing for a reconsideration of Demby's later work as more contemporary and influential than has previously been recognized.
{"title":"Love Story Black and the Third Plane Novel","authors":"K. Mack","doi":"10.1353/afa.2022.0021","DOIUrl":"https://doi.org/10.1353/afa.2022.0021","url":null,"abstract":"Abstract:Focusing on Love Story Black, William Demby's 1978 novel, this article considers how it can be classified as part of what Pancho Savery calls the \"Third Plane.\" Given that Demby's first novel Beetlecreek was published in 1950, while the other Third Plane artists' major works were first published in the late 1960s/early 1970s, Demby is not normally included in this group. Ultimately, I argue that Love Story Black shares many important features with other Third Plane books and should be counted among them, allowing for a reconsideration of Demby's later work as more contemporary and influential than has previously been recognized.","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48608299","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 the 1950s and '60s, beyond his circle of writers and poets, William Demby frequented the Roman art community: He kept company with young artists such as Toti Scialoja, Mimmo Rotella, Francesco Lo Savio, and Mario Schifano. My analysis of The Catacombs (1965) explores his intense relationship with the world of visual arts—to the extent that he himself actually worked on creative experiments of words and images in search of a possible integration (or contamination) between literature and painting. Working toward the definition of Demby's creative personality, I focus mainly on the reconstruction of the Roman artistic context, especially emphasizing the relationship between Demby and Italian artists and giving a detailed overview of the cultural situation that had an undeniable impact on Demby's creativity.
摘要：在20世纪50年代和60年代，除了他的作家和诗人圈子之外，William Demby经常光顾罗马艺术界：他与年轻艺术家如Toti Scialoja、Mimmo Rotella、Francesco Lo Savio和Mario Schifano交往。我对《地下墓穴》（1965）的分析探讨了他与视觉艺术世界的密切关系——在某种程度上，他本人实际上致力于文字和图像的创造性实验，以寻求文学和绘画之间可能的融合（或污染）。在界定德米比的创作个性方面，我主要关注罗马艺术语境的重建，特别强调了德米比与意大利艺术家之间的关系，并详细概述了对德米比创作产生不可否认影响的文化状况。
{"title":"Ut pictura poësis: William Demby's Writings and the Roman Visual Neo-Avant-Garde","authors":"Barbara Drudi","doi":"10.1353/afa.2022.0019","DOIUrl":"https://doi.org/10.1353/afa.2022.0019","url":null,"abstract":"Abstract:In the 1950s and '60s, beyond his circle of writers and poets, William Demby frequented the Roman art community: He kept company with young artists such as Toti Scialoja, Mimmo Rotella, Francesco Lo Savio, and Mario Schifano. My analysis of The Catacombs (1965) explores his intense relationship with the world of visual arts—to the extent that he himself actually worked on creative experiments of words and images in search of a possible integration (or contamination) between literature and painting. Working toward the definition of Demby's creative personality, I focus mainly on the reconstruction of the Roman artistic context, especially emphasizing the relationship between Demby and Italian artists and giving a detailed overview of the cultural situation that had an undeniable impact on Demby's creativity.","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42384436","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:William Demby's first novel Beetlecreek (1950) was produced and received outside major centers of African American literary production. It is most easily framed in terms of currents of cultural talk that saw in the aesthetic an important resource to thriving in the postwar world. Demby's deep investment in the idea of human "incommensurability" figures "liberalism" as an important framework for understanding the novel and its reception.
{"title":"Man Out of Time: Beetlecreek and Midcentury Liberalism","authors":"J. C. Hall","doi":"10.1353/afa.2022.0017","DOIUrl":"https://doi.org/10.1353/afa.2022.0017","url":null,"abstract":"Abstract:William Demby's first novel Beetlecreek (1950) was produced and received outside major centers of African American literary production. It is most easily framed in terms of currents of cultural talk that saw in the aesthetic an important resource to thriving in the postwar world. Demby's deep investment in the idea of human \"incommensurability\" figures \"liberalism\" as an important framework for understanding the novel and its reception.","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43080084","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}
{"title":"Staging Black Fugitivity by Stacie Selmon McCormick (review)","authors":"P. Maley","doi":"10.1353/afa.2022.0036","DOIUrl":"https://doi.org/10.1353/afa.2022.0036","url":null,"abstract":"","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46876802","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}
based challenges. But Finley also carefully points out that profits, not social conscience, drove the promotion of men of color to leadership positions and that achievement at sea did not translate into acceptance or equality on land. Finley provides a detailed and wide-ranging study of the entire history of the whaling trade and the role of men of color in it. His account of how crews hunted whales, processed their kills, and delivered their oil to market provides a useful backdrop as to why the industry was so vital and why so many in America’s growing industrial center required the efforts of so many whalers. His description of the pioneers of the whaling industry, especially the sea captain, businessman, and educator Paul Cuffe, establishes that men of color were not later additions but rather an integral part of the business from the start. Perhaps the most interesting portion of the book is Finley’s association of men of color in the whaling industry to the abolitionist movement. As some of the relatively few free men of color with disposable wealth, the ship captains included in the book (such as Edward Pompey and James Forten) were contributors to the nascent abolitionist movement while at the same time serving as examples of what men of color could achieve in the face of racist attitudes. Captains were also at risk from slavery, however, and many of the men of color who rose through the ranks had to take drastic action to avoid its perils. The contribution of the abolitionists and their allies of color aided slavery’s ending, but that contribution foreshadowed bad times for the whaling industry. The Civil War led to the growth of the petroleum industry as whale oil fell out of general use. The industry continued into the early twentieth century, and, as it declined, became more of a source of opportunity for men of color, especially as Jim Crow attitudes proliferated. Men like William Shorey (known to his crew as the “Black Ahab”) became prominent members of the community in the process of defying the segregationist racism of the day. Overall, Finley has produced an excellent work. It offers a complete account of men of color in the whaling industry from its beginning to its final days, with multiple examples of individual achievement to reinforce his thesis of whaling as a meritocracy. In this regard, it is a useful work for comparison to W. Jeffrey Bolster’s 1997 work, Black Jacks: African American Seamen in the Age of Sail. The book is well illustrated and Finley’s ability to write good biographies of the various ship captains is plainly evident. The only downside to the biographies is that the book at points becomes just a list of biographies that the author could have limited to a few main examples. Despite this, however, the writing style is clear and effective. Finley presents his thesis clearly and without overpromotion, allowing the reader to draw conclusions without leading comments by the author. The extensive Appendixes are a
{"title":"Freedom in Laughter: Dick Gregory, Bill Cosby, and the Civil Rights Movement by Malcolm Frierson, and: Laughing to Keep from Dying: African American Satire in the Twenty-First Century by Danielle Fuentes Morgan (review)","authors":"B. Edmonds","doi":"10.1353/afa.2022.0038","DOIUrl":"https://doi.org/10.1353/afa.2022.0038","url":null,"abstract":"based challenges. But Finley also carefully points out that profits, not social conscience, drove the promotion of men of color to leadership positions and that achievement at sea did not translate into acceptance or equality on land. Finley provides a detailed and wide-ranging study of the entire history of the whaling trade and the role of men of color in it. His account of how crews hunted whales, processed their kills, and delivered their oil to market provides a useful backdrop as to why the industry was so vital and why so many in America’s growing industrial center required the efforts of so many whalers. His description of the pioneers of the whaling industry, especially the sea captain, businessman, and educator Paul Cuffe, establishes that men of color were not later additions but rather an integral part of the business from the start. Perhaps the most interesting portion of the book is Finley’s association of men of color in the whaling industry to the abolitionist movement. As some of the relatively few free men of color with disposable wealth, the ship captains included in the book (such as Edward Pompey and James Forten) were contributors to the nascent abolitionist movement while at the same time serving as examples of what men of color could achieve in the face of racist attitudes. Captains were also at risk from slavery, however, and many of the men of color who rose through the ranks had to take drastic action to avoid its perils. The contribution of the abolitionists and their allies of color aided slavery’s ending, but that contribution foreshadowed bad times for the whaling industry. The Civil War led to the growth of the petroleum industry as whale oil fell out of general use. The industry continued into the early twentieth century, and, as it declined, became more of a source of opportunity for men of color, especially as Jim Crow attitudes proliferated. Men like William Shorey (known to his crew as the “Black Ahab”) became prominent members of the community in the process of defying the segregationist racism of the day. Overall, Finley has produced an excellent work. It offers a complete account of men of color in the whaling industry from its beginning to its final days, with multiple examples of individual achievement to reinforce his thesis of whaling as a meritocracy. In this regard, it is a useful work for comparison to W. Jeffrey Bolster’s 1997 work, Black Jacks: African American Seamen in the Age of Sail. The book is well illustrated and Finley’s ability to write good biographies of the various ship captains is plainly evident. The only downside to the biographies is that the book at points becomes just a list of biographies that the author could have limited to a few main examples. Despite this, however, the writing style is clear and effective. Finley presents his thesis clearly and without overpromotion, allowing the reader to draw conclusions without leading comments by the author. The extensive Appendixes are a","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47322280","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 explores the function of Africa in William Demby's novels The Catacombs and Love Story Black, particularly the commercialization of an African blackness in 1930s Italy and 1970s America. Against the view that blackness is depoliticized in his works, I reveal the author's anticolonial critique in Europe and satire of Afrocentrism in the United States through their intersection with gender politics.
{"title":"Africa in William Demby's The Catacombs and Love Story Black","authors":"L. Amine","doi":"10.1353/afa.2022.0020","DOIUrl":"https://doi.org/10.1353/afa.2022.0020","url":null,"abstract":"Abstract:This essay explores the function of Africa in William Demby's novels The Catacombs and Love Story Black, particularly the commercialization of an African blackness in 1930s Italy and 1970s America. Against the view that blackness is depoliticized in his works, I reveal the author's anticolonial critique in Europe and satire of Afrocentrism in the United States through their intersection with gender politics.","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41510175","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}
{"title":"Odo Nnyew Fie Kwan (or, Love Never Loses Its Way)","authors":"Ayinde I. Ricco","doi":"10.1353/afa.2022.0028","DOIUrl":"https://doi.org/10.1353/afa.2022.0028","url":null,"abstract":"","PeriodicalId":44779,"journal":{"name":"AFRICAN AMERICAN REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41287384","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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