I identify a prevalent but previously unremarked subgenre within contemporary narratives of slavery: metanarratives of slavery. Metanarratives of slavery emphasize the cultural perspectives through which slavery has been seen, thus making perception as much of a focus as slavery itself. I offer a preliminary taxonomy of metanarratives of slavery by focusing on three works in three formats: Kara Walker’s large-scale sculptural installation Fons Americanus (2019), Colson Whitehead’s novel The Underground Railroad (2016), and Robin Coste Lewis’s long poem “Voyage of the Sable Venus” (2015). While recent scholarship has underscored the tendency of contemporary narratives of slavery to trouble a sense of straightforward access to history, it has not accounted for why so many authors and visual artists dramatize that lack of access by foregrounding intervening cultural narratives. I argue that metanarratives of slavery emphasize perspective to draw audience attention to the sources of their ideas about slavery and race. In the process, these works remain in a space I call the interim-gesturing toward a freer future without entirely letting go of the past. By recognizing that space, we can also recognize how certain writers and visual artists envision a Black diasporic aesthetic present, carved out of the ongoing catastrophe of white supremacist violence but refusing to delay pleasure and beauty for a future that may never arrive.
{"title":"Metanarratives of Slavery","authors":"Erin Pearson","doi":"10.1093/melus/mlad003","DOIUrl":"https://doi.org/10.1093/melus/mlad003","url":null,"abstract":"I identify a prevalent but previously unremarked subgenre within contemporary narratives of slavery: metanarratives of slavery. Metanarratives of slavery emphasize the cultural perspectives through which slavery has been seen, thus making perception as much of a focus as slavery itself. I offer a preliminary taxonomy of metanarratives of slavery by focusing on three works in three formats: Kara Walker’s large-scale sculptural installation Fons Americanus (2019), Colson Whitehead’s novel The Underground Railroad (2016), and Robin Coste Lewis’s long poem “Voyage of the Sable Venus” (2015). While recent scholarship has underscored the tendency of contemporary narratives of slavery to trouble a sense of straightforward access to history, it has not accounted for why so many authors and visual artists dramatize that lack of access by foregrounding intervening cultural narratives. I argue that metanarratives of slavery emphasize perspective to draw audience attention to the sources of their ideas about slavery and race. In the process, these works remain in a space I call the interim-gesturing toward a freer future without entirely letting go of the past. By recognizing that space, we can also recognize how certain writers and visual artists envision a Black diasporic aesthetic present, carved out of the ongoing catastrophe of white supremacist violence but refusing to delay pleasure and beauty for a future that may never arrive.","PeriodicalId":44959,"journal":{"name":"MELUS","volume":"245 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135543691","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}
In a letter dated 22 April 1952, to the poet and editor John Ciardi, jazz musician Sidney Bechet enclosed an eleven-page manuscript titled “Wildflower (or The Story of Frankie & Johnnie).”1 At the time, Ciardi was helping Bechet edit his autobiography, and Bechet valued Ciardi’s literary collaboration. “Should I make this a ballet, or a picture, or a stageplay and ballet combined, or maybe a book?” Bechet asked. He tells Ciardi that he has the music “all in mind,” and that “it would make a hell of a play, maybe better than Pogy[sic] and Bess.” While Bechet seems to have hoped that Ciardi, who was editor of The Saturday Review, could help him find a venue for publication or performance, these comments also suggest that Bechet did not yet know what genre or medium his story ought to take. Ciardi responded on 8 May 1952 with characteristic editorial diplomacy: “I wish I knew what to say about the Frankie and Johnny. There are certainly terrific possibilities for the scenario but I’d be bluffing and doing you no good at all if I pretended to know the right things about stage productions.” Ciardi acknowledged the theatrical potential for the treatment and promised to send a few letters to request guidance on the matter, but nothing ever became of Bechet’s “Frankie and Johnnie.” It remains unpublished and unproduced—a fragment in the archive. However, the recent discovery of this fragment along with a second untitled narrative among the papers of his Parisian manager, Charles Delaunay, at the Bibliothèque nationale de France (BnF) raises new questions about how we have understood the role of narrative and writing in the artistic life of one of jazz’s most influential figures. Bechet is not usually considered a writer in the traditional sense, but perhaps he should be.
在1952年4月22日写给诗人兼编辑约翰·西亚迪的信中，爵士音乐家西德尼·贝克特附上了一份11页的手稿，题为《野花》(或《弗兰基和约翰尼的故事》)。当时，恰尔迪正在帮助贝歇编辑他的自传，而贝歇很重视恰尔迪在文学上的合作。“我应该把它拍成芭蕾舞剧，或者是一幅画，或者是舞台剧和芭蕾的结合，或者是一本书?”贝切问。他告诉Ciardi，他已经把音乐“全记在脑子里了”，而且“这将是一部非常棒的戏剧，也许比Pogy和Bess更好。”虽然Bechet似乎希望《周六评论》的编辑Ciardi能帮他找到出版或演出的场所，但这些评论也表明Bechet还不知道他的故事应该采用哪种类型或媒介。1952年5月8日，恰尔迪用他特有的编辑外交手段回应道:“我希望我知道关于弗兰基和约翰尼该说些什么。这种情况当然有很好的可能性，但如果我假装对舞台制作很了解，那我就是在虚张声势，对你一点好处都没有。”Ciardi承认这种疗法在戏剧上的潜力，并承诺会寄几封信来征求对这件事的指导，但Bechet的《Frankie and Johnnie》没有任何进展。它仍然是未发表和未生产的——存档中的一个片段。然而，最近在法国国家图书馆(BnF)发现的这段片段以及他的巴黎经纪人查尔斯·德劳内(Charles Delaunay)的论文中发现的第二篇未命名的叙述，提出了新的问题，即我们如何理解叙述和写作在爵士乐最具影响力的人物之一的艺术生活中的作用。在传统意义上，贝克特通常不被认为是作家，但也许他应该是。
{"title":"A Story in Sound: The Unpublished Writings of Sidney Bechet","authors":"Jessica E. Teague","doi":"10.1093/melus/mlad005","DOIUrl":"https://doi.org/10.1093/melus/mlad005","url":null,"abstract":"In a letter dated 22 April 1952, to the poet and editor John Ciardi, jazz musician Sidney Bechet enclosed an eleven-page manuscript titled “Wildflower (or The Story of Frankie & Johnnie).”1 At the time, Ciardi was helping Bechet edit his autobiography, and Bechet valued Ciardi’s literary collaboration. “Should I make this a ballet, or a picture, or a stageplay and ballet combined, or maybe a book?” Bechet asked. He tells Ciardi that he has the music “all in mind,” and that “it would make a hell of a play, maybe better than Pogy[sic] and Bess.” While Bechet seems to have hoped that Ciardi, who was editor of The Saturday Review, could help him find a venue for publication or performance, these comments also suggest that Bechet did not yet know what genre or medium his story ought to take. Ciardi responded on 8 May 1952 with characteristic editorial diplomacy: “I wish I knew what to say about the Frankie and Johnny. There are certainly terrific possibilities for the scenario but I’d be bluffing and doing you no good at all if I pretended to know the right things about stage productions.” Ciardi acknowledged the theatrical potential for the treatment and promised to send a few letters to request guidance on the matter, but nothing ever became of Bechet’s “Frankie and Johnnie.” It remains unpublished and unproduced—a fragment in the archive. However, the recent discovery of this fragment along with a second untitled narrative among the papers of his Parisian manager, Charles Delaunay, at the Bibliothèque nationale de France (BnF) raises new questions about how we have understood the role of narrative and writing in the artistic life of one of jazz’s most influential figures. Bechet is not usually considered a writer in the traditional sense, but perhaps he should be.","PeriodicalId":44959,"journal":{"name":"MELUS","volume":"52 1","pages":"49 - 73"},"PeriodicalIF":0.2,"publicationDate":"2023-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74420978","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}
Journal Article Chinese Exclusion, Indigeneity, and Settler-Colonial Refusal in C Pam Zhang’s How Much of These Hills Is Gold Get access Alyssa A Hunziker Alyssa A Hunziker Oklahoma State University, USA alyssa.hunziker@okstate.edu Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 47, Issue 4, Winter 2022, Pages 22–48, https://doi.org/10.1093/melus/mlad004 Published: 10 April 2023
期刊文章《中国的排华、土著和定居者-殖民拒绝》Pam Zhang的《这些山中有多少是黄金》获得访问Alyssa A Hunziker Alyssa A Hunziker美国俄克拉荷马州立大学alyssa.hunziker@okstate.edu搜索作者的其他作品:牛津学术谷歌学者MELUS，第47卷，第4期，2022年冬季，22-48页，https://doi.org/10.1093/melus/mlad004出版日期:2023年4月10日
{"title":"Chinese Exclusion, Indigeneity, and Settler-Colonial Refusal in C Pam Zhang’s <i>How Much of These Hills is Gold</i>","authors":"Alyssa A Hunziker","doi":"10.1093/melus/mlad004","DOIUrl":"https://doi.org/10.1093/melus/mlad004","url":null,"abstract":"Journal Article Chinese Exclusion, Indigeneity, and Settler-Colonial Refusal in C Pam Zhang’s How Much of These Hills Is Gold Get access Alyssa A Hunziker Alyssa A Hunziker Oklahoma State University, USA alyssa.hunziker@okstate.edu Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 47, Issue 4, Winter 2022, Pages 22–48, https://doi.org/10.1093/melus/mlad004 Published: 10 April 2023","PeriodicalId":44959,"journal":{"name":"MELUS","volume":"142 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135593253","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}
Journal Article Reading with the Grain: The Ecologies of The Lowland Get access Michael Wutz Michael Wutz Weber State University, USA mwutz@weber.edu Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 47, Issue 4, Winter 2022, Pages 120–147, https://doi.org/10.1093/melus/mlad008 Published: 08 April 2023
{"title":"Reading with the Grain: The Ecologies of <i>The Lowland</i>","authors":"Michael Wutz","doi":"10.1093/melus/mlad008","DOIUrl":"https://doi.org/10.1093/melus/mlad008","url":null,"abstract":"Journal Article Reading with the Grain: The Ecologies of The Lowland Get access Michael Wutz Michael Wutz Weber State University, USA mwutz@weber.edu Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 47, Issue 4, Winter 2022, Pages 120–147, https://doi.org/10.1093/melus/mlad008 Published: 08 April 2023","PeriodicalId":44959,"journal":{"name":"MELUS","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135647902","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}
When I was a girl in the 1980s, my mother transitioned from domestic work cleaning houses to a white-collar job at an electric company. Once she had fulltime work, my grandparents stepped in to help keep our household in order. Grandma did laundry, washed dishes, and exhorted my brother, sister, and me (well, mostly me) to clean our rooms, with the saying: “A place for everything, and everything in its place.” That phrase stood out when I encountered it years later in Anzia Yezierska’s Bread Givers (1925). Like much of Yezierska’s work, the book is semi-autobiographical, a coming-of-age tale that chronicles the transformation of an immigrant girl who seeks to “make herself a person” by becoming a schoolteacher and joining the ranks of the middle class. In her stories, novels, and nonfiction, Yezierska shows how working-class women who assimilate into the dominant culture negotiate the physical spaces they inhabit as part of that transformation. Some of her characters do this by embarking on home improvement in their tenement dwellings while others, such as Sara Smolinsky in Bread Givers, leave the tenements for modern,
{"title":"“A Place for Everything and Everything in Its Place”: Reading Minimalism, Place, and Gender from Anzia Yezierska to Marie Kondo","authors":"Amy E. Dayton","doi":"10.1093/melus/mlad006","DOIUrl":"https://doi.org/10.1093/melus/mlad006","url":null,"abstract":"When I was a girl in the 1980s, my mother transitioned from domestic work cleaning houses to a white-collar job at an electric company. Once she had fulltime work, my grandparents stepped in to help keep our household in order. Grandma did laundry, washed dishes, and exhorted my brother, sister, and me (well, mostly me) to clean our rooms, with the saying: “A place for everything, and everything in its place.” That phrase stood out when I encountered it years later in Anzia Yezierska’s Bread Givers (1925). Like much of Yezierska’s work, the book is semi-autobiographical, a coming-of-age tale that chronicles the transformation of an immigrant girl who seeks to “make herself a person” by becoming a schoolteacher and joining the ranks of the middle class. In her stories, novels, and nonfiction, Yezierska shows how working-class women who assimilate into the dominant culture negotiate the physical spaces they inhabit as part of that transformation. Some of her characters do this by embarking on home improvement in their tenement dwellings while others, such as Sara Smolinsky in Bread Givers, leave the tenements for modern,","PeriodicalId":44959,"journal":{"name":"MELUS","volume":"11 1","pages":"198 - 219"},"PeriodicalIF":0.2,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75655314","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}
W. E. B. Du Bois begins his first novel, The Quest of the Silver Fleece (1911), with a note in which he explains that he cannot promise that the tale is told “well” or “beautifully,” pledging only that it is “honest” and that “In no fact or picture have I consciously set down aught the counterpart of which I have not seen or known; and whatever the finished picture may lack of completeness, this lack is due now to the story-teller, now to the artist, but never to the herald of the Truth.” Speaking to a sociological criterion of “Truth” and leaning on his background as a sociologist, as opposed to a craftsman, Du Bois attests that his novel is premised on his careful observations and experiences. While it might not have ultimately achieved “completeness
杜波依斯(w.e.b. Du Bois)在他的第一部小说《寻银羊毛》(The Quest of The Silver Fleece, 1911)的开头写了一个注释，他解释说，他不能保证这个故事讲得“好”或“漂亮”，只保证它是“诚实的”，而且“我没有在任何事实或图片中有意识地写下任何我没有见过或不知道的对应内容;不管完成的图画有什么不完整之处，这种不完整有时是由于讲故事的人，有时是由于艺术家，而决不是由于真理的宣讲者。”杜波依斯以“真理”这一社会学标准为依据，以他作为社会学家(而不是工匠)的背景为依托，证明他的小说是以他仔细的观察和经历为前提的。虽然它可能没有最终实现“完整性”
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Early in Nella Larsen’s Quicksand (1928), Helga Crane, the novel’s itinerant, anguished protagonist, resolves to quit her job as a teacher at Naxos, a Tuskegeelike institution with a strict uplift ideology, and meets with Robert Anderson, the school’s director. In the text’s third-person narration, Helga becomes “the girl” and Anderson, with all the symbolic authority of the phrase, “the man”: “The man smiled . . .,” “The man said kindly . . . ”; Helga perceives him at first as “the figure of a man . . . blurred slightly in outline” (53). He hails her in an ordinary, professional manner—“Miss Crane?”—but, as with Louis Althusser’s infamous policeman, his “questioning salutation” implies the threat of an official recruitment to ideology. Is she “Miss Crane”? Will she recognize recognition on Naxos’ terms? Does she even have a choice?
{"title":"The Laughing “No”: Interpellation, Expression, and Laughter in Quicksand","authors":"Alec Joyner","doi":"10.1093/melus/mlac064","DOIUrl":"https://doi.org/10.1093/melus/mlac064","url":null,"abstract":"Early in Nella Larsen’s Quicksand (1928), Helga Crane, the novel’s itinerant, anguished protagonist, resolves to quit her job as a teacher at Naxos, a Tuskegeelike institution with a strict uplift ideology, and meets with Robert Anderson, the school’s director. In the text’s third-person narration, Helga becomes “the girl” and Anderson, with all the symbolic authority of the phrase, “the man”: “The man smiled . . .,” “The man said kindly . . . ”; Helga perceives him at first as “the figure of a man . . . blurred slightly in outline” (53). He hails her in an ordinary, professional manner—“Miss Crane?”—but, as with Louis Althusser’s infamous policeman, his “questioning salutation” implies the threat of an official recruitment to ideology. Is she “Miss Crane”? Will she recognize recognition on Naxos’ terms? Does she even have a choice?","PeriodicalId":44959,"journal":{"name":"MELUS","volume":"16 1","pages":"24 - 47"},"PeriodicalIF":0.2,"publicationDate":"2023-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89496584","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}
Lefebvre opens the way to a trialectics of spatiality, always insisting that each mode of thinking about space, each “field” of human spatiality—the physical, the mental, the social—be seen as simultaneously real and imagined, concrete and abstract, material and metaphorical.
{"title":"The Thirdspace of the Borderlands in Luis Alberto Urrea’s The House of Broken Angels: A Geocritical Reading","authors":"Theda Wrede","doi":"10.1093/melus/mlad001","DOIUrl":"https://doi.org/10.1093/melus/mlad001","url":null,"abstract":"Lefebvre opens the way to a trialectics of spatiality, always insisting that each mode of thinking about space, each “field” of human spatiality—the physical, the mental, the social—be seen as simultaneously real and imagined, concrete and abstract, material and metaphorical.","PeriodicalId":44959,"journal":{"name":"MELUS","volume":"128 1","pages":"171 - 191"},"PeriodicalIF":0.2,"publicationDate":"2023-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90621096","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}
Journal Article Monstrous “Elsewheres”: The Horror Spatial Imaginary in Black Fiction and Film Get access Colton Saylor Colton Saylor San Jose State University, USA colton.saylor@sjsu.edu Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 47, Issue 3, Fall 2022, Pages 112–129, https://doi.org/10.1093/melus/mlac061 Published: 26 March 2023
{"title":"Monstrous “Elsewheres”: The Horror Spatial Imaginary in Black Fiction and Film","authors":"Colton Saylor","doi":"10.1093/melus/mlac061","DOIUrl":"https://doi.org/10.1093/melus/mlac061","url":null,"abstract":"Journal Article Monstrous “Elsewheres”: The Horror Spatial Imaginary in Black Fiction and Film Get access Colton Saylor Colton Saylor San Jose State University, USA colton.saylor@sjsu.edu Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 47, Issue 3, Fall 2022, Pages 112–129, https://doi.org/10.1093/melus/mlac061 Published: 26 March 2023","PeriodicalId":44959,"journal":{"name":"MELUS","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135950099","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}
Journal Article Color-blind Aesthetics in Manuel Muñoz: Reading Race in Form and Feeling Get access Thomas Conners Thomas Conners Harvard University, USA thomasconners@fas.harvard.edu Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 47, Issue 3, Fall 2022, Pages 71–88, https://doi.org/10.1093/melus/mlac062 Published: 25 March 2023
{"title":"Color-blind Aesthetics in Manuel Muñoz: Reading Race in Form and Feeling","authors":"Thomas Conners","doi":"10.1093/melus/mlac062","DOIUrl":"https://doi.org/10.1093/melus/mlac062","url":null,"abstract":"Journal Article Color-blind Aesthetics in Manuel Muñoz: Reading Race in Form and Feeling Get access Thomas Conners Thomas Conners Harvard University, USA thomasconners@fas.harvard.edu Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 47, Issue 3, Fall 2022, Pages 71–88, https://doi.org/10.1093/melus/mlac062 Published: 25 March 2023","PeriodicalId":44959,"journal":{"name":"MELUS","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136002179","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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