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Through a reading of periodicals, memoirs, speeches, and fiction from the antebellum period to the Harlem Renaissance, this study re-examines various myths about a U.S. progressive history and about an African American counter history in terms of race, democracy, and citizenship. Reframing 19th century and early 20th-century African-American cultural history from the borderlands of the U.S. empire where many African Americans lived, worked and sought refuge, Knadler argues that these writers developed a complicated and layered transnational and creolized political consciousness that challenged dominant ideas of the nation and citizenship. Writing from multicultural contact zones, these writers forged a "new black politics"—one that anticipated the current debate about national identity and citizenship in a twenty-first century global society. As Knadler argues, they defined, created, and deployed an alternative political language to re-imagine U.S. citizenship and its related ideas of national belonging, patriotism, natural rights, and democratic agency.
This edited volume is the first to focus on how concepts of citizenship diversify and stimulate the long-standing field of law and literature, and vice versa. Building on existing research in law and literature as well as literature and citizenship studies, the collection approaches the triangular relationship between citizenship, law and literature from a variety of disciplinary, conceptual and political perspectives, with particular emphasis on the performative aspect inherent in any type of social expression and cultural artefact. The sixteen chapters in this volume present literature as carrying multifarious, at times opposing energies and impulses in relation to citizenship. These range from providing discursive arenas for consolidating, challenging and re-negotiating citizenship to directly interfering with or inspiring processes of law-making and governance. The volume opens up new possibilities for the scholarly understanding of citizenship along two axes: Citizenship-as-Literature: Enacting Citizenship and Citizenship-in-Literature: Conceptualising Citizenship.
The period of 1850-1865 consisted of violent struggle and crisis as the United States underwent the prodigious transition from slaveholding to ostensibly 'free' nation. This volume reframes mid-century African American literature and challenges our current understandings of both African American and American literature. It presents a fluid tradition that includes history, science, politics, economics, space and movement, the visual, and the sonic. Black writing was highly conscious of transnational and international politics, textual circulation, and revolutionary imaginaries. Chapters explore how Black literature was being produced and circulated; how and why it marked its relation to other literary and expressive traditions; what geopolitical imaginaries it facilitated through representation; and what technologies, including print, enabled African Americans to pursue such a complex and ongoing aesthetic and political project.
In See Justice Done: The Problem of Law in the African American Literary Tradition, author Christopher Michael Brown argues that African American literature has profound and deliberate legal roots. Tracing this throughline from the eighteenth century to the present, Brown demonstrates that engaging with legal culture in its many forms—including its conventions, paradoxes, and contradictions—is paramount to understanding Black writing. Brown begins by examining petitions submitted by free and enslaved Blacks to colonial and early republic legislatures. A virtually unexplored archive, these petitions aimed to demonstrate the autonomy and competence of their authors. Brown also examines early slave autobiographies such as Olaudah Equiano’s Interesting Narrative and Mary Prince’s History, which were both written in the form of legal petitions. These works invoke scenes of Black competence and of Black madness, repeatedly and simultaneously. Early Black writings reflect how a Black Atlantic world, organized by slavery, refused to acknowledge Black competence. By including scenes of Black madness, these narratives critique the violence of the law and predict the failure of future legal counterparts, such as Plessy v. Ferguson, to remedy injustice. Later chapters examine the works of more contemporary writers, such as Sutton E. Griggs, George Schuyler, Toni Morrison, and Edward P. Jones, and explore varied topics from American exceptionalism to the legal trope of "colorblindness." In chronicling these interactions with jurisprudential logics, See Justice Done reveals the tensions between US law and Black experiences of both its possibilities and its perils.
This volume combines literary analysis and theoretical approaches to mobility, diasporic identities and the construction of space to explore the different ways in which the notion of return shapes contemporary ethnic writing such as fiction, ethnography, memoir, and film. Through a wide variety of ethnic experiences ranging from the Transatlantic, Asian American, Latino/a and Caribbean alongside their corresponding forms of displacement - political exile, war trauma, and economic migration - the essays in this collection connect the intimate experience of the returning subject to multiple locations, historical experiences, inter-subjective relations, and cultural interactions. They challenge the idea of the narrative of return as a journey back to the untouched roots and home that the ethnic subject left behind. Their diacritical approach combines, on the one hand, a sensitivity to the context and structural elements of modern diaspora; and on the other, an analysis of the individual psychological processes inherent to the experience of displacement and return such as nostalgia, memory and belonging. In the narratives of return analyzed in this volume, space and identity are never static or easily definable; rather, they are in-process and subject to change as they are always entangled in the historical and inter-subjective relations ensuing from displacement and mobility. This book will interest students and scholars who wish to further explore the role of American literature within current debates on globalization, migration, and ethnicity.
Occupying Space in American Literature and Culture inscribes itself within the spatial turn that permeates the ways we look at literary and cultural productions. The volume seeks to clarify the connections between race, space, class, and identity as it concentrates on different occupations and disoccupations, enclosures and boundaries. Space is scaled up and down, from the body, the ground zero of spatiality, to the texturology of Manhattan; from the striated place of the office in Melville’s "Bartleby, the Scrivener" on Wall Street, to the striated spaces of internment camps and reservations; from the lowest of the low, the (human) clutter that lined the streets of Albany, NY, during the Depression, to the new Towers of Babel that punctuate the contemporary architecture of transparencies. As it strings together these spatial narratives, the volume reveals how, beyond the boundaries that characterize each space, every location has loose ends that are impossible to contain.
This book explores six texts from across Spanish America in which the coming-of-age story ('Bildungsroman') offers a critique of gendered selfhood as experienced in the region’s socio-cultural contexts. Looking at a range of novels from the late twentieth century, Staniland explores thematic concerns in terms of their role in elucidating a literary journey towards agency: that is, towards the articulation of a socially and personally viable female gendered identity, mindful of both the hegemonic discourses that constrain it, and the possibility of their deconstruction and reconfiguration. Myth, exile and the female body are the three central themes for understanding the personal, social and political aims of the Post-Boom women writers whose work is explored in this volume: Isabel Allende, Laura Esquivel, Ángeles Mastretta, Sylvia Molloy, Cristina Peri Rossi and Zoé Valdés. Their adoption, and adaptation, of an originally eighteenth-century and European literary genre is seen here to reshape the global canon as much as it works to reshape our understanding of gendered identities as socially constructed, culturally contingent, and open-ended.
In The Empire Abroad and the Empire at Home, John Cullen Gruesser establishes that African American writers at the turn of the twentieth century responded extensively and idiosyncratically to overseas expansion and its implications for domestic race relations. He contends that the work of these writers significantly informs not only African American literary studies but also U.S. political history. Focusing on authors who explicitly connect the empire abroad and the empire at home (James Weldon Johnson, Sutton Griggs, Pauline E. Hopkins, W.E.B. Du Bois, and others), Gruesser examines U.S. black participation in, support for, and resistance to expansion. Race consistently trumped empire for African American writers, who adopted positions based on the effects they believed expansion would have on blacks at home. Given the complexity of the debates over empire and rapidity with which events in the Caribbean and the Pacific changed in the late nineteenth and early twentieth centuries, it should come as no surprise that these authors often did not maintain fixed positions on imperialism. Their stances depended on several factors, including the foreign location, the presence or absence of African American soldiers within a particular text, the stage of the author's career, and a given text's relationship to specific generic and literary traditions. No matter what their disposition was toward imperialism, the fact of U.S. expansion allowed and in many cases compelled black writers to grapple with empire. They often used texts about expansion to address the situation facing blacks at home during a period in which their citizenship rights, and their very existence, were increasingly in jeopardy.
This book examines the spatial morphologies represented in a wide range of contemporary ethnic American literary and cinematic works. Drawing from Henri Lefebvre’s theorization of space as a living organism, Edward Soja’s writings on the postmetropolis, Marc Augé’s notion of the non-place, Manuel Castells’ space of flows, and Michel de Certeau’s theories of walking as a practice, the volume extends previous theorizations by examining how spatial uses, appropriations, strictures, ruptures, and reconfigurations function in literary texts and films that represent inhabitants of racial-ethnic borderlands and migrational U.S. cities. The authors argue for the necessity of an alternative poetics of place that makes room for those who move beyond the spaces of traditional visibility—displaced and homeless people, undocumented workers, hybrid and/or marginalized populations rendered invisible by the cultural elite, yet often disciplined by agents of surveillance. Building upon Doreen Massey’s conceptualization of liminal space as a sphere in which narratives intersect, clash, or cooperate, this study recasts spatial paradigms to insert an array of emergent geographies of invisibility that the volume traverses via the analysis of works by Chuck Palahniuk, Helena Viramontes, Karen Tei Yamashita, Gloria Anzaldúa, Alejandro Morales, and Li-Young Lee, among others, and films such as Thomas McCarthy’s The Visitor, Steven Spielberg’s The Terminal, and Alejandro Gonzalez Iñárritu’s Babel.