The African American Male, Writing, and Difference: A Polycentric Approach to African American Literature, Criticism, and History

THE AFRICAN AMERICAN MALE, WRITING, AND DIFFERENCE......Page 4
Contents......Page 8
Preface......Page 10
Acknowledgments......Page 14
1. Introduction: Approaching African American Life, History, Literature, and Criticism Polycentrically......Page 16
2. History, the White/Black Binary, and the Construction of the African American as Other......Page 28
3. The White/Black Binary and the African American Sociopolitical Mission of Racial Uplift......Page 50
4. Finding Freedom in Sameness: James Weldon Johnson’s The Autobiography of an Ex-Coloured Man......Page 82
5. Disrupting the White/Black Binary: William Melvin Kelley’ s A Different Drummer......Page 108
6. Exposing Limiting, Racialized Heterological Critical Sites: An Existential Reading of Charles Wright’s The Messenger......Page 134
7. The Blues Idiom Lifestyle, Counter-Hegemony, and Clarence Major’s Dirty Bird Blues......Page 162
8. Naming the Subaltern: The Swinging Life and Nathan Heard’s Howard Street......Page 186
9. Identity Politics, Sexual Fluidity, and James Earl Hardy’s B-Boy Blues......Page 214
10. Voodoo, A Different African American Experience, and Don Belton’s Almost Midnight......Page 240
11. Conclusion......Page 268
2. History, the White/Black Binary, and the Construction of the African American as Other......Page 272
3. The White/Black Binary and the African American Sociopolitical Mission of Racial Uplift......Page 275
4. Finding Freedom iN Sameness: James Weldon Johnson’s The Autobiography of an Ex-Coloured Man......Page 284
9. Identity Politics, Sexual Fluidity, and James Earl Hardy’s B-Boy Blues......Page 285
10. Voodoo, A Different African American Experience, and Don Belton’ s Almost Midnight......Page 286
WORKS CITED......Page 288
B......Page 298
C......Page 299
F......Page 300
H......Page 301
K......Page 302
N......Page 303
S......Page 304
V......Page 305
Z......Page 306