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From the white editorial authentication of slave narratives, to the cultural hybridity of the Harlem Renaissance, to the overtly independent publications of the Black Arts Movement, to the commercial power of Oprah's Book Club, African American textuali

Table of Contents

  1. Cover
  2. pp. 1-1
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  1. Title Page, Copyright
  2. pp. 2-7
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  1. Contents
  2. pp. vii-viii
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  1. Introduction
  2. pp. 1-17
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  1. The Brief Wondrous Life of the Anglo-African Magazine; or, Antebellum African American Editorial Practice and Its Afterlives
  2. pp. 18-38
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  1. Representing African American Literature; or, Tradition against the Individual Talent
  2. pp. 39-66
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  1. “Quite as human as it is Negro”: Subpersons and Textual Property in Native Son and Black Boy
  2. pp. 67-92
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  1. The Colors of Modernism: Publishing African Americans, Jews, and Irish in the 1920s
  2. pp. 93-107
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  1. More than McKay and Guillén: The Caribbean in Hughes and Bontemps’s The Poetry of the Negro (1949)
  2. pp. 108-135
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  1. Editorial Federalism: The Hoover Raids, the New Negro Renaissance, and the Origins of FBI Literary Surveillance
  2. pp. 136-159
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  1. Loosening the Straightjacket: Rethinking Racial Representation in African American Anthologies
  2. pp. 160-174
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  1. “Let the World Be a Black Poem”: Some Problems of Recollecting and Editing Black Arts Texts
  2. pp. 175-187
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  1. Textual Productions of Black Aesthetics Unbound,
  2. pp. 188-209
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  1. Select Bibliography
  2. pp. 211-214
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  1. Contributors
  2. pp. 215-217
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  1. Index
  2. pp. 219-236
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Additional Information

ISBN
9780472028924
Print ISBN
9780472118632
MARC Record
OCLC
829243628
Pages
240
Launched on MUSE
2013-05-20
Language
English
Open Access
N
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