Cover

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pp. c-ii

Title Page

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pp. iii-iii

Copyright Page

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pp. iv-iv

Dedication Page

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pp. v-vi

Table of Contents

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pp. vii-viii

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Introduction: The Problem of African American Literature

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pp. 1-28

What is African American literature? People tend to call literary texts 'African American" or "black" whenever they feature African American main characters alongside certain historical themes, cultural geographies, political dis courses, or perspectives defined by race. Black literary texts are deemed "authentic" when their authors identify themselves or are identified by others ...

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Chapter 1: "Entirely Black Verse from Him Would Succeed"

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pp. 29-51

In the early months of 1896, James A. Herne returned to his hotel in Toledo, Ohio, the city where he was directing and performing in his most popular play to date, Shore Acres. The hotel clerk informed the preeminent actor and playwright that one Paul Laurence Dunbar had left him a gift. Indeed, after attending and enjoying Shore Acres, Dunbar had decided to ...

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Chapter 2: "We Must Write Like the White Men"

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pp. 52-70

On February 12, 1899, Paul Laurence Dunbar was reciting poems at New York City's Waldorf-Astoria Hotel in celebration of Hampton Institute, a decade-old black college. His reading attracted the attention of a reporter curious about the poet laureate's opinion of "poetry written by Negroes." The New York Commercial (February 14, 1899) printed an excerpt of this ...

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Chapter 3: "The Conventional Blindness of the Caucasian Eye"

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pp. 71-93

On March 21, 1924, at a dinner held for luminaries at Harlem's Civic Club, Alain Locke expressed his belief that the newer generation of black writers possessed "enough talent now to begin to have a movement-and express a school of thought."1 Appointed as master of ceremonies by Charles S. Johnson, his friend and the organizer of the dinner, Locke ...

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Chapter 4: "The Impress of Nationality Rather than Race"

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pp. 94-115

In 1922, almost every Sunday, George S. Schuyler attended a forum sponsored by the Friends of Negro Freedom. Held in Harlem, the forum enabled the black journalist, novelist, and critic to associate with other prominent black thinkers, including Asa Philip Randolph and his friend Chandler Owen, co-editors of the leading black socialist magazine, The ...

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Chapter 5: "A Negro Peoples' Movement in Writing"

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pp. 116-142

In 1937, in room 212-B of the office of the Daily Worker's Harlem Bureau, located at 200 West 135th street, Richard Wright typed a letter to "Prof. Locke," a professor of philosophy at Howard University. The letter came from a man who had been publishing poems for three years in American magazines deemed "radical" for their leftist discussions of the proletariat, ...

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Chapter 6: "The Race Problem Was Not a Theme for Me"

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pp. 143-166

Richard Wright and Frank Yerby thrived in similar social, geographic, and intellectual circles. Born in the same month but seven years apart, both came from the American South, Yerby from Augusta, Georgia, and Wright from Roxie, Mississippi.1 During the Great Depression, poverty forced Yerby to drop out of a doctoral program in English at the University of ...

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Chapter 7: ''A-World-in-Which-Race-Does-Not-Matter"

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pp. 167-186

In June 1969, Negro Digest ran an advertisement entitled "Literature and the Black Aesthetic in Future Issues of Negro Digest." It announced that an emerging black writer, Amiri Baraka (formerly LeRoi Jones), would "define" the "Black Aesthetic" for readers. Indeed, three months later, Baraka made one of his first entrees into the discussion over the Black Aesthetic in ...

Notes

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pp. 187-216

Index

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pp. 217-220

Acknowledgments

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pp. 221-223