Cover

pdf iconDownload PDF
 

Title Page, Copyright Page

pdf iconDownload PDF

pp. iii-iv

Contents

pdf iconDownload PDF

pp. v-vi

List of Illustrations

pdf iconDownload PDF

pp. vii-viii

read more

Acknowledgments

pdf iconDownload PDF

pp. ix-xii

I owe many thanks to the people who have supported me throughout the past decade spent working on this book. Since Beyond the White Negro focuses on the reception of African American literature and culture among white audiences, my biggest thanks go out to the twenty-one book clubs who generously welcomed me into their homes and to the many students at Bridgewater State University, Bentley College, and Harvard University who participated in...

read more

Introduction. Cross-Racial Empathy: Viewing the White Self through Black Eyes

pdf iconDownload PDF

pp. 1-26

At the start of the twenty-first century, critics concerned about white appropriation of black culture reached back into their cultural lexicons to resurrect a term that Norman Mailer had popularized in 1957: “The White Negro.”1 An article about Black and White (1999), a film featuring white teenage fans of urban hip-hop music, declared “The Return of the White Negro.”2 Between 1999 and 2003, nearly every media journalist and scholar writing about the rise to fame of the white rapper Eminem felt obliged to use Mailer’s phrase to describe ...

read more

1. Wiggers of White Allies? White Hip-Hop Culture and Racial Sincerity

pdf iconDownload PDF

pp. 27-78

An investigation of white attraction to African American culture should logically begin with music, since “White Negroes” have often been drawn to musical forms as if they are the essence of black creativity. The history of popular music and performance is full of white musicians and singers appropriating and profiting from styles originated by African American performers—slave spirituals, jazz, rhythm and blues, reggae, and hip-hop. A long line of ethnomusicologists...

read more

2. Oprah, Book Clubs, and the Promise and Limitations of Empathy

pdf iconDownload PDF

pp. 79-110

Critical conversations about white appropriations of blackness have focused largely on the spheres of popular music and the performing arts—from jazz, blues, and hip-hop music to vaudeville, dance, fashion, and Hollywood film.1 Yet signs are everywhere that African American literature is enjoying unprecedented circulation among white readers. Beginning with bestsellers like Alice Walker’s The Color Purple (1982), this publishing renaissance was fueled in the late 1990s ...

read more

3. Reading Race and Place: Boston Book Clubs and Post-Soul Fiction

pdf iconDownload PDF

pp. 111-148

For the members of Oprah’s Book Club, discussion takes place within the disembodied and dislocated worlds of television and the Internet, but it is important to remember that books are most often read, interpreted, and talked about in the context of a reader’s particular locality—his or her “reading habitat.” In the previous chapter, I drew evidence from a variety of texts and reading sites in order to ground my hypotheses about cross-racial empathy fostered by African ...

read more

4. Deconstructing White Ways of Seeing: Interracial Conflict Films and College-Student Viewers

pdf iconDownload PDF

pp. 149-200

The previous two chapters have demonstrated the power of books and engaged discussion to engender cross-racial empathy. Can visual culture do the same? Many academics and film critics believe that film has superior power as a medium to provoke viewer empathy.1 The writer and philosopher Iris Murdoch calls film (as well as fiction) an “anti-egoistic” medium, while the cognitive film theorist Alex Neill believes that the visual and musical elements of cinema induce empathy even more strongly than does literature.2 Professor Brenda Allen ...

read more

Conclusion. Black Cultural Encounters as a Catalyst for Divestment in White Privilege

pdf iconDownload PDF

pp. 201-210

The protagonist of Alice Randall’s novel Pushkin and the Queen of Spades is a black woman named Windsor, a Russian literature professor and Harvard graduate who spends her life trying to resist stereotypes of blackness. Much to her dismay, her son Pushkin seems to have become a walking stereotype, a professional football player in love with a white lap dancer, a Russian émigré. Literature means little to him; he breaks his mother’s heart by using a first edition of Du...

Notes

pdf iconDownload PDF

pp. 211-246

Index

pdf iconDownload PDF

pp. 247-254

About the Auther, Publisher Notes

pdf iconDownload PDF

pp. 255-260