Cover

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Frontmatter

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Contents

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Acknowledgments

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pp. ix-x

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Introduction

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pp. 1-18

The meaning of words, the value of money, and the significance of race all fluctuate within economies of difference. Words have meaning only in relation to other words; the dollar rises and falls based upon the performance of other commodities; and race appears and disappears based upon perceived differences between body types. ...

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1. Jacksonian Abolitionism: Money, Minstrelsy, and "Uncle Tom's Cabin"

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pp. 19-52

Before it was changed to “Life among the Lowly,” the subtitle of Harriet Beecher Stowe’s Uncle Tom’s Cabin was “The Man Who Was a Thing.” Besides introducing Stowe’s critique of slavery as an institution that commodified black bodies, the original subtitle describes...

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2. Real Change: George Washington Cable's "The Grandissimes" and the Crime of '73

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pp. 53-79

To say George Washington Cable’s The Grandissimes (1880) is set in New Orleans at the time of the Louisiana Purchase but grapples with the problems of Reconstruction is to repeat old news. Replete with an unwelcome new “Yankee government” (161), carpetbaggers arriving to establish new businesses, and resistant Creoles lamenting Louisiana’s...

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3. The Gold Standard of the Passing Novel: Exploring the Limits of Strategic Essentialism

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pp. 80-114

The Coinage Act of 1834 initiated a slippage between the face value and material worth of silver dollars that minstrel performers riffed upon and Reconstruction-era politicians sought to resolve. This slippage eventually became the subject of the money question of the 1890s, which, like its antecedent during Reconstruction, pitted free sil-...

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4. Black Is . . . an' Black Ain't: "Invisible Man" and the Fiat of Race

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pp. 115-146

In the mid-1990s it was discovered that, when cued up properly, the music and lyrics of Pink Floyd’s 1974 album Dark Side of the Moon appear to follow the visual action of MGM’s 1939 film The Wizard of Oz. According to the authors of “Dark Side of the Rainbow,” a Web site dedicated to this popular cultural phenomenon, replacing the movie...

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Conclusion

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pp. 147-155

The conclusion of Invisible Man anticipates both the arrival of the cultural turn and its failure to ameliorate the social ills that race reproduces. The reason for this failure, as Ellison himself foresaw, is that the cultural turn, like race, is another construction of contested value. ...

Notes

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pp. 157-174

Bibliography

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pp. 175-184

Index

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pp. 185-190