Writing the Black Revolutionary Diva: Women's Subjectivity and the Decolonizing Text

Index

ind ex 261 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 index Abrahams, Roger D., 49 Abrams, M. H., 192 abuse of women, 80 activism: in Bambara’s The Salt Eaters, 193, 206, 208, 209, 215; decline in, 57–58; and literary criticism, 35; and patriarchical attitudes, 84; and poetry of Cortez, 155; shift away from civil rights, 79; women’s involvement in, 93, 99. See also speciἀc organizations and activists such as Davis, Angela Adams, John, 137 Adell, Sandra, 35, 36 Adkins, Terry, 25 Africa: ancestral traditions from, 89–90; models of gender behavior from, 81–82, 86; and poetry of Cortez, 160 “Afro Images” (Davis), 11 3–1 4 Afros: on The Black Woman cover, 73; chemically processed Afros, 77; of Davis, 11 3; decline of, 231n8; o n Essence cover models, 73, 75–76, 231n8; G riffin on, 74 Age of Pisces/Neptunian Age, 198, 239n70 agency, 17–19, 21, 33, 1 35 Ain’t I a Woman: Black Women and Feminism (hooks), 79, 171 Airing Dirty Laundry (Reed), 224n9 Algeria, 47, 48, 133 Alligood, Clarence, 174, 175 Altered Egos (Couser), 137 Alwes, Derek, 215–16 An American Dilemma: The Negro Problem and Modern Democracy (Myrdal), 32 Andrews, William L., 237n5 androgyny, 17, 85 Angela Davis: A Political Biography (New York Committee to Free Angela Davis), 11 4–15 “Angela Davis: Black Woman on the Run” (Gillespie and Van Downing), 124 “Angela Davis Speaks: The Controversial Marxist Leader in the Black Movement” (radio program), 131 Angelou, Maya, 36, 70 anger, 49–52, 171, 1 78 Anspacher Public Theatre, 70 anthologies, 110.See also The Black Woman: An Anthology (Bambara, ed.) Anzaldúa, Gloria, 157, 220 apocalypse: and the apocalyptic self, 203–16; a nd apocalyptic spatiality, 199–203, 239n9; and chronometrical time, 195, 203; as metaphor for revolutionary change, 187–88, 1 93–94, 199, 262 ind ex back-to-Africa movements, 48, 196 Baker, Houston: on apocalypse, 195–96; on the New World, 195, 1 96; and Peterson, 37; and “post-integrationist poetics,” 46; response to Joyce’s criticism , 218, 219 Baker, Josephine, 166–67, 168 Bakhtin, Mikhail, 155 Baldwin, James: on apocalypse, 194, 196–97; and double-consciousness, 36; The Fire Next Time, 194, 196–97; “Going to Meet the Man,” 50; support of Davis, 130–31 Bambara, Toni Cade: on androgyny, 85, 232n15; apocalyptic theme of, 187–88, 193–94; astrological theme of, 198; and audience, 191; and black nationalism , 189; and The Black Woman, 94–95, 103; on coalitions, 202–203; cosmology of, 189–90; criticisms of, 2; Deep Sightings and Rescue Missions , 103; and dreaming, 188, 1 90, 191; on emasculator stereotype, 82, 232n13; and Essence magazine, 96; and healing paradigms, 61; and imperative of revolutionary action, 239n3; on Marshall’s “Making of Writer,” 70; metaphysical themes of, 190, 197; name of, 230n4; “On the Issue of Roles,” 84, 85; and patriarchical attitudes , 80, 83, 84–85, 232n15; political consciousness of, 62; as revolutionary diva, 9; on salt as snakebite antidote, 204; on Speaker’s Corners, 95, 201; on victimization, 204–205; and Victorian ethic, 11 5–16; a s writer/prophet , 190–91.See also The Salt Eaters (Bambara) Baraka, Amiri (LeRoi Jones): and “African ” models of gender behavior, 81–82, 86; and the black aesthetic movement, 58, 59–60, 187; and Black Arts Repertory Theatre/School, 46; and black nationalism, 101; on black womanhood, 182; Dutchman, 50–52; 200; theme of, 187–88, 1 93, 1 94–99. See also The Salt Eaters (Bambara) Arceneaux, Edgar, 25 Asarté cosmetic ads, 77 Asian and Asian American writers, 62 assertiveness of black women, 82 assimilation, 31, 47, 206, 240n15 Association for Voluntary Sterilization, 100 astrology, 198 audiences: and the black aesthetic movement, 153; connection of divas to, 17, 19; and decolonization, 4, 55; direct address of, 165; and doubleconsciousness , 9, 55; dual audiences, 37 , 53–54; a nd experiential writing of black authors, 6; and “nommo,” 55, 56; and notions of self, 6; and reciprocity , 55, 5 6; and Sambo/Sapphire, 12, 21; and slave narratives, 7–8, 9, 21, 136–37, 138, 140; and style, 19; uplift of, 19–20; and Walker’s castigation, 4; of women-oriented publications, 102–11; w riters’ relationship to, 55.See also black audiences; white audiences authenticity, 76 “The Autobiographical...