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199 Notes Prologue 1. Stuart Hall, “For Allon White: Metaphors of Transformation,” in Stuart Hall: Critical Dialogues in Cultural Studies, ed. Stuart Hall, David Morley, and Kuan-Hsing Chen (London: Routledge, 1996), 287. 2. Ibid. 3. Ibid. 4. Ibid. 5. Ibid. 6. Charles Johnson, Oxherding Tale (New York: Grove Press, 1984), 152. 7. Charles Johnson, Dreamer (New York: Scribner, 1998), 179–180. 8. “An Interview with Charles Johnson Conducted by Jonathan Little,” in I Call Myself an Artist, ed. Rudolph P. Byrd (Bloomington: Indiana University Press, 1999), 227. 9. Maurice Merleau-Ponty, Adventures of the Dialectic, trans. Joseph Bien (Evanston , Ill.: Northwestern University Press, 1973), 139. 10. Ibid., 241. 11. “Whole Sight: Notes on New Black Fiction,” in I Call Myself an Artist, 88. 12. The metaphor of the “melting pot” was popularized if not created by the playwright Israel Zangwill and it appears in his four-act drama entitled The Melting Pot (1912). While this is a metaphor associated most often with the discipline of sociology, it is important to note that its apparent origins are in a four-act play by a Jewish immigrant . 13. Ralph Ellison, Invisible Man (New York: Vintage Books, 1989), 577. 14. “A Phenomenology of On Moral Fiction,” in Charles Johnson, Turning the Wheel: Essays on Buddhism and Writing (New York: Scribner, 2003), 150. 15. Charles Johnson, Being and Race: Black Writing since 1970 (Bloomington: Indiana University Press, 1988), 53. 16. Charles Johnson, “Philosophy and Black Fiction,” in I Call Myself an Artist, 80. 17. Ibid. 18. Charles Johnson, “Where Philosophy and Fiction Meet,” in I Call Myself an Artist, 95. 19. Ibid., 92. 20. Charles Johnson, “Preface,” in Essentials, ed. Rudolph P. Byrd (Athens, Ga.: Hillside Press, 1999), xiv–xv. Johnson reprinted this preface to Essentials as an essay, 200 Notes to pages 6–13 which he entitled “A Poet of Being,” in Turning the Wheel: Essays on Buddhism and Writing. 21. I have examined the influence of Georges I. Gurdjieff upon Toomer’s development as a writer in Jean Toomer’s Years with Gurdjieff: Portrait of an Artist, 1923–1936 (Athens: University of Georgia Press, 1990). Other scholarly works that have examined this aspect of Toomer’s literary career include Nellie Y. McKay’s Jean Toomer, Artist (Chapel Hill: University of North Carolina Press, 1985); Cynthia Earl Kerman and Richard Eldridge’s The Lives of Jean Toomer: A Hunger for Wholeness (Baton Rouge: Louisiana State University Press, 1987); and Robert B. Jones’s Jean Toomer and the Prisonhouse of Thought: A Phenomenology of the Spirit (Madison: University of Wisconsin Press, 1993). 22. Ibid., xx–xxi. 23. Charles Johnson, “Where Philosophy and Fiction Meet,” in I Call Myself an Artist, 93. 24. Ibid., 93. 25. Charles Johnson, “The Singular Vision of Ralph Ellison,” in Turning the Wheel, 105. 26. Charles Johnson, “The Beginner’s Mind,” in Turning the Wheel, 139. 27. Charles Johnson, “I Call Myself an Artist,” in I Call Myself an Artist, 13. 28. Charles Johnson, “An American Milk Bottle,” in Turning the Wheel, 175. The essays in which Johnson reflects upon his indebtedness as an artist to John Gardner appear in I Call Myself an Artist and Turning the Wheel. 29. Charles Johnson, “Interview,” in The Book That Changed My Life: Interviews with National Book Award Winners and Finalists (New York: The Modern Library, 2002), 41. 30. Ibid., 41. 31. Charles Johnson, “I Call Myself an Artist,” in I Call Myself an Artist, 30. 32. M. M. Bakhtin, The Dialogic Imagination (Austin: University of Texas Press, 1981), 324. 33. Ibid., 292–293. 34. I refer here to my essay on The Sorcerer’s Apprentice entitled “It Rests by Changing : Process in The Sorcerer’s Apprentice,” in I Call Myself an Artist. 35. Being and Race, 4. 1. Faith and the Good Thing 1. These framing essays, which define and set forth the scope of Johnson’s project called philosophical black fiction, are published in a collection I edited with Johnson’s cooperation entitled I Call Myself an Artist: Writings By and About Charles Johnson (Bloomington: Indiana University Press, 1999). 2. Charles Johnson, “Philosophy and Black Fiction,” in I Call Myself an Artist, 80. 3. Charles Johnson, Being and Race: Black Writing since 1970 (Bloomington: Indiana University Press, 1988), 5. 4. Charles Johnson, “Philosophy and Black Fiction,” in I Call Myself an Artist, 80– 81. 5. Ibid., 81. 6. Charles Johnson, “Whole Sight: Notes on New Black Fiction,” in I Call Myself an Artist, 87. [54.196.27.122] Project MUSE...