The Radical Fiction of Ann Petry
Publication Year: 2013
Published by: LSU Press
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ISBN 978-0-8071-5066-5 (cloth : alk. paper) â ISBN 978-0-8071-5067-2 (pdf) â ISBN 978-0-8071-5068-9 (epub) â ISBN 978-0-8071-5069-6 (mobi) 1. Petry, Ann, 1908â1997âCriticism The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. Brief portions of chapter 3âs discussion of âMiss Murielâ were published previously in my essay ...
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Iam immensely indebted to many since I first undertook this true labor of love, researching and writing on an author who has written pas-sionately, painstakingly, and undeterred about topics that make her a true literary maverick. So I begin by thanking Ann Petry for her artistry I owe my unreserved gratitude to colleagues at my home institution, George Mason University. Robert Matz, chair of the Department of Eng-...
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My introduction to Ann Petryâs most widely acclaimed novels, The Street and The Narrows, occurred in an early 1990s graduate seminar at the University of North Carolina at Chapel Hill. Until that time, my knowledge of Petryâs works had been limited to the short story âLike a Winding Sheet,â which was included in the estimable Richard Barksdale/Keneth Kinnamon anthology Black Writers of Americaâa volume that paved ...
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It is, indeed, to be expected that our first eminent Southern author [Poe] discover that the proper subject for American gothic is the black man, from Interviewer: Are there any black writers that you remember reading either Petry: There were two in particular: Narrative of the Life of Frederick Douglassand James Weldon Johnsonâs Autobiography of an Ex-Colored Man....
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Negro brought forth [in response to queries posed to white Europeans] biol-ogy, penis, strong, athletic, potent, boxer, Joe Louis, Jesse Owens, Senegalese Interviewer: Is there any âcorrectâ point of view in The Narrows? I think of this in relation to the themes of guilt and time. Abbie thinks that the past determines everything and that she, personally, is responsible for the evil ...
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The Anguished Black Men of âLike a Winding Sheet,â âHas Anybody Seen The thought of her husband roused in her a deep and contemptuous hatred. At his every approach she had forcibly to subdue a furious inclination to scream out in protest. Shame, too, swept over her at every thought of her marriage. Marriage. This sacred thing of which parsons and other Chris-...
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Insofar as Gordon Pym is finally a social document as well as a fantasy, its subject is slavery; and its scene, however disguised, is the section of America which was to destroy itself defending that institution. It is, indeed, to be expected that our first eminent Southern author discover that the proper subject for American gothic is the black man, from whose shadow we have ...
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Tormented and Tormenting Souls in âThe Bones of Louella Brownâ And the entire bottom of the land is hemmed in by the town cemetery. Had to be half-wittedâwhoâd want to own land near a graveyard, especially a darky who is known to be scared pantless of haints and such? They pock-eted Nedeedâs money and had a good laugh: first full moon on All Hallows ...
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I shouted his [Mr. Nortonâs] name above the roar of the men, and got no answer. He was out again. I shook him, gently, then roughly, but still no flicker of his wrinkled lids. Then some of the milling men pushed me up against him and suddenly a mass of whiteness was looming two inches from my eyes; it was only his face but I felt a shudder of nameless horror. I had ...
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For me, one of the great moments of American culture actually occurred in August of 1955. Very few people want to talk about it. In 1955, of course, Emmett Till was murdered by fellow citizens, a victim of U.S. terrorism, the body thrown in the Yazoo River, the Tallahatchie Bridge, under the Tal-lahatchie Bridge [sic]. But his body was brought back to Chicago, and the ...
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In her standard no-nonsense, borderline curt way, Ann Petry penned this response to a 1970 invitation to speak on racial matters at an in-stitute called âThe Young Adult in Conflictâ: âI have talked to too many audiences and given too many speeches and taken part in too many semi-nars, etc. I canât talk any more about what âbeing black in white Americaâ means. In a few years I will have done with writing about it, too.â1...
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...1. Iâm alluding here, of course, to Howeâs controversial 1963 essay âBlack Boys and Native Sonsâ (Dissent magazine), in which he chided âyoung Turksâ Baldwin and Ellison for failing to match the same degree of righteous racial anger that pulsates through the fiction of the man he considered their literary father, Wright. In effect, Howe called out the younger writers for apparently eschewing the genre of protest, which he seemed to ...
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Adams, George R. âRiot as Ritual: Ann Petryâs âIn Darkness and Confusion.ââ 1972. Reprinted in Ann Petryâs Short Fiction: Critical Essays, ed. Hazel Arnett Ervin and Andrews, Larry R. âThe Sensory Assault of the City in Ann Petryâs The Street.â In The City in African-American Literature, ed. Yoshinobu Hakutani, 196â211. Madison, Anolik, Ruth Bienstock, and Douglas L. Howard, eds. The Gothic Other: Racial and ...
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Page Count: 264
Publication Year: 2013