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From the white editorial authentication of slave narratives, to the cultural hybridity of the Harlem Renaissance, to the overtly independent publications of the Black Arts Movement, to the commercial power of Oprah's Book Club, African American textuality has been uniquely shaped by the contests for cultural power inherent in literary production and distribution. Always haunted by the commodification of blackness, African American literary production interfaces with the processes of publication and distribution in particularly charged ways. An energetic exploration of the struggles and complexities of African American print culture, this collection ranges across the history of African American literature, and the authors have much to contribute on such issues as editorial and archival preservation, canonization, and the "packaging" and repackaging of black-authored texts. Publishing Blackness aims to project African Americanist scholarship into the discourse of textual scholarship, provoking further work in a vital area of literary study.

Table of Contents

  1. Cover
  2. p. 1
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  1. Cover Page
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  1. Title Page, Copyright
  2. pp. 2-7
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  1. Series
  2. pp. i-ii
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  1. Contents
  2. pp. vii-viii
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  1. Title Page
  2. p. iii
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  1. Introduction
  2. pp. 1-17
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  1. Copyright Page
  2. p. iv
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  1. The Brief Wondrous Life of the Anglo-African Magazine; or, Antebellum African American Editorial Practice and Its Afterlives
  2. pp. 18-38
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  1. Acknowledgments
  2. pp. v-vi
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  1. Representing African American Literature; or, Tradition against the Individual Talent
  2. pp. 39-66
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  1. “Quite as human as it is Negro”: Subpersons and Textual Property in Native Son and Black Boy
  2. pp. 67-92
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  1. Introduction
  2. pp. 1-17
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  1. The Colors of Modernism: Publishing African Americans, Jews, and Irish in the 1920s
  2. pp. 93-107
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  1. The Brief Wondrous Life of the Anglo-African Magazine; or, Antebellum African American Editorial Practice and Its Afterlives
  2. pp. 18-38
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  1. More than McKay and Guillén: The Caribbean in Hughes and Bontemps’s The Poetry of the Negro (1949)
  2. pp. 108-135
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  1. Representing African American Literature; or, Tradition against the Individual Talent
  2. pp. 39-66
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  1. Editorial Federalism: The Hoover Raids, the New Negro Renaissance, and the Origins of FBI Literary Surveillance
  2. pp. 136-159
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  1. "Quite as Human as It Is Negro": Subpersons and Textual Property in Native Son and Black Boy
  2. pp. 67-92
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  1. Loosening the Straightjacket: Rethinking Racial Representation in African American Anthologies
  2. pp. 160-174
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  1. The Colors of Modernism: Publishing African Americans, Jews, and Irish in the 1920s
  2. pp. 93-107
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  1. “Let the World Be a Black Poem”: Some Problems of Recollecting and Editing Black Arts Texts
  2. pp. 175-187
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  1. More than McKay and Guillén: The Caribbean in Hughes and Bontemps's The Poetry of the Negro (1949)
  2. pp. 108-135
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  1. Textual Productions of Black Aesthetics Unbound,
  2. pp. 188-209
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  1. Editorial Federalism: The Hoover Raids, the New Negro Renaissance, and the Origins of FBI Literary Surveillance
  2. pp. 136-159
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  1. Select Bibliography
  2. pp. 211-214
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  1. Loosening the Straightjacket: Rethinking Racial Representation in African American Anthologies
  2. pp. 160-174
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  1. Contributors
  2. pp. 215-217
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  1. "Let the World Be a Black Poem": Some Problems of Recollecting and Editing Black Arts Texts
  2. pp. 175-187
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  1. Index
  2. pp. 219-236
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  1. Textual Productions of Black Aesthetics Unbound
  2. pp. 188-210
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  1. Select Bibliography
  2. pp. 211-214
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  1. Contributors
  2. pp. 215-218
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  1. Index
  2. pp. 219-236
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Additional Information

ISBN
9780472028924
Related ISBN
9780472118632
MARC Record
OCLC
829243628
Pages
240
Launched on MUSE
2013-05-20
Language
English
Open Access
Yes
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