In this Book

The Ohio State University Press
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summary
Yoshinobu Hakutani traces the development of African American modernism, which initially gathered momentum with Richard Wright’s literary manifesto “Blueprint for Negro Writing” in 1937. Hakutani dissects and discusses the cross-cultural influences on the then-burgeoning discipline in three stages: American dialogues, European and African cultural visions, and Asian and African American cross-cultural visions. In writing Black Boy, the centerpiece of the Chicago Renaissance, Wright was inspired by Theodore Dreiser. Because the European and African cultural visions that Wright, Ralph Ellison, Alice Walker, and Toni Morrison acquired were buttressed by the universal humanism that is common to all cultures, this ideology is shown to transcend the problems of society. Fascinated by Eastern thought and art, Wright, Walker, Sonia Sanchez, and James Emanuel wrote highly accomplished poetry and prose. Like Ezra Pound, Wright was drawn to classic haiku, as reflected in the 4,000 haiku he wrote at the end of his life. As W. B. Yeats’s symbolism was influenced by his cross-cultural visions of noh theatre and Irish folklore, so is James Emanuel’s jazz haiku energized by his cross-cultural rhythms of Japanese poetry and African American music. The book demonstrates some of the most visible cultural exchanges in modern and postmodern African American literature. Such a study can be extended to other contemporary African American writers whose works also thrive on their cross-cultural visions, such as Amiri Baraka, Ishmael Reed, Charles Johnson, and haiku poet Lenard Moore.

Table of Contents

  1. Cover
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  1. Title Page, Copyright, Dedication
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  1. Table of Contents
  2. pp. v-vi
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  1. Preface
  2. pp. vii-viii
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  1. Acknowledgments
  2. pp. ix-x
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  1. Introduction
  2. pp. 1-16
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  1. Part I: American Dialogues
  2. pp. 17-18
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  1. Chapter 1. The Chicago Renaissance, Theodore Dreiser, and Richard Wright's Spatial Narrative
  2. pp. 19-43
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  1. Chapter 2. The Cross-Cultural Vision of Ralph Ellison's Invisible Man
  2. pp. 44-59
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  1. Chapter 3. No Name in the Street: James Baldwin's Exploration of American Urban Culture
  2. pp. 60-71
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  1. Chapter 4. If Beale Street Could Talk: Baldwin's Search for Love and Identity
  2. pp. 72-81
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  1. Chapter 5. Jazz and Toni Morrison's Urban Imagination of Desire and Subjectivity
  2. pp. 82-98
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  1. Part II: European and African Cultural Visions
  2. pp. 99-100
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  1. Chapter 6. Wright's The Outsider and French Existentialism
  2. pp. 101-119
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  1. Chapter 7. Pagan Spain: Wright's Discourse on Religion and Culture
  2. pp. 120-138
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  1. Chapter 8. The African "Primal Outlook upon Life": Wright and Morrison
  2. pp. 139-150
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  1. Part III:. Eastern and African American Cross-Cultural Visions
  2. pp. 151-152
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  1. Chapter 9. The Poetics of Nature: Wright's Haiku, Zen, and Lacan
  2. pp. 153-169
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  1. Chapter 10. Private Voice and Buddhist Enlightenment in Alice Walker's The Color Purple
  2. pp. 170-179
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  1. Chapter 11. Cross-Cultural Poetics: Sonia Sanchez's Like the Singing Coming Off the Drums
  2. pp. 180-194
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  1. Chapter 12. James Emanuel's Jazz Haiku and African American Individualism
  2. pp. 195-218
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  1. Notes
  2. pp. 219-234
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  1. Works Cited
  2. pp. 235-242
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  1. Index
  2. pp. 243-252
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Additional Information

ISBN
9780814272374
Related ISBN
9780814210307
MARC Record
OCLC
1229137976
Pages
251
Launched on MUSE
2021-01-09
Language
English
Open Access
Yes
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