African American literature

African American literature is the body of literature produced in the United States by writers of African descent. African American literature traces its origins to the works of such late 18th century writers as Phillis Wheatley and Olaudah Equiano. The slave narratives and anti-slavery fiction written between 1845 and 1861 constitute one of the major achievements of African American literature. After the American Civil War, writers like Charles Chesnutt, Pauline Hopkins, W.E.B. Du Bois, Nella Larsen, Zora Neale Hurston and Langston Hughes built upon the achievements of earlier African American writers. The 1920s specifically saw an explosion of African American literary and cultural production that came to be known as the Harlem Renaissance. During the American Civil Rights movement, authors like Richard Wright, Ralph Ellison, Gwendolyn Brooks and Ishmael Reed wrote about issues of racial segregation and black nationalism. The African American novelist Toni Morrison is widely considered one of the most important living American writers.

African American writing has tended to draw on oral forms such as spirituals, sermons, gospel music, blues and rap.

History

Early African American literature

Just as African American history predates the emergence of the United States as an independent country, so too does African American literature have similarly deep roots.

[[Image:Phillis_Wheatley.jpg|thumb|160px|right|Phillis Wheatley]

Among the first prominent African American authors was poet Phillis Wheatley (1753–84), who published her book Poems on Various Subjects in 1773, three years before American independence. Born in Senegal, Africa, Wheatley was captured and sold into slavery at the age of seven. Brought to America, she was owned by a Boston merchant. Even though she initially spoke no English, by the time she was sixteen she had mastered the language. Her poetry was praised by many of the leading figures of the American Revolution, including George Washington, who personally thanked her for a poem she wrote in his honor. Despite this, many white people found it hard to believe that a Black woman could be so intelligent as to write poetry. As a result, Wheatley had to defend herself in court by proving she actually wrote her own poetry. Some critics cite Wheatley's successful defense as the first recognition of African American literature.

Another early African American author was Jupiter Hammon (1711–1806?). Hammon, considered the first published Black writer in America, published his poem "An Evening Thought: Salvation by Christ with Penitential Cries" as a broadside in early 1761. In 1778 he wrote an ode to Phillis Wheatley, in which he discussed their shared humanity and common bonds. In 1786, Hammon gave his well-known Address to the Negroes of the State of New York. Hammon wrote the speech at age seventy-six after a lifetime of slavery and it contains his famous quote, "If we should ever get to Heaven, we shall find nobody to reproach us for being black, or for being slaves." Hammon's speech also promoted the idea of a gradual emancipation as a way of ending slavery. It is thought that Hammon stated this plan because he knew that slavery was so entrenched in American society that an immediate emancipation of all slaves would be difficult to achieve. Hammon apparently remained a slave until his death. His speech was later reprinted by several groups opposed to slavery.

Victor Séjour (1817–74) produced the earliest work of fiction by an African American writer. Séjour was born free in New Orleans and moved to France at the age of 19. There he published his short story "Le Mulâtre" ("The Mulatto") in 1837; the story represents the first known fiction by an African American, but written in French and published in a French journal, it had apparently no influence on later American literature. Séjour never returned to African American themes in his subsequent works.

Slave narratives

One of the earliest and most significant African American literary forms was the slave narrative. Beginning in the late 18th century, some six thousand former slaves in North America and the Caribbean wrote accounts of their lives, with about 150 of these published as separate books or pamphlets.

Many of the most influential slave narratives were produced in the United States between 1845 and the outbreak of the Civil War, in the midst of a national debate over slavery. Many of these narratives were written in response to pro-slavery accounts of plantation life, such as the so-called Anti-Tom literature of writers like William Gilmore Simms. One of the best-known and most admired slave narratives is A Narrative of the Life of Frederick Douglass, an American Slave (1845), the first of three autobiographies by the abolitionist orator Frederick Douglass (c. 1818-95). Douglass later revised and expanded his autobiography, which was republished as My Bondage and My Freedom (1855). Incidents in the Life of a Slave Girl (1861) by Harriet Jacobs (1813-97) is considered the first slave narrative by an African American woman.

Because apologists for slavery routinely dismissed slave narratives as fabrications by white abolitionists, slave narratives were often prefaced by letters by prominent white authors attesting to the character, honesty and literacy of the author. The result, according to literary critics, was "a black message inside a white envelope."

Anti-slavery novels

The decade before the Civil War saw the publication of the first novels by African American writers. These were heavily influenced by slave narratives. William Wells Brown (1814-84), an escaped slave, had already published an autobiographical narrative of his life as a slave (1847) before writing what is considered to be the first novel by an African American, Clotel; or, The President's Daughter (1853). The novel is based on what was at that time considered to be a rumor about Thomas Jefferson fathering a daughter with his slave, Sally Hemings. Other early American novels include Harriet Wilson's Our Nig (1859) (the first African American novel to be published in the United States) and Martin Delany's Blake; Or, the Huts of America.

Post-slavery era

After the end of the American Civil War, African American authors turned their attention to the role of African Americans in the post-slavery United States.

Among the most prominent of these writers is W.E.B. Du Bois (1868–1963), one of the original founders of the NAACP. At the turn of the century, Du Bois published a highly influential collection of essays titled The Souls of Black Folk. The book's essays on race were groundbreaking and drew from DuBois's personal experiences to describe how African Americans lived in American society. The book contains Du Bois's famous quote: "The problem of the twentieth century is the problem of the color-line." Du Bois believed that African Americans should, because of their common interests, work together to battle prejudice and inequity.

Another prominent author of this time period is Booker T. Washington (1856–1915), who in many ways represented opposite views from Du Bois. Washington was an educator and the founder of the Tuskegee Institute, a Black college in Alabama. Among his published works are Up From Slavery (1901), The Future of the American Negro (1899), Tuskegee and Its People (1905), and My Larger Education (1911). In contrast to Du Bois, who adopted a more confrontational attitude toward ending racial strife in America, Washington believed that Blacks should first lift themselves up and prove themselves the equal of whites before asking for an end to racism. While this viewpoint was popular among some Blacks (and many whites) at the time, Washington's political views would later fall out of fashion.

A third writer who gained attention during this period is Marcus Garvey (1887–1940), a publisher, journalist, and crusader for Black nationalism. He is best known as a champion of Black nationalism and the "back-to-Africa" movement, which encouraged people of African ancestry to return to their ancestral homeland. He wrote a number of essays and nonfiction books.

Paul Lawrence Dunbar, who often wrote in the rural, black dialect of the day, was the first African American poet to gain national prominence. His first book of poetry, Oak and Ivy, was published in 1893. Much of Dunbar's work, such as When Malindy Sings (1906), which includes photographs taken by the Hampton Institute Camera Club, and Joggin' Erlong (1906) provide revealing glimpses into the lives of rural African-Americans of the day. Though Dunbar died young, he was a prolific poet, essayist, novelist (among them The Uncalled, 1898 and TheFanatics, 1901) and short story writer.

Even though Du Bois, Washington, and Garvey were the leading African American intellectuals and authors of their time, other African American writers also rose to prominence. Among these is the novelist Charles W. Chesnutt, best known for his short story collections The Conjure Woman, and Other Conjure Tales (1899) and The Wife of His Youth, and Other Stories of the Color Line (1899).

Harlem Renaissance

The Harlem Renaissance from 1920 to 1940 brought new attention to African American literature. While the Harlem Renaissance, based in the African American community in Harlem in New York City, existed as a larger flowering of social thought and culture—with numerous Black artists, musicians, and others producing classic works in fields from jazz to theater—the renaissance is perhaps best known for the literature that came out of it.

[[Image:Hughes.jpg|thumb|right|160px|Langston Hughes, photographed by Carl Van Vechten, 1936]]

Among the most famous writers of the renaissance is poet Langston Hughes. Hughes first received attention in the 1922 poetry collection, The Book of American Negro Poetry. This book, edited by James Weldon Johnson, featured the work of the period's most talented poets (including, among others, Claude McKay, who also published three novels, Home to Harlem, Banjo and Banana Bottom and a collection of short stories). In 1926, Hughes published a collection of poetry, The Weary Blues, and in 1930 a novel, Not Without Laughter. Perhaps, Hughes' most famous poem is "The Negro Speaks of Rivers," which he wrote as a young teen. His single, most recognized character is Jesse B. Simple, a plainspoken, pragmatic Harlemite whose comedic observations appeared in Hughes's columns for the Chicago Defender and the New York Post. Simple Speaks His Mind (1950) is, perhaps, the best-known collection of Simple stories published in book form. Until his death in 1967, Hughes published nine volumes of poetry, eight books of short stories, two novels, and a number of plays, children's books, and translations.

Another famous writer of the renaissance is novelist Zora Neale Hurston, author of the classic novel Their Eyes Were Watching God (1937). Altogether, Hurston wrote 14 books which ranged from anthropology to short stories to novel-length fiction. Because of Hurston's gender and the fact that her work was not seen as socially or politically relevant, her writings fell into obscurity for decades. Hurston's work was rediscovered in the 1970s in a famous essay by Alice Walker, who found in Hurston a role model for all female African American writers.

While Hurston and Hughes are the two most influential writers to come out of the Harlem Renaissance, a number of other writers also became well known during this period. They include Jean Toomer, who wrote Cane, a famous collection of stories, poems, and sketches about rural and urban Black life, and Dorothy West, author of the novel The Living is Easy, which examined the life of an upper-class Black family. Another popular renaissance writer is Countee Cullen, who described everyday black life in his poems (such as a trip he made to Baltimore, which was ruined by a racial insult). Cullen's books include the poetry collections Color (1925), Copper Sun (1927), and The Ballad of the Brown Girl (1927). Frank Marshall Davis's poetry collections Black Man's Verse (1935) and I am the American Negro (1937), published by Black Cat Press, earned him critical acclaim. Author Wallace Thurman also made an impact with his novel The Blacker the Berry: A Novel of Negro Life (1929), which focused on intraracial prejudice between lighter-skinned and darker-skinned Blacks.

The Harlem Renaissance marked a turning point for African American literature. Prior to this time, books by African Americans were primarily read by other Black people. With the renaissance, though, African American literature—as well as black fine art and performance art—began to be absorbed into mainstream American culture.

Civil Rights Movement era

A large migration of African Americans began during World War I, hitting its high point during World War II. During this Great Migration, Black people left the racism and lack of opportunities in the American South and settled in northern cities like Chicago, where they found work in factories and other sectors of the economy.

File:Rwright.jpg

Richard Wright, photographed by Carl Van Vechten, 1939

This migration produced a new sense of independence in the Black community and contributed to the vibrant Black urban culture seen during the Harlem Renaissance. The migration also empowered the growing American Civil Rights movement, which made a powerful impression on Black writers during the 1940s, '50s and '60s. Just as Black activists were pushing to end segregation and racism and create a new sense of Black nationalism, so too were Black authors attempting to address these issues with their writings.

One of the first writers to do so was James Baldwin, whose work addressed issues of race and sexuality. Baldwin, who is best known for his novel Go Tell it on the Mountain, wrote deeply personal stories and essays while examining what it was like to be both Black and homosexual at a time when neither of these identities was accepted by American culture. In all, Baldwin wrote nearly 20 books, including such classics as Another Country and The Fire Next Time.

Baldwin's idol and friend was author Richard Wright, whom Baldwin called "the greatest Black writer in the world for me". Wright is best known for his novel Native Son (1940), which tells the story of Bigger Thomas, a Black man struggling for acceptance in Chicago. Baldwin was so impressed by the novel that he titled a collection of his own essays Notes of a Native Son, in reference to Wright's novel. However, their friendship fell apart due to one of the book's essays, "Everybody's Protest Novel," which criticized Native Son for its lack of credible, psychologically complex characters. Among Wright's other books are the semiautobiographical novel Black Boy (1945), The Outsider (1953), and White Man, Listen! (1957).

The other great novelist of this period is Ralph Ellison, best known for his novel Invisible Man, which won the National Book Award in 1953. Even though Ellison did not complete another novel during his lifetime, Invisible Man was so influential that it secured his place in literary history. After Ellison's death, a second novel, Juneteenth, was pieced together from the 2,000-plus pages he had written over 40 years.

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Ralph Ellison circa 1961

The Civil Rights time period also saw the rise of female Black poets, most notably Gwendolyn Brooks, who became the first African American to win the Pulitzer Prize when it was awarded for her 1949 book of poetry, Annie Allen. Along with Brooks, other female poets who became well known during the 1950s and '60s are Nikki Giovanni and Sonia Sanchez.

During this time, a number of playwrights also came to national attention, notably Lorraine Hansberry, whose play A Raisin in the Sun focuses on a poor Black family living in Chicago. The play won the 1959 New York Drama Critics' Circle Award. Another playwright who gained attention was Amiri Baraka, who wrote controversial off-Broadway plays. In more recent years, Baraka has become known for his poetry and music criticism.

It is also worth noting that a number of important essays and books about human rights were written by the leaders of the Civil Rights Movement. One of the leading examples of these is Martin Luther King, Jr.'s "Letter from Birmingham Jail".

Recent history

Beginning in the 1970s, African American literature reached the mainstream as books by Black writers continually achieved best-selling and award-winning status. This was also the time when the work of African American writers began to be accepted by academia as a legitimate genre of American literature.

As part of the larger Black Arts Movement, which was inspired by the Civil Rights and Black Power Movements, African American literature began to be defined and analyzed. A number of scholars and writers are generally credited with helping to promote and define African American literature as a genre during this time period, including fiction writers Toni Morrison and Alice Walker and poet James Emanuel.

James Emanuel took a major step toward defining African American literature when he edited (with Theodore Gross) Dark Symphony: Negro Literature in America, the first collection of black writings released by a major publisher. This anthology, and Emanuel's work as an educator at the City College of New York (where he is credited with introducing the study of African-American poetry), heavily influenced the birth of the genre. Other influential African American anthologies of this time included Black Fire: An Anthology of Afro-American Writing, edited by LeRoi Jones (now known as Amiri Baraka) and Larry Neal in 1968 and The Negro Caravan, co-edited by Sterling Brown, Arthur P. Davis and Ulysses Lee in 1969.

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Toni Morrison (circa 1977)

Toni Morrison, meanwhile, helped promote Black literature and authors when she worked as an editor for Random House in the 1960s and '70s, where she edited books by such authors as Toni Cade Bambara and Gayl Jones. Morrison herself would later emerge as one of the most important African American writers of the 20th century. Her first novel, The Bluest Eye, was published in 1970. Among her most famous novels is Beloved, which won the Pulitzer Prize for Fiction in 1988. This story describes a slave who found freedom but killed her infant daughter to save her from a life of slavery. Another important novel is Song of Solomon, a tale about materialism and brotherhood. Morrison is the first African American woman to win the Nobel Prize in Literature.

In the 1970s novelist and poet Alice Walker wrote a famous essay that brought Zora Neale Hurston and her classic novel Their Eyes Were Watching God back to the attention of the literary world. In 1982, Walker won both the Pulitzer Prize and the American Book Award for her novel The Color Purple. An epistolary novel (a book written in the form of letters), The Color Purple tells the story of Celie, a young woman who is sexually abused by her stepfather and then is forced to marry a man who physically abuses her. The novel was later made into a film by Steven Spielberg.

The 1970s also saw African American books topping the bestseller lists. Among the first books to do so was Roots: The Saga of an American Family by Alex Haley. The book, a fictionalized account of Haley's family history—beginning with the kidnapping of Haley's ancestor Kunta Kinte in Gambia through his life as a slave in the United States—won the Pulitzer Prize and became a popular television miniseries. Haley also wrote The Autobiography of Malcolm X in 1965.

Other important writers in recent years include literary fiction writers Gayl Jones, Ishmael Reed, Jamaica Kincaid, Randall Kenan, and John Edgar Wideman. African American poets have also garnered attention. Maya Angelou read a poem at Bill Clinton's inauguration, Rita Dove won a Pulitzer Prize and served as Poet Laureate of the United States from 1993 to 1995, and Cyrus Cassells's Soul Make a Path through Shouting was nominated for a Pulitzer Prize in 1994. Cassells is a recipient of the William Carlos Williams Award. Lesser-known poets like Thylias Moss, and Natasha Trethewey also have been praised for their innovative work. Notable black playwrights include Ntozake Shange, who wrote For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf; Ed Bullins; Suzan-Lori Parks; and the prolific August Wilson, who won two Pulitzer Prizes for his plays. Most recently, Edward P. Jones won the 2004 Pulitzer Prize for Fiction for The Known World, his novel about a black slaveholder in the antebellum South.

African American literature has also crossed over to genre fiction. A pioneer in this area is Chester Himes, who in the 1950s and '60s wrote a series of pulp fiction detective novels featuring "Coffin" Ed Johnson and "Gravedigger" Jones, two New York City police detectives. Himes paved the way for the later crime novels of Walter Mosley and Hugh Holton. African Americans are also represented in the genres of science fiction, fantasy and horror, with Samuel R. Delany, Octavia E. Butler, Steven Barnes, Tananarive Due, Robert Fleming, Brandon Massey, Charles R. Saunders, John Ridley, John M. Faucette, Sheree Thomas and Nalo Hopkinson being just a few of the well-known authors.

Finally, African American literature has gained added attention through the work of talk show host Oprah Winfrey, who repeatedly has leveraged her fame to promote literature through the medium of her Oprah's Book Club. At times, she has brought African American writers a far broader audience than they otherwise might have received.

Critiques

While African American literature is well accepted in the United States, it is not without controversy. To the genre's supporters, African American literature exists both within and outside American literature and is helping to revitalize the country's writing. To critics, African American literature is part of a Balkanization of American literature. In addition, there are some within the African American community who do not like how their own literature sometimes showcases Black people.

Existing both inside and outside American literature

According to James Madison University English professor Joanne Gabbin, African American literature exists both inside and outside American literature. "Somehow African American literature has been relegated to a different level, outside American literature, yet it is an integral part," she says.

This view of African American literature is grounded, in many ways, in the experience of Black people in the United States. Even though African Americans have long claimed an American identity, during most of United States history they were not accepted as full citizens. As a result, they were part of America while also being outside it.

The same can be said for African American literature. While it exists fully within the framework of a larger American literature, it also exists as its own entity. As a result, new styles of storytelling and unique voices are created in isolation. The benefit of this is that these new styles and voices can leave their isolation and help revitalize the larger literary world (McKay, 2004). This artistic pattern has held true with many aspects of African American culture over the last century, with jazz and hip hop being just two artistic examples that developed in isolation within the Black community before reaching a larger audience and eventually revitalizing American culture.

Whether African American literature will keep to this pattern in the coming years remains to be seen. Since the genre is already popular with mainstream audiences, it is possible that its ability to develop new styles and voices—or to remain "authentic," in the words of some critics—may be a thing of the past.

Balkanization of American literature?

Despite these views, some conservative academics and intellectuals argue that African American literature only exists as part of a balkanization of literature over the last few decades or as an extension of the culture wars into the field of literature. According to these critics, literature is splitting into distinct and separate groupings because of the rise of identity politics in the United States and other parts of the world. These critics reject bringing identity politics into literature because this would mean that "only women could write about women for women, and only Blacks about Blacks for Blacks."

People opposed to this group-based approach to writing say that it limits the ability of literature to explore the overall human condition and, more importantly, judges ethnic writers merely on the basis of their race. These critics reject this judgment and say it defies the meaning of works like Ralph Ellison's Invisible Man, in which Ellison's main character is invisible because people see him as nothing more than a Black man. Others criticize special treatment of any ethnic-based genre of literature. For example, Robert Hayden, the first African-American Poet Laureate Consultant in Poetry to the Library of Congress, once said (paraphrasing the comment by the black composer Duke Ellington about jazz and music), "There is no such thing as Black literature. There's good literature and bad. And that's all."

Proponents counter that the exploration of group and ethnic dynamics through writing actually deepens human understanding and that, previously, entire groups of people were ignored or neglected by American literature. (Jay, 1997)

The general consensus view appears to be that American literature is not breaking apart because of new genres like African American literature. Instead, American literature is simply reflecting the increasing diversity of the United States and showing more signs of diversity than ever before in its history (Andrews, 1997; McKay, 2004). This view is supported by the fact that many African American authors—and writers representing other minority groups—consistently reach the tops of the best-seller lists. If their literature only appealed to their individual ethnic groups, this would not be possible.

African American criticism

Some of the criticism of African American literature over the years has come, surprisingly enough, from within the African American community. This results from complaints that Black literature sometimes does not portray Black people in a positive light.

This clash of aesthetics and racial politics has its beginnings in comments made by W.E.B DuBois in the NAACP publication The Crisis. For example, in 1921 he wrote, "We want everything that is said about us to tell of the best and highest and noblest in us. We insist that our Art and Propaganda be one." He added to this in 1926 by saying, "All Art is propaganda and ever must be, despite the wailing of the purists." DuBois and the editors of The Crisis consistently stated that literature was a tool in the struggle for African American political liberation.

DuBois's belief in the propaganda value of art showed most clearly when he clashed in 1928 with African American author Claude McKay over McKay's best-selling novel Home to Harlem. To DuBois, the novel's frank depictions of sexuality and the nightlife in Harlem only appealed to the "prurient demand[s]" of white readers and publishers looking for portrayals of Black "licentiousness." DuBois also said, "Home to Harlem ... for the most part nauseates me, and after the dirtier parts of its filth I feel distinctly like taking a bath." This criticism was repeated by others in the Black community when author Wallace Thurman published his novel The Blacker the Berry in 1929. This novel, which focused on intraracial prejudice between lighter-skinned and darker-skinned Blacks, infuriated many African Americans, who did not like such a public airing of their culture's "dirty laundry."

Naturally, many African American writers did not agree with the viewpoint that all Black literature should be propaganda, and instead stated that literature should present the truth about life and people. Langston Hughes articulated this view in his essay "The Negro Artist and the Racial Mountain" (1926), when he said that Black artists intended to express themselves freely no matter what the Black public or white public thought.

A more recent occurrence of this Black-on-Black criticism arose in charges by some critics that Alice Walker's novel The Color Purple unfairly attacked Black men. Walker later refuted these charges in her book The Same River Twice: Honoring the Difficult.

See also

• African American
• African American culture
• African American history
• Afrofuturism
• American literature
• List of African-American writers
• Southern Gothic
• The Callaloo Journal
• Urban fiction

External links

• American Slave Narratives: An Online Anthology
• A Brief Chronology of African American Literature
• African American Women Writers of the 19th Century
• African American Literature Book Club
• Complete text of classic African American books and essays
• "Famous Writers Section", Mr. Africa Poetry Lounge

References

• Andrews, W., Foster, F., and Harris, T. (Editors).The Oxford Companion to African American Literature. Oxford, 1997.
• Brodhead, R. "An Anatomy of Multiculturalism". Yale Alumni Magazine, April 1994. Excerpted here.
• Cashmore, E. "Review of the Norton Anthology of African-American Literature" New Statesman, April 25, 1997.
• Dalrymple, T. "An Imaginary 'Scandal'" The New Criterion, May 2005.
• Davis, M., Graham, M., and Pineault-Burke, S. (Editors). Teaching African American Literature: Theory and Practice. Routledge, 1998.
• Gates, H. The Trials of Phillis Wheatley: America's First Black Poet and Her Encounters With the Founding Fathers Basic Civitas Books, 2003
• Gilyard, K., and Wardi, A. African American Literature. Penguin, 2004.
• Greenberg, P. "I hate that (The rise of identity journalism)". Townhall.com, June 15, 2005.
• Groden, M., and Krieswirth, M. (Editors). "African-American Theory and Criticism" from the Johns Hopkins Guide to Literary Theory and Criticism.
• Grossman, J. "Historical Research and Narrative of Chicago and the Great Migration".
• Hamilton, K. "Writers' Retreat: Despite the proliferation of Black authors and titles in today's marketplace, many look to literary journals to carry on the torch for the written word". Black Issues in Higher Education, Nov 6, 2003.
• Jay, G. American Literature and the Culture Wars. Cornell University Press, 1997. Excerpted here.
• Lowney, J. "Haiti and Black Transnationalism: Remapping the Migrant Geography of Home to Harlem" African American Review, Fall, 2000.
• McKay, N., and Gates, H. (Editors). The Norton Anthology of African American Literature, Second Edition. W. W. Norton & Company, 2004.
• Mitchem, S. "No Longer Nailed to the Floor". Cross Currents, spring, 2003.
• Roach, R. "Powerful pages: Unprecedented Public Impact of W.W. Norton and Co's Norton Anthology of African American Literature". Black Issues in Higher Education, Sept 18, 1997.
• Scott, D. "Harlem shadows: Re-evaluating Wallace Thurman's The Blacker the Berry". MELUS, fall-winter, 2004.