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"When writing about Percival Everett, it has become customary to begin with a caveat that the conspicuous variety within his body of work will inherently frustrate any attempts at definitive classification. This selection of texts spans nearly the full length of Everett's career as a writer and includes his most popular works as well as some of his more obscure ones. It is intended as a sampling of the whole, not a ranked list; one should not infer from the emphasis on these fourteen works that Everett's remaining sixteen books are necessarily of lesser significance or lesser quality"--
African American authors --- American literature --- Satire --- Satire, American --- Comic literature --- Literature --- Wit and humor --- Invective --- English literature --- Agrarians (Group of writers) --- Classical influences. --- History and criticism. --- Everett, Percival --- Criticism and interpretation.
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Thus their cold war critiques still resonate today and invite further comparative studies such as this one.
Cold War --- Politics and literature --- Cold War in literature. --- Satire, Russian --- Satire, American --- Russian fiction --- American fiction --- Literature --- Literature and politics --- Influence. --- History --- History and criticism. --- Political aspects
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"An inviting point of entrance into the truth seeking, genre defying novels of the award-winning author. Although two-time Pulitzer Prize winner Colson Whitehead ardently resists overarching categorizations of his work, Derek C. Maus argues in this volume that Whitehead's books are linked by a careful balance between adherence to and violation of the wisdom of past generations. Whitehead bids readers to come along with him on challenging, often open-ended literary excursions designed to reexamine accepted notions of truth. Understanding Colson Whitehead unravels the parallel structures found within Whitehead's fiction from his 1999 novel The Intuitionist through 2019's The Nickel Boys. In his choice of literary forms, Whitehead attempts to revitalize the limiting formulas to which they have been reduced by first imitating and then violating the conventions of those genres and subgenres. Whitehead similarly tests subject matter, again imitating and then satirizing various forms of conventional wisdom as a means of calling out unexamined, ignored, and/or malevolent aspects of American culture. Although only one of many subjects that Whitehead addresses, race often takes a place of centrality in his works and, as such, serves as the prime example of how Whitehead asks his readers to revisit their assumptions about meanings and values. By jumbling the literary formulas of the detective novel, the heroic folktale, the coming-of-age story, the zombie apocalypse, and the slave narrative, Whitehead reveals the flaws and shortcomings of many of the long-lasting stories through which Americans have defined themselves. Some of the stories Whitehead focuses on are explicitly literary in nature, but he more frequently directs his attention toward the historical and cultural processes that influence how race, class, gender, education, social status, and other categories of identity determine what an individual supposedly can and cannot do"--
American literature --- African American authors --- History and criticism. --- Whitehead, Colson, --- Criticism and interpretation.
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"Maurice Kenny's career as a writer, teacher, publisher, and storyteller spanned more than six decades, over the course of which he published more than thirty books and became one of the most prominent voices in American poetry. From the early 1970s onward, he was an instrumental part of the resurgence of Native American literature through his celebrated volumes of poetry and work as an editor and publisher with the journal Contact/II and with the Strawberry Press. This bittersweet memoir sets the stage for this rich literary life by recounting its tumultuous "first half...plus a bit," a time during which he moved through a series of worlds that all left their marks on him. Kenny begins with his early years spent among his family in the small northern New York city of Watertown. After an adolescence marked by both significant awakenings and grievous traumas, Kenny sets out to seek his fortunes and find his poetic voice, landing for a while in the Jim Crow-era South, in St. Louis, in Indiana, and finally back in New York City, where he becomes part of a motley creative realm of performers and poets that offers him both fascinated inspiration and disheartening rejection. These recollections conclude with Kenny's maturation into a poet whose reaffirmed indigenous heritage unified an artistic vision that remained in conversation with a wide range of other themes and traditions until his death in April 2016."--
Authors, American --- Mohawk Indians --- Canienga Indians --- Caughnawaga Indians --- Kaniakehaka Indians --- Mohaqu Indians --- Mohaux Indians --- Mohogiea Indians --- Oka Indians --- Saint Regis Indians --- Indians of North America --- Iroquois Indians --- Kenny, Maurice,
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Since the publication of his first novel, The Intuitionist in 1999, Colson Whitehead (b. 1969) has been considered an important new voice in American literature. His seven subsequent books have done little to contradict that initial assessment, especially after 2016's The Underground Railroad spent numerous weeks at the top of bestseller lists and won numerous major literary awards, including the Pulitzer Prize. Ranging from 2001 to 2016, the twenty-three interviews collected in Conversations with Colson Whitehead reveal the workings of one of America's most idiosyncratic and most successful literary minds. Through these interviews, it is clear that none of this well-earned praise has gone to his head. If anything, he still seems inclined to present himself as an awkward misfit who writes about such offbeat subject matter as rival groups of elevator inspectors, the insufficiency of off-brand "flesh-colored" bandages, or a literalized alternate version of the Underground Railroad. Whitehead speaks at length about matters related to his craft, including his varied literary and nonliterary influences, the particular methods of researching and writing that have proved valuable to telling his stories, and the ways in which he has managed the rollercoaster life of a professional writer. He also opens up about popular culture, particularly the unconventional blend of music, genre-fiction, B movies, and comic books that he gleefully identifies as a passion that has persisted for him since his childhood.
Authors, American --- Écrivains américains --- Whitehead, Colson, --- Whitehead, Colson
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"From 30 Americans to Angry White Boy, from Bamboozled to The Boondocks, from Chappelle's Show to The Colored Museum, this collection of twenty-one essays takes an interdisciplinary look at the flowering of satire and its influence in defining new roles in black identity. As a mode of expression for a generation of writers, comedians, cartoonists, musicians, filmmakers, and visual/conceptual artists, satire enables collective questioning of many of the fundamental presumptions about black identity in the wake of the civil rights movement. Whether taking place in popular and controversial television shows, in a provocative series of short internet films, in prize-winning novels and plays, in comic strips, or in conceptual hip hop albums, this satirical impulse has found a receptive audience both within and outside the black community. Such works have been variously called "post-black," "post-soul," and examples of a "New Black Aesthetic." Whatever the label, this collection bears witness to a noteworthy shift regarding the ways in which African American satirists feel constrained by conventional obligations when treating issues of racial identity, historical memory, and material representation of blackness. Among the artists examined in this collection are Paul Beatty, Dave Chappelle, Trey Ellis, Percival Everett, Donald Glover (a.k.a. Childish Gambino), Spike Lee, Aaron McGruder, Lynn Nottage, ZZ Packer, Suzan Lori-Parks, Mickalene Thomas, Touré, Kara Walker, and George C. Wolfe. The essays intentionally seek out interconnections among various forms of artistic expression. Contributors look at the ways in which contemporary African American satire engages in a broad ranging critique that exposes fraudulent, outdated, absurd, or otherwise damaging mindsets and behaviors both within and outside the African American community"--
African Americans in mass media. --- African Americans --- Satire, American --- African Americans in literature. --- African Americans in motion pictures. --- African Americans in popular culture. --- Race identity. --- History and criticism. --- Intellectual life. --- African American intellectuals --- Afro-Americans in popular culture --- Popular culture --- Afro-Americans in motion pictures --- Negroes in moving-pictures --- Motion pictures --- Race films --- Afro-Americans in literature --- Negroes in literature --- Negritude --- Afro-Americans in mass media --- Mass media --- Ethnic identity
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