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Text and Contexts in Afro-American Criticism
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E. Quita Craig. Black Drama of the Federal Theatre Era : Beyond the Formal Horizons. Amherst: The University of Massachusetts Press, 1980. 239 + x pp. Addison Gayle. Richard Wright: Ordeal of a Native Son. Garden City, N.Y.: Anchor Press/Doubleday, 1980. 342 + xvi pp. Robert O'Meally. The Craft of Ralph Ellison. Cambridge, Mass.: Harvard University Press, 1980. 212 + ix pp. Carolyn Wedin Sylvander. James Baldwin. New York: Frederick Ungar Publishing Co., 1980. 181 + ix pp. In a 1950 essay, Blyden Jackson suggested to Phylon readers that Afro- American literature had come of age and that what remained was the critical task of examining its contents, elucidating its meaning and placing it within a literary tradition. Since that time, a battle has raged over how to accomplish that task, principally over whether established critical canons properly illumi- nate black literature. Most stridently as a revolt against all established critical canons in the sixties and early seventies, more recently as a controversy over current methods, the debate continues. The debate is not confined to Afro- American literature; in that field, however, it acquires a certain urgency, for the soil is fresh and comparatively untilled, the task immediate and vital.
Title: Text and Contexts in Afro-American Criticism
Description:
E.
Quita Craig.
Black Drama of the Federal Theatre Era : Beyond the Formal Horizons.
Amherst: The University of Massachusetts Press, 1980.
239 + x pp.
Addison Gayle.
Richard Wright: Ordeal of a Native Son.
Garden City, N.
Y.
: Anchor Press/Doubleday, 1980.
342 + xvi pp.
Robert O'Meally.
The Craft of Ralph Ellison.
Cambridge, Mass.
: Harvard University Press, 1980.
212 + ix pp.
Carolyn Wedin Sylvander.
James Baldwin.
New York: Frederick Ungar Publishing Co.
, 1980.
181 + ix pp.
In a 1950 essay, Blyden Jackson suggested to Phylon readers that Afro- American literature had come of age and that what remained was the critical task of examining its contents, elucidating its meaning and placing it within a literary tradition.
Since that time, a battle has raged over how to accomplish that task, principally over whether established critical canons properly illumi- nate black literature.
Most stridently as a revolt against all established critical canons in the sixties and early seventies, more recently as a controversy over current methods, the debate continues.
The debate is not confined to Afro- American literature; in that field, however, it acquires a certain urgency, for the soil is fresh and comparatively untilled, the task immediate and vital.
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