Pulping the Black Atlantic: Chester Himes’ A Case of Rape and the Limits of Expatriation

Abstract

This article examines the early expatriate career of Chester Himes, and his overlooked Paris-set novella A Case of Rape (1956). Scholars have identified postwar Paris as the locus of a ‘Black Atlantic’ cosmopolitanism that allowed African American writers to transcend American racial and literary regimes, and in particular the stigma of black ‘protest’ fiction. By contrast, this article argues that Himes’ exile was paradoxical; defined by an exchange, rather than an ‘exceeding’ of American racial and literary stigmas. First, I explore the fetishistic racial politics that energized the Left Bank’s construction of black expatriates as symbols of individualist, masculine, and specifically western transgression. Second, I examine the way in which A Case of Rape, and its narrative of the false conviction of four African American expatriates for rape, dramatizes this paradox. With supreme irony, the novella sees the expatriate celebrity merge with a central symbol of the African American ‘protest’ novel: the black male rapist of white women. Finally, I argue that A Case of Rape is of particular importance for the ways in which it anticipates Himes’ move into pulp fiction. Like his later detective series, A Case of Rape captures Himes’ own disillusionment with conventional notions of authorial autonomy, and literary instrumentality. I conclude that expatriation worked to galvanize, rather than displace, Himes’ interest in the overdetermination of African American literature within dominant western racial discourses.     

论太平洋时代的大西洋关系——以国际关系理论为综合视角

太平洋时代的到来、美国战略重心的东移必然意味着大西洋关系重要性的下降,冷战结束、苏联解体也使大西洋联盟面临前所未有的根本性挑战。从现实主义的视角看,大西洋联盟存在瓦解的风险,大西洋关系也存在极大的不确定性。从新自由制度主义和建构主义的视角看,大西洋两岸经济上的相互依赖、北约等制度架构的存在,以及共同的文化基础、价值观和共同体身份,给大西洋联盟的存续、大西洋关系的长期稳定提供了重要的基础。太平洋时代的大西洋关系既面临深刻的调整,又具有内在的长期稳定性。     

Manacled to Identity: Cosmopolitanism,Class, and ‘The Culture Concept’ in Stephen Crane

Abstract

This article begins with a close reading of Stephen Crane’s short story ‘Manacled’ from 1900, which situates this rarely considered short work within the context of contemporary debates about realism. I then proceed to argue that many of the debates raised by the tale have an afterlife in our own era of American literary studies, which has frequently focused on questions of ‘identity’ and ‘culture’ in its reading of realism and naturalism to the exclusion of the importance of cosmopolitan discourses of diffusion and exchange across national borders. I then offer a brief reading of Crane’s novel George’s Mother, which follows Walter Benn Michaels in suggesting that the recent critical attention paid to particularities of cultural difference in American studies have come to conflate ideas of class and social position with ideas of culture in ways that have ultimately obscured the presence of genuine historical inequalities in US society. In order to challenge this critical commonplace, I situate Crane’s work within a history of transatlantic cosmopolitanism associated with the ideas of Franz Boas and Matthew Arnold to demonstrate the ways in which Crane’s narratives sought out an experience of the universal within their treatments of the particular.     

Expanding black subjectivities in Toni Morrison’s Song of Solomon and Chimamanda Ngozi Adichie’s Americanah

Deploying the call-and-response mode as the artistic premise of her fiction, foremost African-American author, Toni Morrison, has persistently called in her criticism for a participatory, intellectual and political, engagement with her position on and concerns around blackness. Morrison’s ideas are being critiqued and expanded to reflect contemporary ‘African’ attitudes and perspectives within the contemporary Afrodiasporic writing of critically acclaimed emergent author, Chimamanda Ngozi Adichie. In particular, Adichie has, in conversation and in her most recent fiction, suggested that Africans (in the diaspora) articulate themselves differently from African-Americans. Problematized and politicized thus as contested, rather than universally accepted, subjective terrain, blackness more significantly points to the diversity and dynamism of black culture and testifies, in the current socio-political/-historical moment, to recognition of the enduring complexity of black subjectivity. In a close, comparative reading of Morrison’s celebrated novel, Song of Solomon (1977), and Adichie’s popular text, Americanah (2013) – both recipients of the National Book Critics Circle award, this essay offers a fresh, specifically transatlantic and transnational, analysis of Morrison’s African-American views on blackness through the contemporary, Afrodiasporic lens of Adichie. Guided by the dialogic call-and-response mode, and underpinned by cultural, race and diaspora theory, the essay suggests and explores the ways in which Americanah speaks (back) to Morrison’s Song of Solomon, interrogating ontologies of race, particularly blackness, through an ‘Africanness’ that takes cognizance of culturally specific and context-responsive, globalized configurations of female subjectivity in particular. In this way, this essay seeks to expand understandings of, and discussions around, black issues and black life in order not just to resituate the relevance of black cultural ontologies but, through comparative engagement with the ‘politics’ of blackness, to revive in the political consciousness and imagination their crucial significance.     

Slave Ships and Coffin Ships: Transatlantic Exchanges in Irish-American Blackface Minstrelsy

Abstract

Irish participation in blackface minstrelsy underwent complex transatlantic exchanges as it jumped from the US to Ireland and back again from the era of the Great Famine through the end of the nineteenth century. Most research on Irish-American blackface minstrelsy treats the Irish in America as a homogenous group that used ‘blacking up’ to establish its ethnic whiteness. However, there were at least two distinct groups of Irish Americans who participated in blackface minstrelsy: Irish Catholics and Irish Protestants. The latter’s incorporation into the history of minstrelsy means that we must reconsider assumptions about how and why the Irish performed blackface in both Ireland and America. Because Irish Protestants’ whiteness was never in question, theories of ethnic assimilation and working class anxieties do not adequately account for Irish gravitation to minstrel shows. Something else about Irish identity captivated performers and audiences. Moving beyond the racial assimilation mode, I argue that blacking up carried tensions of land dispossession, national identity, and ethnic conflict in Ireland into American culture.