Neo-Segregation Narratives : Jim Crow in Post-Civil Rights American Literature

This study of what Brian Norman terms a neo–segregation narrative tradition examines literary depictions of life under Jim Crow that were written well after the civil rights movement. From Toni Morrison’s first novel, The Bluest Eye , to bestselling black fiction of the 1980s to a string of recent work by black and nonblack authors and artists, Jim Crow haunts the post–civil rights imagination. Norman traces a neo–segregation narrative tradition—one that developed in tandem with neo–slave narratives—by which writers return to a moment of stark de jure segregation to address contemporary concerns about national identity and the persistence of racial divides. These writers upset dominant national narratives of achieved equality, portraying what are often more elusive racial divisions in what some would call a postracial present. Norman examines works by black writers such as Lorraine Hansberry, Toni Morrison, Alice Walker, David Bradley, Wesley Brown, Suzan-Lori Parks, and Colson Whitehead, films by Spike Lee, and other cultural works that engage in debates about gender, Black Power, blackface minstrelsy, literary history, and whiteness and ethnicity. Norman also shows that multiethnic writers such as Sherman Alexie and Tom Spanbauer use Jim Crow as a reference point, extending the tradition of William Faulkner’s representations of the segregated South and John Howard Griffin’s notorious account of crossing the color line from white to black in his 1961 work Black Like Me .

This study of what Brian Norman terms a neo–segregation narrative tradition examines literary depictions of life under Jim Crow that were written well after the civil rights movement.

From Toni Morrison's first novel, The Bluest Eye, to bestselling black fiction of the 1980s to a string of recent work by black and nonblack authors and artists, Jim Crow haunts the post–civil rights imagination. Norman traces a neo–segregation narrative tradition—one that developed in tandem with neo–slave narratives—by which writers return to a moment of stark de jure segregation to address contemporary concerns about national identity and the persistence of racial divides. These writers upset dominant national narratives of achieved equality, portraying what are often more elusive racial divisions in what some would call a postracial present.

Norman examines works by black writers such as Lorraine Hansberry, Toni Morrison, Alice Walker, David Bradley, Wesley Brown, Suzan-Lori Parks, and Colson Whitehead, films by Spike Lee, and other cultural works that engage in debates about gender, Black Power, blackface minstrelsy, literary history, and whiteness and ethnicity. Norman also shows that multiethnic writers such as Sherman Alexie and Tom Spanbauer use Jim Crow as a reference point, extending the tradition of William Faulkner's representations of the segregated South and John Howard Griffin's notorious account of crossing the color line from white to black in his 1961 work Black Like Me.

This study of what Brian Norman terms a neo-segregation narrative tradition examines literary depictions of life under Jim Crow that were written well after the civil rights movement.; From Toni Morrison's first novel, The Bluest Eye, to bestselling black fiction of the 1980s to a string of recent work by black and nonblack authors and artists, Jim Crow haunts the post-civil rights imagination. Norman traces a neo-segregation narrative tradition - one that developed in tandem with neo-slave narratives - by which writers return to a moment of stark de jure segregation to address contemporary concerns about national identity and the persistence of racial divides. These writers upset dominant national narratives of achieved equality, portraying what are often more elusive racial divisions in what some would call a postracial present.; Norman examines works by black writers such as Lorraine Hansberry, Toni Morrison, Alice Walker, David Bradley, Wesley Brown, Suzan-Lori Parks, and Colson Whitehead, films by Spike Lee, and other cultural works that engage in debates about gender, Black Power, blackface minstrelsy, literary history, and whiteness and ethnicity. Norman also shows that multiethnic writers such as Sherman Alexie and Tom Spanbauer use Jim Crow as a reference point, extending the tradition of William Faulkner's representations of the segregated South and John Howard Griffin's notorious account of crossing the color line from white to black in his 1961 work Black Like Me This study of what Brian Norman terms a neo–segregation narrative tradition examines literary depictions of life under Jim Crow that were written well after the civil rights movement. From Toni Morrison's first novel, The Bluest Eye , to bestselling black fiction of the 1980s to a string of recent work by black and nonblack authors and artists, Jim Crow haunts the post–civil rights imagination. Norman traces a neo–segregation narrative tradition—one that developed in tandem with neo–slave narratives—by which writers return to a moment of stark de jure segregation to address contemporary concerns about national identity and the persistence of racial divides. These writers upset dominant national narratives of achieved equality, portraying what are often more elusive racial divisions in what some would call a postracial present. Norman examines works by black writers such as Lorraine Hansberry, Toni Morrison, Alice Walker, David Bradley, Wesley Brown, Suzan-Lori Parks, and Colson Whitehead, films by Spike Lee, and other cultural works that engage in debates about gender, Black Power, blackface minstrelsy, literary history, and whiteness and ethnicity. Norman also shows that multiethnic writers such as Sherman Alexie and Tom Spanbauer use Jim Crow as a reference point, extending the tradition of William Faulkner's representations of the segregated South and John Howard Griffin's notorious account of crossing the color line from white to black in his 1961 work Black Like Me . Introduction. Jim Crow then: the emergence of neo-segregation narratives Jim Crow Jr.: Lorraine Hansberry's late segregation revisions and Toni Morrison's early post-civil rights ambivalence Jim Crow returns, Jim Crow remains: gender and segregation in David Bradley's The Chaneysville incident and Alice Walker's The color purple Jim too: black blackface minstrelsy in Wesley Brown's Darktown strutters and Spike Lee's Bamboozled Jim Crow in Idaho: clarifying blackness in multiethnic fiction Jim Crow Faulkner: Suzan-Lori Parks digs up the past, again Epilogue. Jim Crow today: when Jim Crow is but should not be. "Offering an original and provocative approach to the literary representation of segregation, Neo-Segregation Narratives demands that we think differently, and much more creatively, about the historical timeline of Jim Crow and the complex persistence of American racial divisions." Eric J. Sundquist, author of King's Dream: The Legacy of Martin Luther King's "I Have a Dream" Speech "--Jacket 9780820337357-1......Page 1 9780820337357-2......Page 3 9780820337357-3......Page 5 9780820337357-4......Page 9 9780820337357-5......Page 29 9780820337357-6......Page 60 9780820337357-7......Page 89 9780820337357-8......Page 116 9780820337357-9......Page 141 9780820337357-10......Page 163 9780820337357-11......Page 181 9780820337357-12......Page 195 9780820337357-13......Page 215 "Provocative and illuminating ... Neo-Segregation Narratives is crucial reading for anyone interested in deciphering the malleable manifestations of the color line in a postracial culture." Elizabeth Abel, University of California, Berkeley