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Journal articles on the topic 'African American Gothic fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Cucarella-Ramon, Vicent. "The black female slave takes literary revenge: Female gothic motifs against slavery in Hannah Crafts’s "The Bondwoman’s Narrative"." Journal of English Studies 13 (December 15, 2015): 19. http://dx.doi.org/10.18172/jes.2786.

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The Bondwoman’s Narrative is a novel that functions as a story made up from Hannah Crafts’s experiences as a bondwoman and thus merges fact and fiction giving a thoroughly new account of slavery both committed to reality and fiction. Following and taking over the Gothic literary genre that spread in Europe as a reaction toward the Romantic spirit, Crafts uses it to denounce the degrading slavery system and, mainly, to scathingly attack the patriarchal roots that stigmatize black women as the ultimate victims. It is my contention that Hannah Crafts uses the female Gothic literary devices both to attack slavery and also to stand as a proper (African) American citizen capable of relating to the cultural outlets that American culture offered aiming to counteract the derogatory stereotypes that rendered African American women at the very bottom of the social ladder.

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2

Evans, Rebecca. "Geomemory and Genre Friction: Infrastructural Violence and Plantation Afterlives in Contemporary African American Novels." American Literature 93, no. 3 (July 26, 2021): 445–72. http://dx.doi.org/10.1215/00029831-9361265.

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Abstract This essay argues that contemporary African American novels turn to the gothic in order to dramatize the uncanny infrastructural and spatial afterlives of the plantation through a literary strategy it identifies as geomemory: a genre friction between mimetic and gothic modes in which postplantation spaces in the US South are imbued with temporal slippages such that past and present meet through the built environment. Tracing the plantation’s environmental and infrastructural presence in the Gulf Coast and throughout the US South, this essay argues that the plantation’s presence is fundamentally gothic. Geomemory, a trope evident across the emerging canon of contemporary African American fiction, allows writers to address the representational challenge of infrastructural and spatial violence via a defamiliarizing chronotope in which past, present, and future come into uneasy contact. Further, geomemory’s particular enmeshment with spatial design and infrastructure means that it moves from identifying the modern afterlife of the plantation to situating the present in the long context of plantation modernity.

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3

Amfreville, Marc. "Alienation in American Gothic Fiction." Anglophonia/Caliban 15, no. 1 (2004): 39–48. http://dx.doi.org/10.3406/calib.2004.1503.

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4

Hornung, A. ""Unstoppable" Creolization: The Evolution of the South into a Transnational Cultural Space; South to a New Place: Region, Literature, Culture; History and Memory in the Two Souths: Recent Southern and Spanish American Fiction; Reading Africa into American Literature: Epics, Fables, and Gothic Tales." American Literature 78, no. 4 (December 1, 2006): 859–67. http://dx.doi.org/10.1215/00029831-2006-055.

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5

Chialant, Maria Teresa, Donald A. Ringe, and Roger C. Schlobin. "American Gothic: Imagination and Reason in Nineteenth-Century Fiction." Modern Language Review 82, no. 1 (January 1987): 177. http://dx.doi.org/10.2307/3729934.

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6

DeVirgilis, Megan. "Hearth and Home and Horror: Gothic Trappings in early C20th Latin American Short Fiction." Gothic Studies 23, no. 2 (July 2021): 201–16. http://dx.doi.org/10.3366/gothic.2021.0094.

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The Gothic short form in Latin America has yet to receive focused scholarly attention. Yet, despite no early Gothic novel tradition to speak of, the Gothic mode emerged in poetry and short fiction, representing particular anxieties and colonial/postcolonial realities specific to the region owing in part to a significant increase in periodicals. Focusing on two case studies – Clemente Palma's ‘La granja blanca’ (Peru, 1904) and Horacio Quiroga's ‘El almohadón de plumas’ (Uruguay, 1917) – this article will explore how Latin American authors classified as modern, modernista, and criollista were experimenting with Gothic forms, adapting the design of the traditional Gothic novel to intensify its effect and reach a wider readership. Demonstrating a particular influence of Poe, a unity of effect is created, one that suggests that the home is a place of horrors, not comfort, and the uniquely horrifying settings and plot ultimately challenge established moral codes and literary tendencies.

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7

Grove, Allen, Diane Long Hoeveler, and Tamar Heller. "Approaches to Teaching Gothic Fiction: The British and American Traditions." Journal of the Midwest Modern Language Association 37, no. 2 (2004): 80. http://dx.doi.org/10.2307/4144705.

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8

Mekler, L. Adam, Diane Long Hoeveler, and Tamar Heller. "Approaches to Teaching Gothic Fiction: The British and American Traditions." Rocky Mountain Review of Language and Literature 58, no. 2 (2004): 83. http://dx.doi.org/10.2307/1566559.

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9

Griffin, Barbara L. J., and Maxine Lavon Montgomery. "The Apocalypse in African-American Fiction." MELUS 24, no. 1 (1999): 249. http://dx.doi.org/10.2307/467919.

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10

Boudreau, Kristin, and Maxine Lavon Montgomery. "The Apocalypse in African-American Fiction." American Literature 69, no. 1 (March 1997): 223. http://dx.doi.org/10.2307/2928187.

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11

Thornton, Jerome E. "The Paradoxical Journey of the African American in African American Fiction." New Literary History 21, no. 3 (1990): 733. http://dx.doi.org/10.2307/469136.

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12

Macleod, Christine, and Robert Butler. "Contemporary African American Fiction: The Open Journey." Modern Language Review 95, no. 3 (July 2000): 821. http://dx.doi.org/10.2307/3735528.

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13

Butler, Robert, and Phillip Page. "Reclaiming Community in Contemporary African American Fiction." African American Review 34, no. 3 (2000): 533. http://dx.doi.org/10.2307/2901398.

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14

Reilly, John M., and Robert Butler. "Contemporary African American Fiction: The Open Journey." African American Review 34, no. 4 (2000): 722. http://dx.doi.org/10.2307/2901443.

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15

House, E. B. "Reclaiming Community in Contemporary African American Fiction." American Literature 72, no. 2 (June 1, 2000): 441. http://dx.doi.org/10.1215/00029831-72-2-441.

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16

Lock, Helen, and Philip Page. "Reclaiming Community in Contemporary African American Fiction." South Atlantic Review 65, no. 2 (2000): 190. http://dx.doi.org/10.2307/3201826.

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17

Armstrong, John. "Gothic Matters of De-Composition: The Pastoral Dead in Contemporary American Fiction." Text Matters, no. 6 (November 23, 2016): 127–43. http://dx.doi.org/10.1515/texmat-2016-0008.

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In Alice Walker’s vignette “The Flowers,” a young black girl’s walk in the woods is interrupted when she treads “smack” into the skull of a lynched man. As her name predicates, Myop’s age and innocence obstruct her from seeing deeply into the full implications of the scene, while the more worldly reader is jarred and confronted with a whole history of racial violence and slavery. The skeleton, its teeth cracked and broken, is a temporal irruption, a Gothic “smack” that shatters the transience of the pastoral scene with the intrusion of a deeper past from which dead matter/material de-composes (disturbs, unsettles, undoes) the story’s present with the violent matter/issue of racism. Walker’s story is representative of an important trope in fiction, where the pastoral dead speak through the details of their remains, and the temporal fabric of text is disrupted by the very substance of death. Against the backdrops of Terry Gifford’s post-pastoral and Fred Botting’s Gothic understanding of the literary corpse as “negative[ly] sublime,” this essay explores the fictional dead as matter unfettered by genre, consistently signifying beyond their own inanimate silences, revealing suppressed and unpalatable themes of racial and sexual violence, child abuse and cannibalistic consumerism. Along with Walker’s story, this study considers these ideas through new readings of Stephen King’s novella The Body, Raymond Carver’s story “So Much Water So Close to Home,” and The Road by Cormac McCarthy. While these writers may form an unlikely grouping in terms of style, each uses pastoral remains as significant material, deploying the dead as Gothic entities that force the reader to confront America’s darkest social and historical matters.

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18

Barlow, Daniel. "Blues Narrative Form, African American Fiction, and the African Diaspora." Narrative 24, no. 2 (2016): 134–55. http://dx.doi.org/10.1353/nar.2016.0012.

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19

Misty L. Jameson. "The Haunted House of American Fiction: William Gaddis’s Carpenter’s Gothic." Studies in the Novel 41, no. 3 (2010): 314–29. http://dx.doi.org/10.1353/sdn.0.0074.

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20

Risner, Jonathan. "Gothic Imagination in Latin American Fiction and Film by Carmen A. Serrano." Hispanófila 189, no. 1 (2020): 163–65. http://dx.doi.org/10.1353/hsf.2020.0022.

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21

Levine, Robert S. "Review: Gothic Subjects: The Transformation of Individualism in American Fiction, 1790-1861." Nineteenth-Century Literature 70, no. 1 (June 1, 2015): 153–57. http://dx.doi.org/10.1525/ncl.2015.70.1.153.

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22

Hauke, Alexandra. "A Woman by Nature? Darren Aronofsky’s mother! as American Ecofeminist Gothic." Humanities 9, no. 2 (May 26, 2020): 45. http://dx.doi.org/10.3390/h9020045.

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In this essay, I discuss Darren Aronofsky’s 2017 feature film mother! in the context of an intersectional approach to ecofeminism and the American gothic genre. By exploring the histories of ecofeminism, the significances of the ecogothic, and the Puritan origins of American gothic fiction, I read the movie as a reiteration of both a global ecophobic and an American national narrative, whose biblical symbolism is rooted in the patriarchal logic of Christian theology, American history, female suffering, and environmental crisis. mother! emerges as an example of a distinctly American ecofeminist gothic through its focus on and subversion of the essentialist equation of women and nature as feminized others, by dipping into the archives of feminist literary criticism, and by raising ecocritical awareness of the dangers of climate change across socio-cultural and anthropocentric categories. Situating Aronofsky’s film within traditions of American gothic and ecofeminist literatures from colonial times to the present moment, I show how mother! moves beyond a maternalist fantasy rooted in the past and towards a critique of the androcentric ideologies at the core of the 21st-century Anthropocene.

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23

Gibson, Simone. "Critical Readings: African American Girls and Urban Fiction." Journal of Adolescent & Adult Literacy 53, no. 7 (April 2010): 565–74. http://dx.doi.org/10.1598/jaal.53.7.4.

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24

Baillie, Justine. "Contesting Ideologies: Deconstructing Racism in African-American Fiction." Women: A Cultural Review 14, no. 1 (January 2003): 20–37. http://dx.doi.org/10.1080/0957404032000081683.

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25

Reed, Wayne. "Gothic Subjects: The Transformation of Individualism in American Fiction, 1790–1861. By Siân Silyn Roberts." Gothic Studies 21, no. 1 (May 2019): 119–22. http://dx.doi.org/10.3366/gothic.2019.0012.

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26

Nadal Blasco, María. ""The fall of the house of Usher" : a master text for (Poe's) American Gothic." Journal of English Studies 7 (May 29, 2009): 55. http://dx.doi.org/10.18172/jes.141.

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This paper analyses a selection of Poe’s fiction taking as a point of departure the contentions of critics such as Hillis Miller and Eric Savoy on the characteristics of American Gothic. The paper starts with a discussion of these features, which “The Fall of the House of Usher” epitomizes. After a revision of “Usher”, the paper explores other Poe works, showing that the elements that make this narrative a master text for the history of American Gothic are somehow anticipated in Poe’s previous tales, like “Berenice” and “Ligeia”, in The Narrative of Arthur Gordon Pym, and peculiarly reflected in the late tale of detection “The Purloined Letter”.

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27

Liggins, Saundra. "African American Gothic: Screams from Shadowed Places by Maisha L. Wester." African American Review 47, no. 1 (2014): 217–19. http://dx.doi.org/10.1353/afa.2014.0014.

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28

Ngom, Ousmane. "Conjuring Trauma with (Self)Derision: The African and African-American Epistolary Fiction." European Scientific Journal, ESJ 14, no. 2 (January 31, 2018): 1. http://dx.doi.org/10.19044/esj.2018.v14n2p1.

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All the female narrators of the three stories examined here – So Long a Letter, The Color Purple, and Letters from France – suffer serious traumas attributable to their male counterparts. Thus as a healing process, letter-writing is an exercise in trust that traverses the distances between the addresser and the addressee. Blurring the lines in such a way results in an intimate narration of trauma that reads as a stream of consciousness, devoid of fear of judgment or retribution. This paper studies the literary device of derision coupled with a psycho-feminist analysis to retrace the thorny, cathartic journey of trauma victims from self-hate to self-acceptance and self-agency.

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29

Dubey, Madhu. "Contemporary African American Fiction and the Politics of Postmodernism." NOVEL: A Forum on Fiction 35, no. 2/3 (2002): 151. http://dx.doi.org/10.2307/1346181.

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30

Gilyard, Keith. "Genopsycholinguisticide and the Language Theme in African-American Fiction." College English 52, no. 7 (November 1990): 776. http://dx.doi.org/10.2307/377632.

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31

Bacharach, Nancy, and Terry Miller. "Integrating African American Fiction into the Middle School Curriculum." Middle School Journal 27, no. 4 (March 1996): 36–40. http://dx.doi.org/10.1080/00940771.1996.11495907.

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32

Payne, James Robert, and Terry McMillan. "Breaking Ice: An Anthology of Contemporary African-American Fiction." World Literature Today 66, no. 1 (1992): 136. http://dx.doi.org/10.2307/40147970.

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33

Henson, Kristin K. "Book Review: Reclaiming Community in Contemporary African American Fiction." Christianity & Literature 49, no. 2 (March 2000): 269–72. http://dx.doi.org/10.1177/014833310004900220.

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34

Donovan-Condron, Kellie. "Siân Silyn Roberts, Gothic Subjects: The Transformation of Individualism in American Fiction, 1790–1861." Victoriographies 6, no. 2 (July 2016): 181–82. http://dx.doi.org/10.3366/vic.2016.0231.

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35

Hedrick, Tace. "“The Spirits Talk to Us”: Regionalism, Poverty, and Romance in Mexican American Gothic Fiction." Studies in the Novel 49, no. 3 (2017): 322–40. http://dx.doi.org/10.1353/sdn.2017.0033.

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36

Pritzker, Robyn. "Something Wicked Westward Goes: Fanny Van de Grift Stevenson’s Californian Uncanny." Humanities 9, no. 2 (May 29, 2020): 47. http://dx.doi.org/10.3390/h9020047.

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This essay offers a first critical reading of American author Fanny Van de Grift Stevenson’s short story “The Warlock’s Shadow” (1886), asserting that the tale appropriates historical traumas in order to navigate, and transgress, boundaries of genre and gender. The strangeness of the text’s Central Californian setting, to the narrator, precipitates a series of Gothic metamorphoses, and “The Warlock’s Shadow” engages with this transformation via a concept that this essay defines as the “Californian Uncanny”. The latter framework is a result of the specific, layered indigenous and colonial identities of post-Gold Rush California coming into contact with the unstable subjectivities of the Gothic genre. “The Warlock’s Shadow” manifests the Californian Uncanny primarily through the relationship between the home, the environment, and the “unassimilable” inhabitant. Stevenson’s text illustrates, through these images, the ways in which late-nineteenth-century American Gothic fiction has allowed the white feminine subject to negotiate her own identity, complicating the binary distinctions between Self and Other which underpin American colonialism both internally and externally. The phenomenon of the Californian Uncanny in “The Warlock’s Shadow” reflects these gendered and geographical anxieties of American identity, confronting the ghosts of the nation’s westernmost region.

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37

Ledoux, Ellen Malenas. "Gothic Subjects: The Transformation of Individualism in American Fiction, 1790–1861 by Siân Silyn Roberts." Early American Literature 50, no. 2 (2015): 612–16. http://dx.doi.org/10.1353/eal.2015.0045.

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38

Storhoff, Gary, and Stephen F. Soitos. "The Blues Detective: A Study of African American Detective Fiction." American Literature 68, no. 4 (December 1996): 873. http://dx.doi.org/10.2307/2928159.

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39

Brown, Kimberly Nichele, and Stephen F. Soitos. "The Blues Detective: A Study of African American Detective Fiction." South Central Review 18, no. 3/4 (2001): 129. http://dx.doi.org/10.2307/3190363.

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40

Dillender, Kirsten. "Land and Pessimistic Futures in Contemporary African American Speculative Fiction." Extrapolation 61, no. 1-2 (March 2020): 131–50. http://dx.doi.org/10.3828/extr.2020.9.

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41

Fernandes, Lilly. "A Survey of Contemporary African American Poetry, Drama, & Fiction." International Journal of Applied Linguistics & English Literature 2, no. 3 (May 1, 2013): 134–37. http://dx.doi.org/10.7575/aiac.ijalel.v.2n.3p.134.

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42

Terrence T. Tucker. "Contemporary African American Fiction: New Critical Essays (review)." Callaloo 33, no. 2 (2010): 561–64. http://dx.doi.org/10.1353/cal.0.0652.

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43

Grant, Leslie Campbell. "Keith Byerman, Remembering the Past in Contemporary African American Fiction." Journal of African American History 93, no. 2 (April 2008): 305–7. http://dx.doi.org/10.1086/jaahv93n2p305.

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44

Sherman, S. W. "Crossing Borders through Folklore: African American Women's Fiction and Art." American Literature 72, no. 3 (September 1, 2000): 655–56. http://dx.doi.org/10.1215/00029831-72-3-655.

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45

Nishikawa, Kinohi. "Driven by the Market: African American Literature after Urban Fiction." American Literary History 33, no. 2 (May 1, 2021): 320–49. http://dx.doi.org/10.1093/alh/ajab008.

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Abstract Kenneth W. Warren’s What Was African American Literature? (2011) compelled literary historians to question deeply held assumptions about periodization and racial authorship. While critics have taken issue with Warren aligning African American literature with Jim Crow segregation, none has examined his account of what came after this conjuncture: namely, the market’s wholesale cooptation of Black writing. By following the career of African American popular novelist Omar Tyree, this essay shows how corporate publishers in the 1990s and 2000s redefined African American literature as a sales category, one that combined a steady stream of recognized authors with a mad dash for amateur talent. Tyree had been part of the first wave of self-published authors to be picked up by major New York houses. However, as soon as he was made to conform to the industry’s demands, Tyree was eclipsed by Black women writers who developed the hard-boiled romance genre known as urban fiction. As Tyree saw his literary fortunes fade, corporate publishing became increasingly reliant on Black book entrepreneurs to sustain the category of African American literature, thereby turning racial authorship into a vehicle for realizing profits.

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46

Smethurst, James. "Invented by Horror: The Gothic and African American Literary Ideology in Native Son." African American Review 35, no. 1 (2001): 29. http://dx.doi.org/10.2307/2903332.

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47

CORNWELL, NEIL. "The Musical-Artistic Story: Hoffmann, Odoevsky and Pasternak." Comparative Critical Studies 5, no. 1 (February 2008): 35–55. http://dx.doi.org/10.3366/e1744185408000268.

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The artistic story is an acknowledged sub-genre of Romantic fiction. The ‘artist’ – usually a poet or writer, sometimes a painter, or occasionally a representative of another art form – is a common enough figure in Romantic literature, with extensions into the Gothic-fantastic, through the nineteenth and twentieth centuries. One has only to think of Bulgakov's ‘Master’ (in his celebrated The Master and Margarita). In other, on the whole more mainstream – though often at least equally complex – areas of, for instance, Russian fiction, another obvious figure of some prominence would be Doctor Iurii Zhivago. American campus fiction (without my wishing, by any means, to reduce Pale Fire to that rather bland category) offers Vladimir Nabokov's rival figure of the poet, John Shade.

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48

Kumar, Fayaz Ahmad, and Colette Morrow. "Theorizing Black Power Movement in African American Literature: An Analysis of Morrison's Fiction." Global Language Review V, no. IV (December 30, 2020): 45–53. http://dx.doi.org/10.31703/glr.2020(v-iv).06.

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This paper analyzes the influence of the Black Power movement on the AfricanAmerican literary productions; especially in the fictional works of Toni Morrison. As an African-American author, Toni Morrison presents the idea of 'Africanness' in her novels. Morrison's fiction comments on the fluid bond amongst the African-American community, the Black Power and Black Aesthetics. The works of Morrison focus on various critical points in the history of African-Americans, her fiction recalls not only the memory of Africa but also contemplates the contemporary issues. Morrison situates the power politics within the framework of literature by presenting the history of the African-American cultures.

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49

Harris, Trudier, and Eric J. Sundquist. "The Hammers of Creation: Folk Culture in Modern African-American Fiction." Western Folklore 53, no. 4 (October 1994): 329. http://dx.doi.org/10.2307/1499456.

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50

Storcheus, S. V. "Colour symbolism in the African American detective fiction of W. Mosley." Science and Education a New Dimension VI(150), no. 43 (February 20, 2018): 56–58. http://dx.doi.org/10.31174/send-ph2018-150vi43-14.

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