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Journal articles on the topic 'Cane (Toomer, Jean)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Licato, Amanda Mehsima. "Jean Toomer after Cane." MELUS 46, no. 1 (March 1, 2021): 173–93. http://dx.doi.org/10.1093/melus/mlab005.

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Abstract I reassess Jean Toomer’s poetics after the publication of his first novel Cane (1923). Cane’s critical reception has impacted and limited our understanding of his poetry, and of his racial identification, from the late 1920s to 1940s, when Toomer sought inspiration from the Eastern mystic, George Ivanovich Gurdjieff, and later from the Religious Society of Friends, or Quakers. Challenging the neat binary of Toomer’s lyrical and didactic strains in his later work, and spotlighting the complexity of his racial posturing, I argue that the central elements of Toomer’s poetics remained constant, particularly his attention to moral and spiritual enlightenment in order to address the pressing psychosocial and racial issues of his time.

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2

FAREBROTHER, RACHEL. "“Adventuring through the Pieces of a still Unorganized Mosaic”: Reading Jean Toomer's Collage Aesthetic in Cane." Journal of American Studies 40, no. 3 (November 22, 2006): 503–21. http://dx.doi.org/10.1017/s0021875806002106.

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In Cane the reader is immediately struck by Jean Toomer's bold manipulation of a collage technique; he abandons progressive plotting, instead assembling a variety of disparate forms and genres. As well as signalling the heterogeneity of the collage elements through typographical layout, he stretches and scrambles familiar forms, breaking them, splitting them open and stitching them onto other genres. In a letter to Toomer on 25 April 1922, Waldo Frank describes the effect of these broken forms: “in the reading the mind does not catch on to a uniformly moving Life that conveys it whole to the end, but rather steps from piece to piece as if adventuring through the pieces of a still unorganized mosaic.” As Frank points out, Toomer abandons linear narrative and “uniform” progression, subjecting the reader to chaotic surprises and unexpected truths revealed through the process of piecing together the meaning of seemingly random fragments.

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3

Gino Michael Pellegrini. "Jean Toomer and Cane: “Mixed-Blood” Impossibilities." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 64, no. 4 (2008): 1–20. http://dx.doi.org/10.1353/arq.0.0025.

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4

KAHAN, BENJAMIN, and MADOKA KISHI. "Sex under Necropolitics: Waldo Frank, Jean Toomer, and Black Enfleshment." Journal of American Studies 54, no. 5 (July 17, 2019): 926–50. http://dx.doi.org/10.1017/s0021875819000847.

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Though Jean Toomer's Cane (1923) is one of the best-known texts of the Harlem Renaissance, it has rarely been discussed with the text alongside which it was initially imagined: Waldo Frank's Holiday (1923). These works were inspired by a joint trip to Spartanburg, South Carolina and were conceptualized as a shared project, what the authors termed “Holiday + Cane.” This essay tracks their coproduction with particular attention to their parallax vision of lynching to theorize what we call, building on Achille Mbembe's work, “sex under necropolitics.” This dispensation does not take shape within a privatized notion of sexuality, but instead is “ungendered” and unindividuated in the ways that Hortense Spillers has described through the notion of the flesh. We take up her work to suggest that black bodily practices and corporeal intimacies are governed by a regime other than sexuality. In this essay, we map the contours of this regime and its effects on both sides of the color line. Our new cartography promises to reconfigure understandings of the sexuality of Toomer and Frank and of the Harlem Renaissance, and to clarify the relationship between (white) queer theory and queer-of-color critique.

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5

Yellin, Michael. "Brother Mine: The Correspondence of Jean Toomer and Waldo Frank ed. by Kathleen Pfeiffer, and: Cane: A Norton Critical Edition by Jean Toomer." African American Review 45, no. 1-2 (2012): 251–55. http://dx.doi.org/10.1353/afa.2012.0036.

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6

Rusch, Frederik L. "Form, Function, and Creative Tension in Cane: Jean Toomer and the Need for the Avant-Garde." MELUS 17, no. 4 (1991): 15. http://dx.doi.org/10.2307/467265.

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7

Grandt, Jürgen E. "The Sound of Red Dust: Jean Toomer, Marion Brown, and the Sonic Transactions of “Karintha”." Textual Cultures 13, no. 1 (April 15, 2020): 128–48. http://dx.doi.org/10.14434/textual.v13i1.30075.

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On his 1973 album Geechee Recollections, free jazzer Marion Brown tackles one of the most musical African American narratives, “Karintha” from Jean Toomer’s Cane. The velocity of sound Toomer’s text seeks to transcribe in literary form Brown trans-scribes back into music propelled by what I term Afro-kinesis. Afro-kinesis is a form of motion — a Benjaminian eddy rather than a Derridean trace — that improvises modalities of transaction with and in new-old sonic topographies, and in the process limns an aural modernity that constantly reinvents itself. This kinetic ecology of sound goes beyond acoustic transposition and instead aspires to effect a signifying exchange between the mercurial improvisation of free jazz’s “new thing” and the scripted stasis of literary text, a transaction of meaning across cultural time and physical space.

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8

Rehin, George. "Jean Toomer, Cane (ed. Darwin T. Turner) (New York & London: Norton, 1988, £4.95 paper). Pp. 246. ISBN 0 393 95600 8. - Robert B. Jones and Margery Toomer Latimer (eds.), The Collected Poems of Jean Toomer (Chapel Hill & London: University of North Carolina Press, 1988, $16.95 cloth, $8.95 paper). Pp. 111. ISBN 0 8078 1773 2 (cloth). - Cynthia Earl Kerman and Richard Eldridge, The Lives of Jean Toomer: A Hunger for Wholeness (Baton Rouge & London: Louisiana State University Press, 1987, £28.45). Pp. 411. ISBN 0 8071 1354 9." Journal of American Studies 24, no. 1 (April 1990): 138–39. http://dx.doi.org/10.1017/s0021875800028929.

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9

Webb, Jeff. "Literature and Lynching: Identity in Jean Toomer's Cane." ELH 67, no. 1 (2000): 205–28. http://dx.doi.org/10.1353/elh.2000.0010.

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10

Robles, Francisco E. "Jean Toomer’s Cane and the Borderlands of Encounter and Contradiction." MELUS 45, no. 1 (2020): 27–48. http://dx.doi.org/10.1093/melus/mlz064.

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Abstract This article looks at Jean Toomer’s Cane (1923) through the theoretical framework of Anzaldúa’s Borderlands/La Frontera: The New Mestiza (1987) and Eve Kosofsky Sedgwick’s Touching Feeling: Affect, Pedagogy, Performativity (2003), arguing that Cane might best be understood as a text focused on borders. In doing so, the article puts forth the claim that the ideas of “contradiction” and “beside” offer important insights into understanding the formal innovations and thematic qualities of Cane. Specifically, by focusing on the text’s use of migration as a meaningful aesthetic category, the essay unsettles recent literary historical questions about Toomer’s personal identifications, instead looking at how contradiction and paradox generate a text whose flows, moves, and shifts insist on multiplicity and movement.

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11

Caldeira, Maria Isabel. "Jean Toomer's Cane: The Anxiety of the Modern Artist." Callaloo, no. 25 (1985): 544. http://dx.doi.org/10.2307/2930825.

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12

Barlow, D. "Literary Ethnomusicology and the Soundscape of Jean Toomer's Cane." MELUS: Multi-Ethnic Literature of the United States 39, no. 1 (November 6, 2013): 192–211. http://dx.doi.org/10.1093/melus/mlt069.

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13

Graham, T. A. "O Cant: Singing the Race Music of Jean Toomer's Cane." American Literature 82, no. 4 (January 1, 2010): 725–52. http://dx.doi.org/10.1215/00029831-2010-043.

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14

Jennifer D. Williams. "Jean Toomer's Cane and the Erotics of Mourning." Southern Literary Journal 40, no. 2 (2008): 87–101. http://dx.doi.org/10.1353/slj.0.0002.

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15

Beal, W. "The Form and Politics of Networks in Jean Toomer's Cane." American Literary History 24, no. 4 (September 10, 2012): 658–79. http://dx.doi.org/10.1093/alh/ajs043.

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16

Peckham, J. B. "Jean Toomer's Cane: Self as Montage and the Drive toward Integration." American Literature 72, no. 2 (June 1, 2000): 275–90. http://dx.doi.org/10.1215/00029831-72-2-275.

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17

Cofer, Jordan. "The “Cain” Allusion as a Unifying Theme in Jean Toomer's CANE." Explicator 69, no. 4 (October 2011): 175–78. http://dx.doi.org/10.1080/00144940.2011.631267.

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18

Dorris, Ronald. "Theodicy of the Bacchic in the Poetry of Jean Toomer’s Cane." Black Sacred Music 7, no. 1 (March 1, 1993): 1–16. http://dx.doi.org/10.1215/10439455-7.1.1.

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19

Foley, Barbara. ""In the Land of Cotton": Economics and Violence in Jean Toomer's Cane." African American Review 32, no. 2 (1998): 181. http://dx.doi.org/10.2307/3042118.

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20

Foley, Barbara. "“In the Land of Cotton”: Economics and Violence in Jean Toomer’s Cane." African American Review 50, no. 4 (2017): 987–1004. http://dx.doi.org/10.1353/afa.2017.0154.

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21

Abd El-Baseer, Mohamed Ali. "One body possessed by two souls : Mixed- Race Characters in Jean Toomer's Cane." مجلة الآداب والعلوم الإنسانیة 60, no. 2 (April 1, 2006): 53–86. http://dx.doi.org/10.21608/fjhj.2006.130777.

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22

Kodat, Catherine Gunther. "To "Flash White Light from Ebony": The Problem of Modernism in Jean Toomer's Cane." Twentieth Century Literature 46, no. 1 (2000): 1. http://dx.doi.org/10.2307/441930.

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23

Kodat, Catherine Gunther. "To “Flash White Light from Ebony”: The Problem of Modernism in Jean Toomer’s Cane." Twentieth-Century Literature 46, no. 1 (2000): 1–19. http://dx.doi.org/10.1215/0041462x-2000-2007.

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24

Shaffer, Donald M. ""When the Sun Goes Down": The Ghetto Pastoral Mode in Jean Toomer's Cane." Southern Literary Journal 45, no. 1 (2012): 111–28. http://dx.doi.org/10.1353/slj.2012.0024.

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25

Dualé, Christine. "Re-Presentation and Re-Memory of the Southern Landscape in Cane : Jean Toomer’s Memorial Minor Writing." Babel, no. 40 (December 1, 2019): 315–38. http://dx.doi.org/10.4000/babel.8526.

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26

Edmunds, S. "The Race Question and the "Question of the Home": Revisiting the Lynching Plot in Jean Toomer's Cane." American Literature 75, no. 1 (March 1, 2003): 141–68. http://dx.doi.org/10.1215/00029831-75-1-141.

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27

Curwood, Anastasia C. "The Hunter and the Farmer: Jean Toomer’s Depression-Era Masculinist Writings." AmeriQuests 6, no. 1 (October 30, 2008). http://dx.doi.org/10.15695/amqst.v6i1.135.

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In 1937, after he had written the novel Cane, left the African-American culture of Harlem, studied under the mystic Georges Gurdjieff in France, lost his wife to childbirth, and married for the second time, Jean Toomer sought to publish a series of essays. The subjects varied, but the most common theme was masculinity—men’s prerogatives, natures, and responsibilities. He theorized women’s temperaments as well, but it was clearly the study of maleness that captured his attention. Toomer’s interest was noteworthy given the fact that he became ever more concerned with sexuality and gender as he left behind his African-American identity. Toomer did not intend to “pass,” as is commonly assumed—he actually wanted to be raceless, or of the “American” race. In his adopted home in the Pennsylvania countryside, Toomer attempted to construct his life based entirely on his masculinity. In Toomer’s opinion, his entire household-- his white wife, his light-skinned daughter, and various temporary occupants—was a social experiment in supporting his masculine genius and creativity. This essay is an intellectual history of Toomer’s self-construction. Using his diaries and published and unpublished writings, I will explain how Toomer saw his own male identity and how, although he had renounced his blackness, his racial identity mediated his ideal of his gender.

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28

Licato, Amanda. "Reading and the Representation of Ambiguity in Jean Toomer’s Cane." Berkeley Undergraduate Journal 24, no. 3 (2011). http://dx.doi.org/10.5070/b3243007886.

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29

Neimneh, Shadi, and Marwan Obeidat. "Jean Toomer’s Cane: The Harlem Renaissance, Modernism, and the Avant-Garde." Journal of Foreign Languages, Cultures and Civilizations 3, no. 1 (2015). http://dx.doi.org/10.15640/jflcc.v3n1a8.

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30

"Neither Black nor White: A New Approach to the Modern Racial Plight in Jean Toomer’s Cane." Zanco Journal of Humanity Sciences 23, no. 3 (June 24, 2019). http://dx.doi.org/10.21271/zjhs.23.3.18.

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31

Emenyi, Imoh A. "Male-female dialogu in Jean Toomer's Cane and Ntozake Shange's For Colored Girls who have Considered suicide when the Rainbow is Enuf." Lwati: A Journal of Contemporary Research 1, no. 1 (July 19, 2006). http://dx.doi.org/10.4314/lwati.v1i1.36789.

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