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Journal articles on the topic 'FICTION / African American / Contemporary Women'

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Published: 4 June 2021

Last updated: 1 August 2024

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1

Mehla, Anjila Singh. "The Self in Society: Exploring Cultural Embeddedness in Gloria Naylor’s Fiction." IRA-International Journal of Management & Social Sciences (ISSN 2455-2267) 7, no. 2 (June 10, 2017): 329. http://dx.doi.org/10.21013/jmss.v7.n2.p24.

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<div><p><em>A most significant development that has taken place on the global literary scene during the last few decades or so is the dramatic emergence of African-American voices as a distinct and dominant force. Along with Toni Morrison scores of African American Fiction writers, poets, playwrights, autobiographers, and essayists have mapped bold new territories; they have firmly entrenched themselves in the forefront of contemporary American Literature. This article retraces this exciting literary phenomenon in the context of the lives, works, and achievements of Gloria Naylor and her contemporaries. Naylor discovered feminism and African American Literature, which revitalized her and gave her new ways to think about and define herself as a black woman.</em></p></div>

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2

Ammons, Elizabeth, and Anna Maria Chupa. "Anne, the White Woman in Contemporary African-American Fiction: Archetypes, Stereotypes, and Characterizations." MELUS 17, no. 4 (1991): 139. http://dx.doi.org/10.2307/467274.

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Morozova, Irina V. "“A Woman Called Moses”: Literary Interpretations of Harriet Tubman’s Life." Literature of the Americas, no. 16 (2024): 169–89. http://dx.doi.org/10.22455/2541-7894-2024-16-169-189.

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The article is devoted to the formation of Harriet Tubman's image in the US literature. Two books belonging to the spread of Afrocentrism and the second wave of feminism — A. Petrie's non-fiction novel A Girl Called Moses: The Story of Harriet Tubman and M. Heidish's novel A Woman Called Moses — are chosen as the material for analysis. The article analyzes the main qualitative characteristics identified as early as in S. Bradford's book Harriet, Moses of Her People that form the discourse of race and gender in the mentioned narratives about Tubman, and identifies the main transformations of these characteristics. Thus, the work of African-American author A. Petrie reflects to a greater extent the sentiments of all her fellow women in the 1950s-60s Black Civil Rights Movement in the United States: while remaining within the generally accepted gender framework of feminine virtues, at the same time, the black woman was stepping out of her allotted racial limits. Furthermore, she shows that slavery is a cultural trauma that still defines how the African American community sees itself and its place in the society and how slavery is remembered as a means of self-identification within the African American community. Created by the white writer M. Heidish in the mid-1970s, during the rise of the second wave of the feminist movement, the novel reflects the very sentiments that characterized this movement and shows the view of a sympathetic Other on the issue of race. Thus, the article establishes the fact that Harriet Tubman plays a very important role in the African-American and women's discourse in the United States as an image that is given the necessary functions and qualities for its time based on the socio-cultural context contemporary to the interpreter.

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Selay Marius, KOUASSI. "‘‘They could defecate over a whole people […] and defecate some more by tearing up the land”: Ecological (Un) consciousness and Resistance in Toni Morrison’s Selected Novels." International Journal of Social Sciences and Humanities Invention 5, no. 12 (December 30, 2018): 5207–13. http://dx.doi.org/10.18535/ijsshi/v5i12.19.

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This paper aims to deconstruct Toni Morrison’s selected novels through the lenses of ecocriticism. It looks at her work from an ecocritical angle. Sula has traditionally been read as a story about female friendship ;Song of Solomon has been critically acclaimed for its vivid capture of African American cultural heritage ; Tar Baby is regarded as a masterpiece because of its high folkloric resonance ; Beloved is perceived as a survey of the horrors of slavery ; Paradise is regarded as the narrative of contemporary communities confronted with great social changes, while A Mercy is considered to be a story of black women slaves’ struggles to gain freedom in America in the 1600s. Historically, critics have attempted to perceive Morrison’s fiction from the socio-historical lens that has little to do with Nature. However, Nature serves as a background to Morrison's work. It not only serves as imagery but more of a living being that reacts to human exploitation. Morrison's selected novels highlight diverse aspects of this human versus nature relationship that deserves an in-depth analysis. In fact, these novels provide ample evidence that the author sees ecosensitivity and ecological consciousness as possible ways to curb environmental degradation. This paper posits the nonhuman world encoded in Morrison’s novels. It maintains that Morrison’s fiction could raise awareness about ecological wisdom which is key to understanding and solving the current environmental challenges.

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Anatol, Giselle Liza. "Getting to the Root of US Healthcare Injustices through Morrison’s Root Workers." MELUS 46, no. 4 (December 1, 2021): 186–207. http://dx.doi.org/10.1093/melus/mlab053.

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Abstract Although a number of scholars have tackled the figure of the Black folk-healer in Toni Morrison’s novels, the character deserves greater attention in the present moment for the insights she provides into two contemporary catastrophes: the coronavirus pandemic and the structural racism that precipitates rampant violence against brown-skinned people in the United States. Beginning with M’Dear, the elderly woman who is brought in to treat Cholly’s Aunt Jimmy in The Bluest Eye (1970), I survey descriptions of several root workers, hoodoo practitioners, and midwives in Morrison’s fiction, including Ajax’s mother in Sula (1973) and Milkman’s aunt Pilate in Song of Solomon (1977). Morrison’s portraits of these women and their communities capture the endurance of African folk customs, the undervalued knowledge of aged members of society, and a sense of Black women’s strength beyond that of the physical, laboring, or hypersexual body. The fictional experiences of Morrison’s healers also alert readers to the very real injustices that have historically impeded the successes of African Americans—and continue to hamper them, as has been exposed during the COVID-19 crisis and public outrages over police brutality. These injustices include inequities in lifelong earning potential, education, housing, and access to healthcare. Paying closer attention to the Nobel Laureate’s root-working women makes her novels more than simply “transformative” and “empowering” for individual readers; analyzing these figures allows one to unearth important critiques of medical bias and other forms of discrimination against marginalized members of society—disparities that must be dismantled in the push for social change.

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Gillespie, Michael Boyce. "Death Grips." Film Quarterly 71, no. 2 (2017): 53–60. http://dx.doi.org/10.1525/fq.2017.71.2.53.

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Black death in contemporary cinema requires understanding how film blackness always means provoking new entangled measures of the aesthetic, political, social, and cultural capacities of black visual and expressive culture. As a result, the critical consequence of film blackness always entails issues of affect, narrativity, visual historiography, and genre/modalities. Black death, then, signifies both the violent injustice of African American deaths and the rendering of death in cinema. Three short films by black women filmmakers represent an ever-growing archive of recent works that merit critical attention as they advance cinematic practices that point to new political philosophies and circuits of knowledge related to black death and film form. Taken together as a “cinema in the wake,” the three—Leila Weefur's Dead Nigga BLVD (2015), Frances Bodomo's Everybody Dies! (2016), and A. Sayeeda Clarke's White (2011)—pose a range of formal propositions about black death that include animation, the racial grotesque, and speculative fiction. With distinct and compelling conceptions of black death, these three short films are deeply located in their contemporary American moment. Thinking with these films involves thinking through performing objects, the racial grotesque, and the futurity of social deletion. Together these films exquisitely suspend, disrupt, and disturb constituting distinct visual historiographies and strategies. As cinema in the wake, these films are stirred by incitements of film form, materiality, temporality, and conceptions of black being. But, more importantly, to think through black death across the formal experimentation and critical capacities of this work is to contend with an enduring urgency, the precarity of black life.

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Chandler, Karen. "Saints Sinners Survivors: Strong Black Women in African American Literature, and: The Freedom to Remember: Narrative, Slavery, and Gender in Contemporary Black Women's Fiction (review)." NWSA Journal 16, no. 2 (2004): 225–28. http://dx.doi.org/10.1353/nwsa.2004.0048.

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Lim, Shirley Geok-Lin. "Critical Perspectives on Native American Fiction. Richard F. FleckAll My Relatives: Community in Contemporary Ethnic American Literatures. Bonnie TuSmithMules and Dragons: Popular Cultural Images in the Selected Writings of African-American and Chinese-American Women Writers. Mary E. Young." Signs: Journal of Women in Culture and Society 21, no. 2 (January 1996): 494–98. http://dx.doi.org/10.1086/495083.

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Chandler, Karen. "BOOK REVIEW: Trudier Harris. SAINTS SINNERS SURVIVORS: STRONG BLACK WOMEN IN AFRICAN AMERICAN LITERATURE. and Angelyn Mitchell. THE FREEDOM TO REMEMBER: NARRATIVE, SLAVERY, AND GENDER IN CONTEMPORARY BLACK WOMEN'S FICTION." NWSA Journal 16, no. 2 (July 2004): 225–28. http://dx.doi.org/10.2979/nws.2004.16.2.225.

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Mafe, Diana Adesola. "Phoenix Rising: The Book of Phoenix and Black Feminist Resistance." MELUS 46, no. 2 (June 1, 2021): 43–63. http://dx.doi.org/10.1093/melus/mlab021.

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Abstract This essay focuses on Nnedi Okorafor’s 2015 novel The Book of Phoenix and reads the black female protagonist and narrator, Phoenix Okore, as a powerful metaphor for a radical twenty-first-century black feminist politics and a signifier of the contemporary social movement Say Her Name. Phoenix is the product of experimentation, “a slurry of African DNA and cells” (146) who is birthed by an African American surrogate mother and then raised in a laboratory prison. She herself identifies as “SpeciMen, Beacon, Slave, Rogue, Fugitive, Rebel, Saeed’s Love, Mmuo’s Sister, Villain” (224). Okorafor thus imagines a multilayered metaphor that speaks to the complexities of black female identities in the new millennium. True to her name, Phoenix is repeatedly reborn from her own ashes after dying at the hands of a white supremacist organization called the Big Eye. Hers is, by turns, neo-slave narrative, cautionary tale, and social critique. As a revolutionary black woman who is never meant to be a simplistic paragon, Phoenix ultimately uses her superhuman abilities and her rage to change the world, albeit in a cataclysmic way. Although the novel predates our current historical moment—namely, international protests, calls for police reform in the wake of George Floyd’s murder, and the dismantling of racist iconography—it serves as an uncanny reflection, if not a harbinger, of this moment. Furthermore, it models the ways in which fiction channels our most desperate desires, especially the need for justice.

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Maxey, Ruth. "Vigilante Women in Contemporary American Fiction." Contemporary Women's Writing 10, no. 2 (January 4, 2016): 303–4. http://dx.doi.org/10.1093/cww/vpv040.

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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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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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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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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

DAVIES, Rebecca Ufuoma. "Gender Issues for Social Reformation in Contemporary African Women's Fiction." European Modern Studies Journal 7, no. 2 (May 25, 2023): 54–60. http://dx.doi.org/10.59573/emsj.7(2).2023.06.

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Contemporary African women's fiction has been a significant site of exploration for issues of gender and its intersections with other identity markers such as race, class, and sexuality. This paper provides an overview of the gender issues present in contemporary African women's fiction and analyzes how these authors are engaging with feminist thoughts and theories in their works. The paper begins by exploring the patriarchal nature of African societies and how this has been challenged by African women writers through their portrayal of female characters who resist societal norms and expectations. The paper then analyzes the various forms of oppression that African women face, including sexual violence, female genital mutilation, and forced marriages. Additionally, the paper considers the role of African women in politics and how they are represented in literature. The paper argues that contemporary African women writers are challenging Western feminist thoughts and developing forms of feminist theory that are more inclusive and relevant to African contexts. The study concludes that African women's fiction is an important site of feminist discourse and offers valuable insights into the gender issues that affect African women today.

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18

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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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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20

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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21

Stulov, Yuri V. "Contemporary African American Historical Novel." Literature of the Americas, no. 14 (2023): 75–99. http://dx.doi.org/10.22455/2541-7894-2023-14-75-99.

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The paper discusses the works of African American writers of the end of the 1960s — the end of the 2010s that address the historical past of African Americans and explores the traumatic experience of slavery and its consequences. The tragedy of people subjected to slavery as well as their masters who challenged the moral and ethical norms has remained the topical issue of contemporary African American historical novel. Pivotal for the development of the genre of African American historical novel were Jubilee by the outstanding writer and poet Margaret Walker and the non-fiction novel Roots by Alex Haley. African American authors reconsider the past from today’s perspective making use of both the newly discovered documents and the peculiarities of contemporary literary techniques and showing a versatility of genre experiments, paying attention to the ambiguity of American consciousness in relation to the past. Toni Morrison combines the sacred and the profane, reality and magic while Ishmael Reed conjugates thematic topicality and a bright literary experiment connecting history with the problems of contemporary consumer society; Charles Johnson problematizes history in a philosophic tragicomedy. Edward P. Jones reconsiders the history of slavery in a broad context as his novel’s setting is across the whole country on a broad span of time. The younger generation of African American writers represented by C. Baker, A. Randall, C. Whitehead, J. Ward and other authors touches on the issues of African American history in order to understand whether the tragic past has finally been done with. Contemporary African American historical novel relies on documents, new facts, elements of fictional biography, traditions of slave narratives and in its range makes use of peculiarities of family saga, bildungsroman, political novel, popular novel enriching it with various elements of magic realism, parodying existing canons and sharp satire.

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22

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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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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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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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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Aarons, Victoria. "The Outsider within: Women in Contemporary Jewish-American Fiction." Contemporary Literature 28, no. 3 (1987): 378. http://dx.doi.org/10.2307/1208628.

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Stulov, Yuri. "The Cityscape in the Contemporary African-American Urban Novel." Respectus Philologicus 24, no. 29 (October 25, 2013): 65–71. http://dx.doi.org/10.15388/respectus.2013.24.29.5.

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This paper discusses the cityscape as an essential element of African American fiction. Since the time of Romanticism, the city has been regarded as the embodiment of evil forces which are alien to human nature and radiate fear and death. For decades, African-Americans have been isolated in the black ghettos of major American cities which were in many ways responsible for their personal growth or their failure. Often this failure is determined by their inability to find their bearings in a strange and alien world, which the city symbolizes. The world beyond the black ghetto is shown as brutal and terrifying, while the world inside is devoid of hope. Crime, vandalism, poverty, overcrowding, and social conflicts turn out to be the landmarks of big cities, because the people who migrate to them and make up most of their population are also the poorest and least adapted to urban life: they have lost their roots, and feel displaced in the anonymous urban society. A number of African-American novels depict protagonists who are unable to adapt to life in a big city, and end in degradation and misery. James Baldwin’s novels are among the most representative. His disordered and dislocated characters are products of the external world of the city of the machine age, and as such they are characteristic of all African-American fiction. This paper analyzes some of the recent black novels that reverberate with Baldwin’s ideas.

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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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Woodward, Kirk. "Contemporary African American Women Playwrights (review)." Theatre History Studies 29, no. 1 (2009): 246–49. http://dx.doi.org/10.1353/ths.2009.0029.

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Rege, Josna E. "Gender Voices and Choices: Redefining Women in Contemporary African Fiction (review)." Research in African Literatures 31, no. 3 (2000): 209–10. http://dx.doi.org/10.1353/ral.2000.0096.

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Djeddai, Imen, and Fella Benabed. "The Strong Binti in Nnedi Okorafor’s African American Science Fiction." Traduction et Langues 19, no. 2 (December 31, 2020): 210–20. http://dx.doi.org/10.52919/translang.v19i2.374.

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By looking carefully at the history of science fiction, we can notice that African American authors have been excluded from the scene for a long time due to the “whiteness” of the genre in terms of writing and publication. In addition to racism, sexism persists in the science fiction community. Hence, marginalized black women writers of science fiction try to include more black women characters in their literary works. Through Binti, Binti: Home, and Binti: The Night Masquerade, Nnedi Okorafor focuses on the experience of being black and woman in a technological society of the future. This study discusses how Okorafor provides sharp comments on the lives of black women in America in terms of “race” and “gender.” She challenges the stereotypical image of the black woman as “other” through the subversion of white norms and traditions. In this analysis, we use “Afrofuturism” and “black feminism” as a theoretical framework since “Afrofuturism” tackles African American issues related to twentieth-century technoculture, and “black feminism” deals with black women empowerment. The major character, Binti, proves that she deserves to reach a higher position as an empowered girl of the future, which gives her self-confidence to be autonomous and to have control over her own life.

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Brooks, Wanda, Lorraine Savage, Ellyn Waller, and Iresha Picot. "Narrative Significations of Contemporary Black Girlhood." Research in the Teaching of English 45, no. 1 (August 1, 2010): 7–35. http://dx.doi.org/10.58680/rte201011646.

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This article examines how Black girlhood is constructed through fiction. The following research question guided this study: How do writers represent the heterogeneity of urban teenage girls in school-sanctioned African American young adult literature? Five popular narratives that exemplify the contemporary lives of urban African American female pre/teenage protagonists represent the data. Utilizing a Black feminist epistemological framework coupled with a complementary theory of adolescent identity development, we analyze the symbolic textual representations along with the protagonists’ decision making and situational depictions. We argue that the protagonists’ textual heterogeneity manifests across the texts through four enactments of identity: intellectual, physical, kinship, and sexual. These findings have both theoretical and practical implications for educators and researchers alike.

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Faxon, Alicia Craig, Jontyle Theresa Robinson, and Howardena Pindell. "Bearing Witness: Contemporary Works by African American Women Artists." Woman's Art Journal 19, no. 2 (1998): 55. http://dx.doi.org/10.2307/1358412.

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Pineda, Inmaculada. "Contemporary African American Women Playwrights: Shaping Identity through Violence." Caliban, no. 31 (April 10, 2012): 173–87. http://dx.doi.org/10.4000/caliban.440.

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Rosenthal, Cindy. "Contemporary plays by African American women: ten complete works." Studies in Theatre and Performance 38, no. 1 (October 8, 2016): 94–95. http://dx.doi.org/10.1080/14682761.2016.1244979.

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Sedlmeier, Florian. "Postblack Aesthetics: The Freedom to Be Black in Contemporary African American Fiction." Zeitschrift für Anglistik und Amerikanistik 67, no. 4 (December 18, 2019): 447–49. http://dx.doi.org/10.1515/zaa-2019-0034.

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Dixson, Adrienne D. ""Let's Do This!"." Urban Education 38, no. 2 (March 2003): 217–35. http://dx.doi.org/10.1177/0042085902250482.

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Historically, African American teachers have been actively involved in political movements that sought to improve the material conditions of African Americans. More contemporary examinations of African American teachers' pedagogy and, in particular, African American women's pedagogy, have found that these teachers have a decidedly political mission to their teaching. Some researchers have described these teachers' pedagogy as culturally relevant. Notwithstanding, there is a growing body of research that seeks to highlight how Black women, in various contexts, have participated in political activities and how their participation is part of a Black feminist activist tradition. This article examines how contemporary African American women teachers continue the tradition of political involvement and situates their activities in a Black feminist activist tradition. The data are taken from a qualitative study of two African American women elementary school teachers. The findings reveal that among other things, the teachers' pedagogy was inherently political.

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Różalska, Aleksandra. "Transgressing the Controlling Images of African-American Women? Performing Black Womanhood in Contemporary American Television Series." EXtREme 21 Going Beyond in Post-Millennial North American Literature and Culture, no. 15 (Autumn 2021) (November 20, 2021): 273–90. http://dx.doi.org/10.7311/pjas.15/2/2021.07.

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Drawing from intersectionality theories and black feminist critiques of white, masculinist, and racist discourses still prevailing in the American popular culture of the twenty-first century, this article looks critically at contemporary images of African-American women in the selected television series. For at least four decades critics of American popular culture have been pointing to, on the one hand, the dominant stereotypes of African-American women (the so-called controlling images, to use the expression coined by Patricia Hill Collins) resulting from slavery, racial segregation, white racism and sexism as well as, on the other hand, to significant marginalization or invisibility of black women in mainstream film and television productions. In this context, the article analyzes two contemporary television shows casting African-American women as leading characters (e.g., Scandal, 2012-2018 and How To Get Away With Murder, 2014-2020) to see whether these narratives are novel in portraying black women’s experiences or, rather, they inscribe themselves in the assimilationist and post-racial ways of representation.

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Jocelyn L. Buckner. "Contemporary African American Women Playwrights: A Casebook (review)." Theatre Journal 60, no. 4 (2008): 693–94. http://dx.doi.org/10.1353/tj.0.0088.

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Nita N. Kumar. "Contemporary African American Women Playwrights: A Casebook (review)." Callaloo 33, no. 1 (2010): 361–64. http://dx.doi.org/10.1353/cal.0.0613.

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Williams, Dana A. "Contemporary African American Women Playwrights: A Casebook (review)." Modern Drama 52, no. 1 (2009): 131–33. http://dx.doi.org/10.1353/mdr.0.0087.

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Fall, Alioune Badara. "Distant homelands: Mobility, exile and (trans)nationalism in contemporary African fiction." Crossings: Journal of Migration & Culture 14, no. 2 (October 1, 2023): 197–212. http://dx.doi.org/10.1386/cjmc_00083_1.

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In this article, I argue that Bulawayo’s representation of precarity in her novel helps us decolonize representations of mobility in African literature. In Bulawayo’s novel, mobility undergirds the global presence of Africa and frames African identities in a cosmopolitan purview. Yet, the cultural trajectory of African migrants unveils practical realities within the nation state that shape expressions of cultural belonging in Afrodiasporic contexts. The novel’s presentation of poverty, abjection and dislocation limits the possibilities of an Afropolitan engagement with Darling’s experience in the diaspora. Her joyful, yet, precarious childhood in Zimbabwe and the illusion of an abundant life in the United States show that the postcolonial nation state and the US racial state remain unprecedented forces that constraint the fluidity of people of African descent’s identities. The metaphoric representation of her condition as a prisoner not only questions her mobility but also her difficult experience as a migrant in the United States underscores her struggles to belong in a racialized American society. Thus, the protagonist’s precarious position in her homeland and her host-land reveals the restrictive power of the state and challenges a romantic description of life in both the Global North and the Global South.

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Boudidah, Nadia. "Laughing their Way: Resistant Humor in the Fiction of Contemporary American Women." International Journal of Interdisciplinary Cultural Studies 11, no. 4 (2016): 9–14. http://dx.doi.org/10.18848/2327-008x/cgp/v11i04/9-14.

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Velie, Alan R., and Rayna Green. "That's What She Said: Contemporary Poetry and Fiction by Native American Women." World Literature Today 59, no. 4 (1985): 642. http://dx.doi.org/10.2307/40142133.

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Bataille, Gretchen M., and Rayna Green. "That's What She Said: Contemporary Poetry and Fiction by Native American Women." American Indian Quarterly 11, no. 4 (1987): 352. http://dx.doi.org/10.2307/1184310.

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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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Brown, Audrey L. "Article Commentary: Changing Images of African-American Women and Interpretation." Journal of Interpretation Research 6, no. 1 (April 2001): 55–65. http://dx.doi.org/10.1177/109258720100600105.

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Popular cultural images of African-American women can foster racial stereotyping and frame one's mental images of them in ways that impact the interpretive process. This paper addresses historical and contemporary stereotypes of African-American women, offering demographic and other information with which to refute them.

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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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Licato, Amanda. "Reading Contemporary African American Literature: Black Women’s Popular Fiction, Post-Civil Rights Experience, and the African American Canon by Beauty Bragg." Callaloo 39, no. 3 (2016): 702–4. http://dx.doi.org/10.1353/cal.2016.0097.

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Boyer-Kelly, Michelle Nicole. "Reading Contemporary African-American Literature: Black Women’s Popular Fiction, Post-Civil Rights Experience, and the African-American Canon. By Beauty Bragg." English: Journal of the English Association 67, no. 256 (2018): 81–83. http://dx.doi.org/10.1093/english/efy004.

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