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Journal articles on the topic 'Neo-slave narrative'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 March 2023

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1

Rowell, Charles Henry. "Neo-Slave Narrative Texts." Callaloo 40, no. 4 (2017): 1–2. http://dx.doi.org/10.1353/cal.2017.0131.

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2

Arrizón-Palomera, Esmeralda. "The Trope of the Papers: Rethinking the (Un)Documented in African American Literature." MELUS 46, no. 1 (March 1, 2021): 105–25. http://dx.doi.org/10.1093/melus/mlaa066.

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Abstract I argue for a reconceptualization of undocumentedness, the experience of being undocumented, from an experience that is simply a result of the modern immigration regime to an experience that is a result of interlocking systems of oppression and resistance to them that has shaped Blackness and the vision for black liberation. I make this argument by defining and tracing the trope of the papers—the use of legal and extralegal documents to examine and document African Americans’ and other people of African descent’s relationship to the nation-state—in the slave narrative and the neo-slave narrative. I offer a close readings of slave narratives, including Sojourner Truth’s The Narrative of Sojourner Truth (1850) and Harriet Jacobs’ Incidents in the Life of a Slave Girl, Written by Herself, and neo-slave narratives, including Toni Morrison’s A Mercy (2008) and Gayl Jones’s Mosquito (1999), to illustrate the significance of the undocumented immigrant in African American literature and demonstrate that writers of African American literature have been thinking intensely about undocumentedness, although not in the way undocumentedness is typically understood.
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3

Li, S. "12 Years a Slave as a Neo-Slave Narrative." American Literary History 26, no. 2 (January 31, 2014): 326–31. http://dx.doi.org/10.1093/alh/aju009.

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4

Vrana, Laura. "Genre Experiments: Thylias Moss’s Slave Moth and the Poetic Neo-Slave Narrative." MELUS 46, no. 2 (May 10, 2021): 111–30. http://dx.doi.org/10.1093/melus/mlab020.

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Abstract As histories of experimentation on the enslaved receive scholarly attention, so too are neo-slave narratives representing and commenting on this aspect of enslavement, in both their content and their form. This article examines Thylias Moss’s genre-troubling Slave Moth: A Narrative in Verse (2004), a neo-slave text that depicts an enslaved woman named Varl treated as an object of psychological experimentation. Varl develops a strong subjectivity through becoming a subject performing experiments: aesthetic experiments in how she chooses to represent her narrative in stitched cloths. The subtly experimental poetic devices through which Moss crafts this representation highlight that this protagonist possesses an alternate, generative epistemology that differs meaningfully from her master’s scientific worldview and thereby enables fugitive, temporary agency and freedom. By analyzing Slave Moth, I argue that the ethically problematic epistemology that generated experiments on the enslaved has certainly not dissipated and that it indirectly undergirds lyric theory’s failure to engage form in texts by nonwhite poets. Through contrasting close attention to formal devices by which Moss undermines teleological narrative, this essay postulates that “lyric time” enables fleeting, yet nevertheless generative, subversions of the formal expectations readers impose on texts representing enslavement. Reading Slave Moth through such a lens suggests potential middle-ground formal alternatives to wholly rejecting either narrative or lyric as genres and to thereby asymptotically approaching adequate representation of enslavement.
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5

Goddu, Teresa A. "The (Neo-)Slave Narrative and the Plantationocene." African American Review 55, no. 4 (December 2022): 269–85. http://dx.doi.org/10.1353/afa.2022.0040.

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6

De Paiva, Rita de Cássia Marinho, and Sonia Torres. "Mal de Arquivo em Linden Hills." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (February 1, 2019): 125–44. http://dx.doi.org/10.5007/2175-8026.2019v72n1p125.

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In this article we examine Gloria Naylor’s novel Linden Hills, articulating the concepts of the neoarchive and the neo-slave narrative with the notion of archive as proposed by Derrida (2001) and developed by other authors (Osborne,1999; Bradley,1999; Johnson, 2014) with whom we seek to dialogue in this space. Linden Hills’s counterdiscursive narrative revisits the past by excavating the palimpsest of forgotten memories, once unidentified or not compiled, thus establishing its relationship to the neo-slave narrative. We argue that the link between the neo-slave narrative and the archive is both concrete and productive, given that it foregrounds non-sanctioned archives as counternarratives to the historical archive (mainly, but not exclusively, that of slavery), through the articulation of history and both personal and collective memory – calling to question, in this way, colonizing documented history and its official guardians.
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7

Anim-Addo, Joan, and Maria Helena Lima. "The Power of the Neo-Slave Narrative Genre." Callaloo 40, no. 4 (2017): 3–13. http://dx.doi.org/10.1353/cal.2017.0132.

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8

Anim-Addo, Joan, and Maria Helena Lima. "The Power of the Neo-Slave Narrative Genre." Callaloo 41, no. 1 (2018): 1–8. http://dx.doi.org/10.1353/cal.2018.0000.

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9

김은형. "Steve McQueen’s 12 Years a Slave: A Neo-slave Narrative of Empathy." English & American Cultural Studies 15, no. 1 (April 2015): 1–32. http://dx.doi.org/10.15839/eacs.15.1.201504.1.

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10

Oduwobi, Oluyomi. "Rape victims and victimisers in Herbstein's Ama, a Story of the Atlantic Slave Trade." Tydskrif vir Letterkunde 54, no. 2 (September 4, 2017): 100–111. http://dx.doi.org/10.17159/2309-9070/tvl.v.54i2.1619.

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This paper examines how Manu Herbstein employs his fictionalised neo-slave narrative entitled Ama, a Story of the Atlantic Slave Trade to address the issue of sexual violence against women and to foreground the trans-Atlantic rape identities of victims and victimisers in relation to race, gender, class and religion. An appraisal of Herbstein's representations within the framework of postcolonial theory reveals how Herbstein deviates from the stereotypical norm of narrating the rape of female captives and slaves during the era of the trans-Atlantic slave trade by creating graphic rape images in his narration. This study therefore shows that a postcolonial reading of Herbstein's novel addresses the representations of rape and male sexual aggression in literary discourse and contributes to the arguments on sexual violence against women from the past to the present.
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11

Chukwumah, Ignatius. "Mimetic Desire and the Complication of the Conventional Neo-Slave Narrative Form in Edward P. Jones’s The Known World." arcadia 53, no. 1 (June 4, 2018): 89–104. http://dx.doi.org/10.1515/arcadia-2018-0002.

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AbstractWhen critics declare that Edward P. Jones’s The Known World represents moral turpitude, capitalist proclivities, slavery, and whittling of white supremacy, their assertions are in order. But they often miss accounting for how The Known World, which bears some indices of the neo-slave narrative owing to its appropriation of the incidents of slavery in a novelistic platform, complicates its sub-tradition. This work investigates the text’s two-fold complication. First, Jones complicates the neo-slave narrative form by depicting slavery from a little known perspective of intra-racial slavery amongst black people. Then, he casts a white character, and not a black one, in the mold of a classical tragic hero. Mimetic desire, René Girard’s concept for an individual’s imitation of a prior model’s behavior, is drawn on to bare characters’ actions that accentuate both strands of complication. As the basis of all human action that includes rivalry, violence, and scapegoating, mimetic desire unravels the ‘mystery’ surrounding the sort of slavery overwhelmingly acknowledged by critics as untraditional in The Known World and the tragedy, also unique to the neo-slave narrative form, it gives rise to.
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12

Aljoe, Nicole N. "Reading the “Memoirs of the Life of Florence Hall” Through The Long Song of the Caribbean Colonial Archive." American Literary History 32, no. 4 (2020): 623–44. http://dx.doi.org/10.1093/alh/ajaa025.

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Abstract This article suggests that we should analyze the mediated and fragmentary narratives of the lives of the enslaved—the predominate format of such texts in the archives—as well as self-written slave narratives. Although not biographical in the same fashion as the self-written texts, these more ephemeral texts can also enhance and productively contribute to our understandings of the literary and discursive features of the era. In order to attend to such texts, we need to develop more dynamic reading strategies for the multiple voices and varied formats common to them. One such strategy is animated by arguments about alternative histories suggested by neo-slave-narrative novels like Andrea Levy’s The Long Song (2011). I suggest that drawing on the models of the imaginative possibilities of neo-slave-narrative fictions, along with conceptually related links to both Edward Said’s hermeneutics of contrapuntal reading and Saidiya Hartman’s exegetics of critical fabulation, reveals how an ephemeral and fragmentary text or “textual splinter” like “Memoirs of the Life of Florence Hall” may yield more complex readings and help us consider what the lives of the enslaved might have looked like, as well as offers portraits of the discursive networks in which it existed. The … archive was not meant to encode the nuances of Hall’s voice or memories of her experiences. The archive was instead meant to document the power of the establishment and the data that would be useful to its perpetuation.
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13

Elder, Arlene. "Sassafrass, Cypress & Indigo: Ntozake Shange's Neo-Slave/Blues Narrative." African American Review 26, no. 1 (1992): 99. http://dx.doi.org/10.2307/3042080.

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14

Levecq, Christine, and Elizabeth Ann Beaulieu. "Black Women Writers and the American Neo-Slave Narrative: Femininity Unfettered." African American Review 35, no. 1 (2001): 136. http://dx.doi.org/10.2307/2903342.

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15

Bell, Bernard W. "Beloved: A Womanist Neo-Slave Narrative; or Multivocal Remembrances of Things Past." African American Review 26, no. 1 (1992): 7. http://dx.doi.org/10.2307/3042072.

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16

Venetria K. Patton. "Black Subjects Re-Forming the Past through the Neo-Slave Narrative Tradition." MFS Modern Fiction Studies 54, no. 4 (2008): 877–83. http://dx.doi.org/10.1353/mfs.0.1556.

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17

Lewis, Christopher S. "Queering Personhood in the Neo-Slave Narrative: Jewelle Gomez’s The Gilda Stories." African American Review 47, no. 4 (2014): 447–59. http://dx.doi.org/10.1353/afa.2014.0065.

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18

Collins, Holly. "Reconstructed and neo-slave narratives in French: Filling the gap through literature and archives." International Journal of Francophone Studies 24, no. 1 (September 1, 2021): 29–48. http://dx.doi.org/10.1386/ijfs_00028_1.

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This article examines Rebecca J. Scott and Jean M. Hébrard’s Freedom Papers and Marie-Célie Agnant’s novel Le livre d’Emma as two important contributions geared towards filling the lacunae that exist in the historical record given the lack of slave narratives in French. This study argues that these narratives are important because they approach slavery in the French empire from a fresh angle. Freedom Papers reconstructs the existence of a woman named Rosalie from her entry into the slave trade through her life in Haiti. Such a biographical approach allows researchers to put an individual face on what has mostly been studied as an abstract institution. Similarly, Agnant traces the family history of Emma back to her first ancestor to make the transatlantic journey. Although Agnant’s contribution is fictional, Emma’s story captures a perspective similar to the experience of many whose ancestors were enslaved. Both stories stress the importance of writing ‐ veritable ink on paper. It was through writing that biased historical narrative was created by former empires. It is therefore through writing that Rosalie succeeded in injecting herself into the historical record, and through writing that Emma ensures her ancestors’ story is never forgotten.
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19

Erwin, Lee. "Suffering and Social Death: Austin Clarke’s The Polished Hoe as Neo-Slave Narrative." Journal of Literature and Trauma Studies 2, no. 1-2 (2014): 93–104. http://dx.doi.org/10.1353/jlt.2014.0003.

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20

Antoszek, Patrycja. "The Neo-Gothic Imaginary and the Rhetoric of Loss in Colson Whitehead’s The Underground Railroad." Polish Journal for American Studies, no. 13 (Autumn 2019) (October 15, 2019): 271–79. http://dx.doi.org/10.7311/pjas.13/2/2019.08.

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The aim of my paper will be to discuss the African-American reworking of the Gothic tradition in Colson Whitehead’s neo-slave narrative. I want to argue that the figure of the protagonist Cora may be seen as the embodiment of losses that span over generations of black women. Cora’s melancholia is a strategy of dealing with the horrors of slavery and a sign of a black woman’s failed entry into the Symbolic. While the novel’s narrative technique is a symbol of the ever-present past that haunts black subjectivity, the underground railroad may be read as a metaphor for the repressed content of American national unconscious.
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21

McCoy, Beth A. "Flights of Principled Fancy Dress: Steve Prince's Katrina Suite and the Neo-Slave Narrative." Callaloo 40, no. 4 (2017): 183–200. http://dx.doi.org/10.1353/cal.2017.0143.

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22

Eaton, Kalenda. "Diasporic dialogues: The role of gender, language, and revision in the neo-slave narrative." Language Value, no. 4 bis (2012): 1–22. http://dx.doi.org/10.6035/languagev.2012.4.2.2.

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23

Maley, Patrick. "Performing Ancestry: Reading August Wilson’s The Piano Lesson as a Performative Neo-Slave Narrative." Comparative Drama 53, no. 1-2 (2019): 59–83. http://dx.doi.org/10.1353/cdr.2019.0002.

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24

Shamsul Haq Thoker. "Theme of Identity: A Study of Andrea Levy’s The Long Song." Creative Launcher 4, no. 5 (December 31, 2019): 37–40. http://dx.doi.org/10.53032/tcl.2019.4.5.06.

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The Long Song (2010) is a contemporary Caribbean neo-slave narrative written by Andrea Levy. The novel revisits the period of slavery in the early nineteenth century Jamaica depicting the experiences of a slave girl, July at Amity - a sugarcane plantation in Jamaica. Written in the background of a famous Jamaican slave rebellion, the Baptist War erupted in 1831, the abolition of slavery in 1833 and its aftermath, the novel details the life of the slaves on Jamaican plantations before and after the period of emancipation. Replete with the theme of identity, the novel explores the ethnic and cultural backgrounds of the characters on the plantations where the British class system is largely in vogue. Thus, the paper shall explore the identity of the slaves in the Caribbean which is greatly affected by the British social hierarchy. It shall also focus on how the British class system begins to lose its potential and importance in Jamaica after the Baptist War.
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Šlapkauskaitė, Rūta. "Imperial (S)Kin: The Orthography of the Wake in Esi Edugyan’s Washington Black." Studia Anglica Posnaniensia 55, s2 (December 1, 2020): 465–94. http://dx.doi.org/10.2478/stap-2020-0023.

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Abstract The publication of Esi Edugyan’s Washington Black has placed the novel among other works of history and art, which recall the material and epistemic violence of institutional racism and the lasting trauma of its legacy. Thus by interlacing, within the context of black critical theory, Yogita Goyal’s and Laura T. Murphy’s examining of the neo-slave narrative with Christina Sharpe’s conceptualization of the wake and Alexander G. Weheliye’s notion of habeas viscus as critical frames for the discussion of racialized subjectivity, I consider how Edugyan’s use of the conventions of Victorian adventure literature and the slave narrative rethinks the entanglements between the imperial commodification of life and the scientific agenda of natural history. Given how the narrative emphasizes the somatic register and its epidermal terms as a scene of meaning, I bring together Frantz Fanon’s idea of epidermalization, Steven Connor’s phenomenological reading of the skin, and Calvin L. Warren’s reasoning about blackness in an attempt to highlight the metalepsis resulting from the novel’s use of the hot air-balloon and the octopus as dermatropes that cast the empire as simultaneously a dysfunctional family and a scientific laboratory. Loaded into the skin as a master trope is the conceptual cross-over between consciousness and conscience, whose narrative performance in the novel nourishes the affective labour of its reader as an agent of memory.
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Gasztold, Brygida. "Slavery through a Rhetorical Lens: The Book of Negroes by Lawrence Hill as the Female Neo-slave Narrative." "Res Rhetorica" 7, no. 4 (December 28, 2020): 80–97. http://dx.doi.org/10.29107/rr2020.4.6.

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The paper uses the rhetorical lenses to examine a neo-slave narrative The Book of Negroes by Lawrence Hill. The exploration of emotive, ethical, and political dimensions of the text allows the author to demonstrate its emotional and moral effects, deriving within the triad author-text-reader. The article particularly highlights gendered aspects of bondage, which have been traditionally marginalized. The female protagonist and the message that her story conveys prompt the readers to assume a position on the subject of slavery which transcends the story as such and condemns the legal institution of human chattel enslavement in all its representation.
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Owen, Ianna Hawkins. "Still, Nothing: Mammy and Black Asexual Possibility." Feminist Review 120, no. 1 (November 2018): 70–84. http://dx.doi.org/10.1057/s41305-018-0140-9.

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Although many iterations of the mammy in the last two centuries have received analytical attention, the construction of this figure as asexual or undesiring and undesirable remains to be interrogated. This essay attends to this under-theorised dimension of her image. Resisting a reading of the mammy as fixed in silence, I assert that she might instead ‘say nothing’, and bring into focus a black asexual agency that I call a declarative silence. This strategy of ‘saying nothing’ is then explored in a reading of the withholdings of the character of Mama in Gayl Jones's neo-slave narrative, Corregidora (1975).
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Iasiello, Stephanie. "Photographing A Subtlety or the Marvelous Sugar Baby: Kara Walker's Take on the Neo-Slave Narrative." Callaloo 40, no. 4 (2017): 14–29. http://dx.doi.org/10.1353/cal.2017.0133.

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Childs, Dennis. ""An Insinuating Voice": Angelo Herndon and the Invisible Genesis of the Radical Prison Slave's Neo-Slave Narrative." Callaloo 40, no. 4 (2017): 30–56. http://dx.doi.org/10.1353/cal.2017.0134.

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Sanz Jiménez, Miguel. "Linguistic Varieties in Homegoing: Translating the Other’s Voice into Spanish." Revista Alicantina de Estudios Ingleses, no. 36 (January 31, 2022): 149. http://dx.doi.org/10.14198/raei.2022.36.08.

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The objective of this paper is to study the Spanish translation of Yaa Gyasi’s Homegoing (2016), a novel that adopts the form of a neo-slave narrative to chronicle a black family’s history from eighteenth-century Ghana to the early twenty-first century in the United States. The contexts in which both the source and target text were published will be described, paying attention to paratexts, to the book’s reception, and to the translation’s positive reviews. Gyasi’s debut oeuvre depicts alterity and the non-standard linguistic varieties, such as Black English, spoken by the dispossessed Other. This paper examines the strategies that the translator, Maia Figueroa (2017), has made use of to render this interplay of voices into Spanish. In addition, it considers how her choice to standardize some fragments and to introduce marked non-standard language in certain passages affects the reflection of the narrative Us vs. Otherness in the target text.
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Horton-Stallings, LaMonda. ""Im Goin Pimp Whores!": The Goines Factor and the Theory of a Hip-Hop Neo-Slave Narrative." CR: The New Centennial Review 3, no. 3 (2003): 175–203. http://dx.doi.org/10.1353/ncr.2004.0008.

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32

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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Campbell, D. K. "Black Women Writers and the American Neo-Slave Narrative: Femininity Unfettered. Elizabeth Ann Beaulieu. Westport, CT: Greenwood, 1999. xvi + 177 pagess. $49.95." MELUS: Multi-Ethnic Literature of the United States 26, no. 3 (September 1, 2001): 244–46. http://dx.doi.org/10.2307/3185569.

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34

Dunbar, Eve. "Genres of Enslavement." South Atlantic Quarterly 121, no. 1 (January 1, 2022): 53–73. http://dx.doi.org/10.1215/00382876-9561531.

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In July 2018, the New York Times reported on the remains of some ninety-five people discovered at a construction site in the Houston, Texas, suburb of Sugar Land. The archaeologists called in to identify the remains determined that they likely belonged to African American laborers who worked between 1878 and 1911 on the Imperial Sugar Company’s plantation as part of Texas’s convict-lease system. The remains unearthed in Sugar Land compel consideration of the tenuousness and illusory nature of freedom in the United States. Focusing on James Hannaham’s Delicious Foods (2015) and Colson Whitehead’s The Nickel Boys (2019), this essay considers how the neo–slave narrative might allow access to enslavement and the plantation not as a retrospective event or site but as coterminous and ongoing iterations of US anti-Black violence. Thinking of the plantation not as a site but as a logic, this essay also proposes the concept of “plantation future blues,” expressed in forms of sociality meant to unthink Black unfreedom. Ultimately, the piece considers how contemporary novels might point toward both anti-Black violence and elaborate on the hope of Black futurity by engaging the genres of enslavement.
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Smith, Sarah Stefana. "Keeping Time." South Atlantic Quarterly 121, no. 1 (January 1, 2022): 11–32. http://dx.doi.org/10.1215/00382876-9561503.

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My first inclination to this prompt, what of Black temporalities in crisis, was to ask a small group of Black familiars (friends and colleagues) to talk with me about their current experience of time in quarantine, and under the present articulations of racial injustice and economic crisis. Many remarked on awaiting moments of dance and embodiment, or the body after surgery during COVID, to the forms of mutual aid arriving, just on time. Others expressed holding patterns of rage, when being called forth in work environments to engage in conversations about race, others of the crushing aftermath of an intimate partnership in quarantine that went awry, only to arrive at new forms of intimacy in self-reflection and community co-counseling, or deep expressions of freedom, when invited to social distance with a family member, and doing so outside clothing. Still others reflected on mourning a relative, loved one, distant friend, and the uncertainty of the living body, through measures that are within and outside of human control. As the call for this special issue of SAQ noted, “Black temporalities of crisis might consist of subtle, collective and individual experiences of anticipation, drawn-out boredom, acceleration, or the feeling that something has ended before something else begins, among other possibilities.” In this instance, I focus on how the stretchy drawn-out and quickening qualities of time in crisis persist. By drawing on the anonymous experiences of loved ones and moments of rebellion toward fugitivity (e.g., the maroon communities of the Great Dismal Swamp and Harriet Jacobs’s neo–slave narrative), I ruminate on the in-between moments of Black life that show up in and around ongoing crisis.
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Ferreira Junior, Roberto. "Memory and the neo-slave novel in Colson Whitehead’s The Underground Railroad and Ta-Nehisi Coates’ The Water Dancer." Revista Brasileira de Literatura Comparada 24, no. 46 (April 2022): 41–57. http://dx.doi.org/10.1590/2596-304x20222446rfj.

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ABSTRACT: This analysis investigates two recent African-American novels, namely, The Underground Railroad (2016) by Colson Whitehead and The Water Dancer (2019) by Ta-nehisi Coates from the configurations proposed by the literary genre known as neo-slave narratives. These narratives are postmodern fictional reinterpretations of 19th century slave narratives which had a fundamental role in the American process of abolition. First, I will provide a brief overview of neo-slave narratives, particularly with regards to the North American literary context, and proceed to investigate how the two novels can be classified as belonging to this genre. Second, I will focus on the role of memory in both novels as forgotten historical events and religious myths are revisited by the writers. As theoretical support, I will turn to authors such as Bernard Bell, Ashraf H.A. Rushdy, Toni Morrison, Valerie Smith, among others, who investigated not only the reasons for the emergence of neo-slave narratives, but also reflected on the implications that these postmodern narratives have for the memory of slavery.
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Sanz Jiménez, Miguel. "TRANSLATING AFRICAN-AMERICAN NEO-SLAVE NARRATIVES: BLACK ENGLISH IN THE GOOD LORD BIRD AND THE UNDERGROUND RAILROAD." Revista de Estudios Norteamericanos, no. 24 (2020): 203–26. http://dx.doi.org/10.12795/ren.2020.i24.10.

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This paper studies how two recent neo-slave narratives have been translated into Spanish: The Good Lord Bird, by James McBride, and The Underground Railroad, by Colson Whitehead. Since they were both published simultaneously in Spain in September 2017, special attention is paid to the strategies used to render Black English, which marks slaves’ otherness, in the target polysystem. An overview of the origin, rise, and evolution of neo-slave narratives precedes the features of African-American Vernacular English portrayed in the novels that belong to this sub-genre. After some insights into the issue of translating literary dialect, the risks it entails, and the different strategies that can be used, the Spanish versions of McBride’s and Whitehead’s works are analyzed accordingly and contrasted.
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Bekers, Elisabeth. "Creative Challenges to Captivity: Slave Authorship in Black British Neo-Slave Narratives." Life Writing 15, no. 1 (November 20, 2017): 23–42. http://dx.doi.org/10.1080/14484528.2017.1399319.

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Gobel, Walter, and Ashraf H. A. Rushdy. "Neo-Slave Narratives: Studies in the Social Logic of a Literary Form." African American Review 36, no. 1 (2002): 140. http://dx.doi.org/10.2307/2903373.

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Jerving, Ryan, and Ashraf H. A. Rushdy. "Neo-Slave Narratives: Studies in the Social Logic of a Literary Form." New England Quarterly 73, no. 4 (December 2000): 682. http://dx.doi.org/10.2307/366594.

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41

Barrett, L. "Neo-Slave Narratives: Studies in the Social Logic of a Literary Form." American Literature 72, no. 4 (December 1, 2000): 888–89. http://dx.doi.org/10.1215/00029831-72-4-888.

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Gardner, Eric. "Neo-slave Narratives: Studies in the Social Logic of a Literary Form (review)." MFS Modern Fiction Studies 47, no. 2 (2001): 541–43. http://dx.doi.org/10.1353/mfs.2001.0024.

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43

Puertas, Lucia Llano. "Touching the Past: The Inscription of Trauma and Affect in Francophone Neo-Slave Narratives." Callaloo 40, no. 4 (2017): 78–93. http://dx.doi.org/10.1353/cal.2017.0136.

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Kasembeli, Serah Namulisa. "Of Oceanic Crossings and Discordant Cultural Adaptations in Post-apartheid Neo-slave Narration." Eastern African Literary and Cultural Studies 4, no. 3-4 (August 7, 2018): 244–58. http://dx.doi.org/10.1080/23277408.2018.1499412.

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45

Sanz Jiménez, Miguel. "Flight to Canada And Kindred: Similarities and Discrepancies in Two Neo-Slave Narratives Translated into Spanish." Grove - Working Papers on English Studies 27 (December 14, 2020): 135–56. http://dx.doi.org/10.17561/grove.v27.a9.

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The aim of this paper is to study the Spanish translations of Ishmael Reed’s Flight to Canada and Octavia E. Butler’s Kindred, two neo-slave narratives that were published in the 1970s. It examines how Black English, the lexicon of slavery, and proper nouns have been recreated in the Spanish target texts. The linguistic variety spoken by the secondary characters in Flight to Canada and by the slaves in Kindred makes readers aware of the language of the dispossessed Other. Butler’s and Reed’s novels were published simultaneously in Spain in 2018 and translated by Amelia Pérez de Villar and Inga Pellisa, respectively. This paper observes how translators’ choices play a key role in the portrayal of alterity in literary texts.
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Goldberg, Jesse A. "The Restored Literary Behaviors of Neo-Slave Narratives: Troubling the Ethics of Witnessing in the Excessive Present." Callaloo 40, no. 4 (2017): 57–77. http://dx.doi.org/10.1353/cal.2017.0135.

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Kamali, Leila. "The Voice, The Body, and "Letting it all Fly": Neo-Slave Narratives and the Discursive Framing of Urban America." Callaloo 40, no. 4 (2017): 137–54. http://dx.doi.org/10.1353/cal.2017.0140.

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Friedman, Gabriella. "Unsentimental Historicizing: The Neo-Slave Narrative Tradition and the Refusal of Feeling." American Literature, December 7, 2020. http://dx.doi.org/10.1215/00029831-8878542.

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Abstract Rooted partially in the US sentimental tradition, neo-slave narratives often feature lyrical language, emphasize the emotional experience of enslaved characters, and evoke the reader’s sympathy and empathy. Highlighting the use of sentimental conventions in neo-slave narratives including Alex Haley’s Roots (1976), Octavia E. Butler’s Kindred (1979), Sherley Anne Williams’s Dessa Rose (1986), Toni Morrison’s Beloved (1987), Lawrence Hill’s The Book of Negroes (2007), and M. NourbeSe Philip’s Zong! (2008), this essay explores the tension between sentimentality and the radical political goals of neo-slave narratives. This essay analyzes Colson Whitehead’s The Underground Railroad (2016) as a neo-slave narrative that rejects rather than revises sentimental conventions. The novel’s central conceit, a literal subterranean rail network, illustrates how anti-Blackness, settler colonialism, and racial capitalism interlock to materially and discursively enable the US nation-state and liberal citizenship; sentimental conventions facilitate processes of containment and capture that allow this infrastructure to function smoothly rather than disrupting it. In contrast, Underground foregrounds the prosaic over the lyrical, veils the interiority of its characters, and unsettles the reader’s desire to feel with or for the humanity of the enslaved. The novel models an alternative way of engaging slavery as an infrastructure, gesturing toward a mode of fugitive affiliation premised on acts of tangible care rather than affective identification or the possession of interiority.
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"Black women writers and the American neo-slave narrative: femininity unfettered." Choice Reviews Online 37, no. 02 (October 1, 1999): 37–0764. http://dx.doi.org/10.5860/choice.37-0764.

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Byer, Tia. "SLAVE RESISTANCE AND DECOLONIZING CARIBBEAN HISTORY IN ANDREA LEVY’S THE LONG SONG." European Journal of Literature, Language and Linguistics Studies 5, no. 1 (June 12, 2021). http://dx.doi.org/10.46827/ejlll.v5i1.260.

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Set during the final days of Slavery on the island of Jamaica, Andrea Levy’s 2010 novel, The Long Song is a neo-slave narrative that explores the nature of slave resistance and colonial historiographical control. When read through a postcolonial lens, The Long Song takes the form of a counter-discourse, where the main character of Miss July offers a corrective to the dominant white narratives of Caribbean history. This essay argues that the experience of resistance in Levy’s narrative is one of literary mimicry, analysing July’s written resistance as it answers back to and confronts the colonial narratives that disregard the oppressed individual experience from history. Levy, in reanimating the history of Jamaican slavery by aligning her text with the unheard ‘History From Below’ perspective, demonstrates and replicates the unreliable narratives orchestrated by those ‘From Above’. As such, both Levy and her fictional July employ a method of historiographic metafiction to reclaim the previously silenced voice of the Jamaican slaves that the hegemonic White Planter class seek to oppress and obliterate from historical record. <p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0751/a.php" alt="Hit counter" /></p>
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