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Journal articles on the topic 'Scottish Americans in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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1

Zinnatullina, Zulfiya R. "The ‘Internal’ Other in John Fowles’s Works." Вестник Пермского университета. Российская и зарубежная филология 14, no. 4 (2022): 85–93. http://dx.doi.org/10.17072/2073-6681-2022-4-85-93.

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The problem of the national is among the main ones in works by English writer John Fowles. This can be seen both in his fiction works and essays. This article discusses the role of the image of the ‘internal’ Other in the process of building his concept of ‘Englishness’. In his essay On Being English but Not British, the writer analyzes the relations between Englishmen and the inhabitants of Wales, Scotland, and Northern Ireland, and puts the latter on a par with Australians and Americans, however, pointing out their interdependence with the English. The Welshmen Henry Breasley and David Jones act as the ‘internal’ Other in The Ebony Tower and A Maggot. They are endowed with typical Welsh characteristics such as a penchant for drinking, greed, and cunning. Both characters are presented through the perception of English characters, which allows the author to play with the stereotypes about the Welsh circulating among the English. There is an Irishman Dr. Grogan in the novel The French Lieutenant’s Woman. The protagonist Charles Smithson also attributes to him traits of the Irish national character such as talkativeness, foolishness, frivolity. At the same time, Grogan acts as a kind of arbiter, trying to explain the behavior of the characters from a scientific point of view. In Daniel Martin, actress Jenny appeals to her Scottish roots, but she does not take it seriously. That is why the main character also endows her with stereotypical features. However, she subsequently abandons them for the sake of ‘Americanness’, thus losing her identity. ‘Internal’ Others do not play a significant role in the writer’s conception of national identity. The writer focuses on the English characters, making the internal ‘others’ a kind of backdrop for them.

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2

WHYTE, C. "MASCULINITIES IN CONTEMPORARY SCOTTISH FICTION." Forum for Modern Language Studies XXXIV, no. 3 (July 1, 1998): 274–85. http://dx.doi.org/10.1093/fmls/xxxiv.3.274.

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3

Miller, Gavin. "Scottish science fiction: writing Scottish literature back into history." Études écossaises, no. 12 (April 30, 2009): 121–33. http://dx.doi.org/10.4000/etudesecossaises.197.

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4

Martynenko, Ekaterina A. "Emblems of Scotland in Alasdair Gray’s Fiction." Proceedings of Southern Federal University. Philology 25, no. 3 (September 30, 2021): 102–13. http://dx.doi.org/10.18522/1995-0640-2021-3-102-113.

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Alasdair Gray is one of the most influential post-war Scottish writer along with Muriel Spark, Robin Jenkins, and James Kelman. He is wellknown not only as a contemporary novelist, intellectual, and esthete but also as a political activist and a Scottish independence supporter. Although his novels are written exclusively in English, they are characterized with a strong national flavor and are inspired by the ideas of the eminent Scottish scientists, philosophers, and community leaders. The article dwells on the analysis of Scottish national emblem in Alasdair Gray’s fiction. This emblem manifests itself through female nation figures, which were first used in Scottish nationalist discourse by Hugh MacDiarmid and Lewis Grassic Gibbon during the period of Scottish Literary Renaissance. One of the most recurrent themes in Alasdair Gray’s fiction are female suffering and entrapment, which serve as political allegories of the national inferiority complex («Scottish cringe») and subordinate position within the United Kingdom. Thus, the writer strives to include Scotland into the post-colonial framework. In order to re-imagine Scottish nation figure Alasdair Gray addresses both the literary tradition and the latest feminist ideas of his time. Unlike other contemporary Scottish writers who tend to present this figure as a passive victim of political injustice, Alasdair Gray intentionally makes her initiative and active non-victim. She is also constructed as a female monster, which alludes to discrepancy between country’s rich history and its «young» parliament.

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5

Plain, Gill. "Theme Issue: Scottish Crime Fiction: Introduction." Clues: A Journal of Detection 26, no. 2 (January 1, 2008): 5–9. http://dx.doi.org/10.3172/clu.26.2.5.

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6

Thomson, Alex. "Review: Scottish Fiction by Kelman and Gray." Scottish Affairs 58 (First Serie, no. 1 (February 2007): 111–17. http://dx.doi.org/10.3366/scot.2007.0007.

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7

Hubbard, Tom. "Review: Scottish Fiction and the British Empire." Scottish Affairs 64 (First Serie, no. 1 (August 2008): 149–52. http://dx.doi.org/10.3366/scot.2008.0040.

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8

Crickmar, Marta. "Tartan Polonaise: Scottish Crime Fiction in Poland." Glottodidactica. An International Journal of Applied Linguistics 41, no. 1 (January 1, 2014): 89. http://dx.doi.org/10.14746/gl.2014.41.1.6.

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9

Blethen, H. Tyler, and Celeste Ray. "Highland Heritage: Scottish Americans in the American South." Journal of Southern History 68, no. 4 (November 2002): 933. http://dx.doi.org/10.2307/3069793.

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10

Battershell, Gary, and Celeste Ray. "Highland Heritage: Scottish Americans in the American South." Arkansas Historical Quarterly 60, no. 4 (2001): 443. http://dx.doi.org/10.2307/40038266.

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11

McCORMACK, PATRICIA A. "Highland Heritage: Scottish Americans in the American South." American Anthropologist 106, no. 3 (September 2004): 631–32. http://dx.doi.org/10.1525/aa.2004.106.3.631.2.

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12

Van Vugt, William E. "Highland Heritage: Scottish Americans in the American South." Journal of American Ethnic History 21, no. 3 (April 1, 2002): 88–89. http://dx.doi.org/10.2307/27502860.

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13

Baker, Timothy C. "Perpetual Vanishing: Animal Lives in Contemporary Scottish Fiction." Humanities 8, no. 1 (January 14, 2019): 12. http://dx.doi.org/10.3390/h8010012.

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Animals, writes Akira Mizuta Lippit, ‘exist in a state of perpetual vanishing’: they haunt human concerns, but rarely appear as themselves. This is especially notable in contemporary Scottish fiction. While other national literatures often reflect the ‘animal turn’ in contemporary theory, the number of twenty-first-century Scottish novels concerned with human–animal relations remains disproportionately small. Looking at a broad cross-section of recent and understudied novels, including Mandy Haggith’s Bear Witness (2013), Ian Stephen’s A Book of Death and Fish (2014), Andrew O’Hagan’s The Life and Opinions of Maf the Dog, and of His Friend Marilyn Monroe (2010), Malachy Tallack’s The Valley at the Centre of the World (2018), James Robertson’s To Be Continued (2016), and Sarah Hall’s The Wolf Border (2015) highlights the marginalisation of both nonhuman animals and texts centred on them. The relative absence of engagement with animal studies in Scottish fiction and criticism suggests new opportunities for reevaluating the formulation of environmental concerns in a Scottish context. By moving away from the unified concepts of ‘the land’ to a perspective that includes the precarious relations between humans, nonhuman animals, and their environment, these texts highlight the need for greater, and more nuanced, engagement with fictional representations of nonhuman animals.

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14

Timothy C. Baker. "Scottish Utopian Fiction and the Invocation of God." Utopian Studies 21, no. 1 (2010): 91. http://dx.doi.org/10.5325/utopianstudies.21.1.0091.

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15

Macdonald, Graeme. "Scottish Extractions. ‘Race’ and Racism in Devolutionary Fiction." Orbis Litterarum 65, no. 2 (April 2010): 79–107. http://dx.doi.org/10.1111/j.1600-0730.2009.00977.x.

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16

Reitemeier, Frauke, and Kirsten Sandrock. "34. Crimelights: Scottish Crime Fiction – Then and Now." English and American Studies in German 2015, no. 1 (November 1, 2015): 49–50. http://dx.doi.org/10.1515/east-2016-0035.

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17

Timothy C. Baker. "Scottish Utopian Fiction and the Invocation of God." Utopian Studies 21, no. 1 (2010): 91–117. http://dx.doi.org/10.1353/utp.0.0009.

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18

Aliaga-Lavrijsen, Jessica. "Transcending the Scottish Postmodern City: Ken MacLeod’s Future Urban Geographies." Complutense Journal of English Studies 29 (September 16, 2021): 45–53. http://dx.doi.org/10.5209/cjes.68364.

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A place cannot exist if it has not been imagined, if it has not been perceived, as Alasdair Gray famously stated. Scottish Science Fiction goes a step further by emphasizing the need not only to recognise and represent Scottish places, but also to recreate and to re-imagine them in its possible futures. To (re-)imagine Scotland and its places means also to envision its potential spaces. Ken MacLeod is one of the figures who has successfully managed to set Scotland on the Science Fiction map. His novels Intrusion (2012) and Descent (2014) are remarkable examples of what some critics have called ‘Transmodern fiction’. Both are set in urban Scotland in the near-future and they portray new configurations of place. My analysis will focus on the interconnectedness of place as presented in both novels, creating a new territory that transcends the Scottish Postmodern urban geographies. In MacLeod’s fiction, a Transmodern urban place is conceived, where the glocal and the virtual meet in a new multifold reality without ever losing its local specificity

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19

Michel Mondenessi, Alfredo. ""Stands Scotland Where it did?": Re-locating and Dis-locating the Scottish Play on Scottish Film." Anuario de Letras Modernas 14 (July 31, 2009): 33–49. http://dx.doi.org/10.22201/ffyl.01860526p.2008.14.671.

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Shakespeare’s Macbeth is a problematic fiction of 11th century Scotland constructed from the viewpoint of an early modern English playwright, chiefly through his reading of a black legend that developed over 400 years of violent re-arrangement of national powers and cultural and political identities in Great Britain. Given the questionable but common expectations of “realism” that cinema often invites, films of the play purporting to be "faithful to the original" have attempted to locate — or more significantly and accurately, to re-locate — Shakespeare’s fiction in "authentic" settings. A version of the "Scottish play" making such a claim was filmed by director Jeremy Freeston in Scotland in 1996. Using contrasting perspectives, on the one hand this paper explores how, when viewed merely from a "theoretical/filmic" approach, Freeston’s Macbeth may very likely be found "foul", while on the other, if approached from a broader, "cultural", stand, it turns out rather "fair".

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20

McCabe, Tahitia L. "Americans and Return Migrants in the 1881 Scottish Census." Genealogy 1, no. 3 (July 15, 2017): 16. http://dx.doi.org/10.3390/genealogy1030016.

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21

Rodríguez González, Carla. "Contemporary Scottish Urban Fiction (2000-2020): Space, Emotions, Identity." Complutense Journal of English Studies 29 (September 16, 2021): 1–5. http://dx.doi.org/10.5209/cjes.77954.

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22

Palmer, P. "Scottish Women's Gothic and Fantastic Writing: Fiction since 1978." Contemporary Women's Writing 6, no. 3 (September 20, 2012): 286–87. http://dx.doi.org/10.1093/cww/vps016.

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23

Pardini, Samuele F. S. "Intersecting Diasporas: Italian Americans and Allyship in US Fiction." Italian American Review 12, no. 1 (January 1, 2022): 146–48. http://dx.doi.org/10.5406/26902451.12.1.07.

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24

Martynenko, Ekaterina А. "GENDERED ALLEGORIES OF THE SCOTTISH NATION IN ALASDAIR GRAY’S FICTION." Proceedings of Southern Federal University. Philology 26, no. 1 (March 20, 2022): 157–68. http://dx.doi.org/10.18522/1995-0640-2022-1-157-168.

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Being an ardent patriot and Scottish nationalist Alasdair Gray has created a whole gallery of national allegories in his fiction. Until recently, researchers’ attention (K. Stirling, I. Platt, C. Blomeley) has been mainly focused on female national figures. Nevertheless, one of the basic categories of Scottish cultural identity has always been masculinity rather than femininity. Consequently, the key cultural trope of national literature is considered the “hard man”. The aim of this research is to provide a comprehensive analysis of male characters in A. Gray’s fiction based on J. Homberg-Schramm’s classification of national masculinity types: traditional man, compensatory man, and the man in transition. In his novels, traditional masculinity is associated with the generation of “fathers”, and is hugely criticized as a relic of the past. Toxic masculinity is embodied in the figures of “justified sinners” (misfits, and men suffering from mental disorders) whose viciousness results from colonial trauma. In order to fight degrading national stereotypes A. Gray has produced a number of positive images of male characters who, interestingly enough, serve as an illustration of writer’s changing views on Scottish masculinity. The given article may be of special interest to scholars whose expertise lies in the area of contemporary British fiction as well as Postcolonial and Gender Studies.

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25

Dossena, Marina. "Vocative and diminutive forms in Robert Louis Stevenson’s fiction: A corpus-based study." International Journal of English Studies 12, no. 2 (December 1, 2012): 1. http://dx.doi.org/10.6018/ijes/2012/2/161721.

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This paper takes a corpus-based approach to the study of vocative and diminutive forms in the prose fiction and drama of the Scottish author Robert Louis Stevenson. In such texts, the coexistence, and indeed the coalescence, of Scots and (Scottish Standard) English is one of the most important traits in their author’s distinctive style. The aim is to assess whether the use of diminutive forms together with vocative ones may constitute a syntactic unit in which semantic and pragmatic values are mutually reinforced. In addition to a specially-compiled corpus of Stevenson’s texts, the investigation will consider occurrences of the same structure in the imaginative prose section of the <em>Corpus of Modern Scottish Writing</em>, which will be used as a control corpus.

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26

Nicholson, Colin, and Penny Fielding. "Writing and Orality: Nationality, Culture, and Nineteenth-Century Scottish Fiction." Modern Language Review 93, no. 3 (July 1998): 798. http://dx.doi.org/10.2307/3736526.

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27

Carruthers, Gerard. "Scottish Fiction and the British Empire by Douglas S. Mack." Modern Language Review 103, no. 1 (2008): 199–200. http://dx.doi.org/10.1353/mlr.2008.0319.

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28

Perkins, Pam. "A taste for Scottish fiction: Christian Johnstone'sCook and housewife's manual." European Romantic Review 11, no. 2 (March 2000): 248–58. http://dx.doi.org/10.1080/10509580008570114.

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29

Moffat, Kirstine. "The Poetry and Fiction of Scottish Settlers in New Zealand." Immigrants & Minorities 30, no. 1 (March 2012): 59–77. http://dx.doi.org/10.1080/02619288.2011.651331.

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30

Farrell, Maureen A. "The figure of the empowered child in Scottish children's fiction." New Review of Children's Literature and Librarianship 10, no. 2 (November 2004): 141–54. http://dx.doi.org/10.1080/1361454042000312266.

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31

Barone, Dennis. "Machines are Us: Joseph Papaleo and the Literature of Sprawl." Forum Italicum: A Journal of Italian Studies 42, no. 1 (March 2008): 99–113. http://dx.doi.org/10.1177/001458580804200106.

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This essay examines the work of Italian American fiction writer Joseph Papaleo in the context of suburbanization, globalization, and ethnic heritage and identity. In doing so I demonstrate that Papaleo's fiction provides understanding of how Italian Americans have looked at Italy as they experienced the alienation of a consumer culture. Papaleo's fiction presents a mixed nostalgia for what Italy represents and recognition that it, too, like the United States, confronts continuous auto-dependent sprawl. Papaleo adds a suburban focus to the more frequently urban-centered literature of Italian Americans and he adds an ethic perspective to the predominantly Anglo American literature of the suburbs. His 1970 novel Out of Place depicts a materially successful Italian American, Gene Santoro, who cannot fill a deeper spiritual need in either the United States or Italy.

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32

Berry, M. Victoria. "Highland Heritage: Scottish Americans in the American South (review)." Southeastern Geographer 41, no. 2 (2001): 312–13. http://dx.doi.org/10.1353/sgo.2001.0005.

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33

Archuleta, Elizabeth, and Maurice Kenny. "Stories for a Winter's Night: Short Fiction by Native Americans." World Literature Today 75, no. 2 (2001): 408. http://dx.doi.org/10.2307/40156730.

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34

Mackie, Alan, and Euan Hague. "‘The UK's strength is that everybody's in’: Scottish-American Reactions to the 2014 Independence Referendum." Scottish Affairs 24, no. 4 (November 2015): 476–85. http://dx.doi.org/10.3366/scot.2015.0098.

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To explore US perspectives on the 2014 Independence Referendum, we assessed media coverage of the campaign and newspaper editorials, pairing these commentaries with interviews of Scottish-Americans conducted in the month immediately following the vote. Many in the United States perceived the referendum to be a model of participatory democracy, and recognized the complex issues that faced Scottish voters. In common with those in Scotland, economic concerns were primary, but added to these was an assessment of the USA's military relationship with the UK. We conclude by suggesting that American awareness of current Scottish politics was enhanced by the referendum campaign and discussions of it within the diaspora community.

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35

Bubíková, Šárka. "Ethnicity and Social Critique in Tony Hilleman’s Crime Fiction." Prague Journal of English Studies 5, no. 1 (July 1, 2016): 141–58. http://dx.doi.org/10.1515/pjes-2016-0008.

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Abstract American mystery writer Tony Hillerman (1925-2008) achieved wide readership both within the United States and abroad, and, significantly, within the US both among white Americans and Native Americans. This article discusses Hillerman’s detective fiction firstly within the tradition of the genre and then focuses on particular themes and literary means the writer employs in order to disseminate knowledge about the Southwestern nations (tribes) among his readers using the framework of mystery (crime) fiction. Hillerman’s two literary detectives Lieutenant Joe Leaphorn and Sergeant Jim Chee, both of the Navajo Tribal Police, are analyzed and contrasted with female characters. Finally, the article analyzes the ways in which Hillerman makes the detectives’ intimate knowledge of the traditions, beliefs and rituals of the southwestern tribes and of the rough beauty of the landscape central to the novels’ plots, and how he presents cultural information.

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36

Leishman, David. "A Parliament of Novels: the Politics of Scottish Fiction 1979-1999." Revue française de civilisation britannique XIV, no. 1 (January 2, 2006): 123–36. http://dx.doi.org/10.4000/rfcb.1175.

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37

Norquay, Glenda, and Gerry Smyth. "Waking up in a Different Place: Contemporary Irish and Scottish Fiction." Irish Review (1986-), no. 28 (2001): 28. http://dx.doi.org/10.2307/29736042.

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38

Scott, Jeremy. "Talking Back at the Centre: Demotic Language in Contemporary Scottish Fiction." Literature Compass 2, no. 1 (January 2005): **. http://dx.doi.org/10.1111/j.1741-4113.2005.00148.x.

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39

Johnson, Phylis West. "Alter Ego reveals the future metaverse: Reality is fiction." Journal of Gaming & Virtual Worlds 14, no. 3 (October 1, 2022): 331–34. http://dx.doi.org/10.1386/jgvw_00065_3.

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In fall, Americans were introduced to the first network game show employing virtual reality, aptly titled Alter Ego. Its premise, spinning off several prior reality shows, gave music performers opportunities to compete nationally, but this time contestants assumed the persona of an Alter Ego.

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40

Tosko, Michael. "Shape-Shifting: Images of Native Americans in Recent Popular Fiction (review)." American Indian Quarterly 25, no. 3 (2001): 484–86. http://dx.doi.org/10.1353/aiq.2001.0054.

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41

Crawford, Robert. "Writing and Orality: Nationality, Culture, and Nineteenth-Century Scottish Fiction. Penny Fielding." Modern Philology 96, no. 3 (February 1999): 399–402. http://dx.doi.org/10.1086/492775.

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42

Adami, Valentina. "The Pedagogical Value of Young-Adult Speculative Fiction: Teaching Environmental Justice through Julie Bertagna’s Exodus." Pólemos 13, no. 1 (April 24, 2019): 127–47. http://dx.doi.org/10.1515/pol-2019-0007.

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Abstract The environmental crisis is one of the most pressing societal concerns today. Speculative fiction frequently questions current political, legal and cultural attitudes by portraying future scenarios in which some ecological disaster has changed the world order. Scottish children’s author Julie Bertagna has given her contribution to these speculations on the consequences of letting current trends in environmental behaviour continue unchallenged with her young-adult novel Exodus (2002), part of a trilogy continued in 2007 with Zenith and completed in 2011 with Aurora. This paper explores the pedagogical value of young-adult speculative fiction and examines Bertagna’s survival narrative as a questioning of environmental justice, in the light of contemporary theories on young-adult fiction, ecocriticism and human rights.

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43

Scheibach, Michael. "Faith, Fallout, and the Future: Post-Apocalyptic Science Fiction in the Early Postwar Era." Religions 12, no. 7 (July 10, 2021): 520. http://dx.doi.org/10.3390/rel12070520.

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In the early postwar era, from 1945 to 1960, Americans confronted a dilemma that had never been faced before. In the new atomic age, which opened with the atomic bombings of Hiroshima and Nagasaki, Japan, in August 1945, they now had to grapple with maintaining their faith in a peaceful and prosperous future while also controlling their fear of an apocalyptic future resulting from an atomic war. Americans’ subsequent search for reassurance translated into a dramatic increase in church membership and the rise of the evangelical movement. Yet, their fear of an atomic war with the Soviet Union and possible nuclear apocalypse did not abate. This article discusses how six post-apocalyptic science fiction novels dealt with this dilemma and presented their visions of the future; more important, it argues that these novels not only reflect the views of many Americans in the early Cold War era, but also provide relevant insights into the role of religion during these complex and controversial years to reframe the belief that an apocalypse was inevitable.

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44

Smith, Andrew. "Imaginative Knowledge: Scottish Readers and Nigerian Fictions." African Research & Documentation 83 (2000): 23–36. http://dx.doi.org/10.1017/s0305862x00016216.

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I must admit that my initial reaction on seeing the book was a sinking feeling. I felt that of all the books chosen that was the one I really had no inclination whatsoever to read. It may sound insular, but I am not interested in Africa.This paper is based upon the responses of a group of Scottish readers to Chinua Achebe's novel, Things Fall Apart (1958). For almost all of the readers this represented their first encounter with African fiction. As the preceding quotation makes clear, it was not one that they had solicited and for some at least, it was not one that they relished.The encounter came about as part of a pre-access course taught under the auspices of the Adult Education Department of Glasgow University. The course ran on two occasions in Stranraer and on one occasion in the Gorbals, a residential area on the south side of the Clyde.

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45

Bruna, Giulia. "Ian Maclaren's Scottish Local-Colour Fiction in Transnational Contexts: Networks of Reception, Circulation, and Translation in the United States and Europe." Translation and Literature 30, no. 3 (November 2021): 307–31. http://dx.doi.org/10.3366/tal.2021.0479.

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This article analyses the early circulation, reception, and translation history of Ian Maclaren's bestselling Scottish local-colour fiction in the United States, the Netherlands, France, and Switzerland. It sketches a comparative model which illuminates the agents of transnational cultural mediation crucial to the international popularity of local-colour fiction in the late nineteenth century. In the USA, key factors for Maclaren's popularity were the interconnected transatlantic publishing world and audiences already receptive to dialect literature. In Europe, while the bestselling quality of his collections and readers’ previous familiarity with regional fiction played a significant role, additional factors included: in the Netherlands, Maclaren's clerical background and the place of established religion in publishing; in France and Switzerland, periodicals attentive to international trends in fiction and to internal regionalist phenomena, along with the initiative of a translator with a flair for Breton regionalism and well connected to the Swiss and Parisian literary milieux.

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46

Williams, K. "Scottish Highlanders and Native Americans: Indigenous Education in the Eighteenth-Century Atlantic World." Ethnohistory 55, no. 4 (October 1, 2008): 673–74. http://dx.doi.org/10.1215/00141801-2008-018.

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47

Dowd, Gregory Evans. ":Scottish Highlanders and Native Americans: Indigenous Education in the Eighteenth‐Century Atlantic World." American Historical Review 113, no. 4 (October 2008): 1124–25. http://dx.doi.org/10.1086/ahr.113.4.1124.

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48

Glasson, Travis. "Scottish Highlanders and Native Americans: Indigenous Education in the Eighteenth-Century Atlantic World." Western Historical Quarterly 40, no. 1 (February 2009): 82–83. http://dx.doi.org/10.1093/whq/40.1.82.

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49

Jacobs, Margaret. "Scottish Highlanders and Native Americans: Indigenous Education in the Eighteenth-Century Atlantic World." Journal of American Ethnic History 28, no. 4 (July 1, 2009): 137–38. http://dx.doi.org/10.2307/40543479.

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50

Adamik, Verena. "Making worlds from literature: W.E.B. Du Bois’s The Quest of the Silver Fleece and Dark Princess." Thesis Eleven 162, no. 1 (February 2021): 105–20. http://dx.doi.org/10.1177/0725513621993308.

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While W.E.B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), is set squarely in the USA, his second work of fiction, Dark Princess: A Romance (1928), abandons this national framework, depicting the treatment of African Americans in the USA as embedded into an international system of economic exploitation based on racial categories. Ultimately, the political visions offered in the novels differ starkly, but both employ a Western literary canon – so-called ‘classics’ from Greek, German, English, French, and US American literature. With this, Du Bois attempts to create a new space for African Americans in the world (literature) of the 20th century. Weary of the traditions of this ‘world literature’, the novels complicate and begin to decenter the canon that they draw on. This reading traces what I interpret as subtle signs of frustration over the limits set by the literature that underlies Dark Princess, while its predecessor had been more optimistic in its appropriation of Eurocentric fiction for its propagandist aims.

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