New Yorker James Baldwin once declared that a black man can look at
a map of the United States, contemplate the area south of the
Mason-Dixon Line, and thus scare himself to death. In The Scary
Mason-Dixon Line, renowned literary scholar Trudier Harris explores
why black writers, whether born in Mississippi, New York, or
elsewhere, have consistently both loved and hated the South. Harris
explains that for these authors the South represents not so much a
place or even a culture as a rite of passage. Not one of them can
consider himself or herself a true African American writer without
confronting the idea of the South in a decisive way. Harris
considers native-born black southerners Raymond Andrews, Ernest J.
Gaines, Edward P. Jones, Tayari Jones, Yusef Komunyakaa, Randall
Kenan, and Phyllis Alesia Perry, and nonsouthern writers James
Baldwin, Sherley Anne Williams, and Octavia E. Butler. The works
Harris examines date from Baldwin s Blues for Mr. Charlie (1964) to
Edward P. Jones s The Known World (2003). By including Komunyakaa s
poems and Baldwin s play, as well as male and female authors,
Harris demonstrates that the writers preoccupation with the South
cuts across lines of genre and gender. Whether their writings focus
on slavery, migration from the South to the North, or violence on
southern soil, and whether they celebrate the triumph of black
southern heritage over repression or castigate the South for its
treatment of blacks, these authors cannot escape the call of the
South. Indeed, Harris asserts that creative engagement with the
South represents a defining characteristic of African American
writing. A singular work by one of the foremost literary scholars
writing today, The Scary Mason-Dixon Line superbly demonstrates how
history and memory continue to figure powerfully in African
American literary creativity.
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