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No Safeguards, the first in a trilogy, follows Jay and his brother
Paul from childhood to young adulthood. We witness the destructive
impact of fundamentalist Christian beliefs on their mother and
father, opposition to those beliefs by the boys' grandmother and
each boy's very different response to their parents' religiosity.
This becomes even more poignant after they leave their
grandmother's comfortable home in St. Vincent to join their mother
in Montreal. The revelation that both boys are gay adds to their
sense of oppression and divides them from their mother, whose views
are shaped by the church and the theology of the Torah.
For Thomas, folklore' is an all-encompassing term that incorporates
the sum total of the rituals, practices, and behavior of the black
community. . . . Although some readers will quarrel with the
elasticity of Thomas's theoretical framework, this study
nevertheless offers a useful overview of the various ways in which
Afro-American writers have drawn upon a common cultural heritage.
Choice This study focuses on the transposition of Afro-American
folk heroes and rituals from folklore to literature. Thomas shows
how black American novelists perceive the heroes and rituals of
their community, and the challenge these writers face in making
oral forms serve the needs of their writing. The evolution of
folklore in black fiction is clearly demonstrated. Works of writers
from Charles Chesnutt and Paul Dunbar to recent ones such as Paule
Marshall and Toni Morrison are analyzed to reveal both the writers'
ability to convert folklore into fiction and to dramatize the
ontological value of the lore to Afro-American society. From
Folklore to Fiction joins in the ever enlarging dialectic for
studying and understanding the black American reality. The
introduction to this book presents a review of scholarship on
Afro-American folklore and fiction. The origins and functions of
Afro-American folk forms are covered next. Major folk heroes are
introduced, including the John Henry and black Moses, defiant
heroes, and the trickster. The techniques and reasons for
incorporating Afro-American rituals are the folk sermon, singing of
spirituals, and ecstasy of the black church, the blues, the dozens,
and jive.
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