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This study of what Brian Norman terms a neo-segregation narrative
tradition examines literary depictions of life under Jim Crow that
were written well after the civil rights movement. From Toni
Morrison's first novel, The Bluest Eye, to bestselling black
fiction of the 1980s to a string of recent work by black and
nonblack authors and artists, Jim Crow haunts the post-civil rights
imagination. Norman traces a neo-segregation narrative tradition
one that developed in tandem with neo-slave narratives by which
writers return to a moment of stark de jure segregation to address
contemporary concerns about national identity and the persistence
of racial divides. These writers upset dominant national narratives
of achieved equality, portraying what are often more elusive racial
divisions in what some would call a postracial present. Norman
examines works by black writers such as Lorraine Hansberry, Toni
Morrison, Alice Walker, David Bradley, Wesley Brown, Suzan-Lori
Parks, and Colson Whitehead, films by Spike Lee, and other cultural
works that engage in debates about gender, Black Power, blackface
minstrelsy, literary history, and whiteness and ethnicity. Norman
also shows that multiethnic writers such as Sherman Alexie and Tom
Spanbauer use Jim Crow as a reference point, extending the
tradition of William Faulkner's representations of the segregated
South and John Howard Griffin's notorious account of crossing the
color line from white to black in his 1961 work Black Like Me.
Gibbon's Decline and Fall of the Roman Empire, published between
1776 and 1788, is the undisputed masterpiece of English historical
writing which can only perish with the language itself. Its length
alone is a measure of its monumental quality: seventy-one chapters,
of which twenty-eight appear in full in this edition. With style,
learning and wit, Gibbon takes the reader through the history of
Europe from the second century AD to the fall of Constantinople in
1453 - an enthralling account by 'the greatest of the historians of
the Enlightenment'. This edition includes Gibbon's footnotes and
quotations, here translated for the first time, together with brief
explanatory comments, a precis of the chapters not included, 16
maps, a glossary, and a list of emperors.
Brian Norman uncovers a curious phenomenon in American
literature: dead women who nonetheless talk. These characters
appear in works by such classic American writers as Poe, Dickinson,
and Faulkner as well as in more recent works by Alice Walker, Toni
Morrison, Tony Kushner, and others. These figures are also emerging
in contemporary culture, from the film and best-selling novel "The
Lovely Bones "to the hit television drama "Desperate
Housewives."
"Dead Women Talking" demonstrates that the dead, especially
women, have been speaking out in American literature since well
before it was fashionable. Norman argues that they voice concerns
that a community may wish to consign to the past, raising questions
about gender, violence, sexuality, class, racial injustice, and
national identity. When these women insert themselves into the
story, they do not enter precisely as ghosts but rather as
something potentially more disrupting: posthumous citizens. The
community must ask itself whether it can or should recognize such a
character as one of its own. The prospect of posthumous citizenship
bears important implications for debates over the legal rights of
the dead, social histories of burial customs and famous cadavers,
and the political theory of citizenship and social death.
Earth, 2212: The novel, third in the Against The Machine trilogy,
yet free standing on its own, tells of a dystopian society in the
midst of catastrophic climate change. Billions have died. The
minority of people remaining inhabit the MEGs, former cities
transformed by technology into huge protective domes; outside is
the MASS living by subsistence. All seems well for those in the
CORPORATE. It is not. With worsening climate, the MASS increasingly
restive and their AI Silicons becoming sentient, those at the top
have concocted a final solution: to leave Earth for Alpha Centauri,
destroying the planet in their wake. Four protagonists, each from
separate segments of this world, come together to attempt to
prevent the plan. By the end they have managed to alter the
human/machine interface, so changing human evolution.
Brian Norman uncovers a curious phenomenon in American
literature: dead women who nonetheless talk. These characters
appear in works by such classic American writers as Poe, Dickinson,
and Faulkner as well as in more recent works by Alice Walker, Toni
Morrison, Tony Kushner, and others. These figures are also emerging
in contemporary culture, from the film and best-selling novel "The
Lovely Bones "to the hit television drama "Desperate
Housewives."
"Dead Women Talking" demonstrates that the dead, especially
women, have been speaking out in American literature since well
before it was fashionable. Norman argues that they voice concerns
that a community may wish to consign to the past, raising questions
about gender, violence, sexuality, class, racial injustice, and
national identity. When these women insert themselves into the
story, they do not enter precisely as ghosts but rather as
something potentially more disrupting: posthumous citizens. The
community must ask itself whether it can or should recognize such a
character as one of its own. The prospect of posthumous citizenship
bears important implications for debates over the legal rights of
the dead, social histories of burial customs and famous cadavers,
and the political theory of citizenship and social death.
This study of what Brian Norman terms a neo-segregation narrative
tradition examines literary depictions of life under Jim Crow that
were written well after the civil rights movement. From Toni
Morrison's first novel, "The Bluest Eye," to bestselling black
fiction of the 1980s to a string of recent work by black and
nonblack authors and artists, Jim Crow haunts the post-civil rights
imagination. Norman traces a neo-segregation narrative
tradition--one that developed in tandem with neo-slave
narratives--by which writers return to a moment of stark de jure
segregation to address contemporary concerns about national
identity and the persistence of racial divides. These writers upset
dominant national narratives of achieved equality, portraying what
are often more elusive racial divisions in what some would call a
postracial present. Norman examines works by black writers such as
Lorraine Hansberry, Toni Morrison, Alice Walker, David Bradley,
Wesley Brown, Suzan-Lori Parks, and Colson Whitehead, films by
Spike Lee, and other cultural works that engage in debates about
gender, Black Power, blackface minstrelsy, literary history, and
whiteness and ethnicity. Norman also shows that multiethnic writers
such as Sherman Alexie and Tom Spanbauer use Jim Crow as a
reference point, extending the tradition of William Faulkner's
representations of the segregated South and John Howard Griffin's
notorious account of crossing the color line from white to black in
his 1961 work "Black Like Me."
Drawing on feminist and multicultural studies and movements, Brian
Norman explains how the American protest essay brings particular
experiences of exclusion into direct conversation with beliefs in
universal equality to offer a story of national belonging that is
able to address, rather than repress, division.
Examines racial segregation in literature and the cultural legacy
of the Jim Crow era.
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