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African Americans once passed as whites to escape the pains of
racism. Today's neo-passing has pushed the old idea of passing in
extraordinary new directions. A white author uses an Asian pen
name; heterosexuals live "out" as gay; and, irony of ironies,
whites try to pass as black. Mollie Godfrey and Vershawn Ashanti
Young present essays that explore practices, performances, and
texts of neo-passing in our supposedly postracial moment. The
authors move from the postracial imagery of Angry Black White Boy
and the issues of sexual orientation and race in ZZ Packer's short
fiction to the politics of Dave Chappelle's skits as a black
President George W. Bush. Together, the works reveal that the
questions raised by neo-passing-questions about performing and
contesting identity in relation to social norms-remain as relevant
today as in the past. Contributors: Derek Adams, Christopher M.
Brown, Martha J. Cutter, Marcia Alesan Dawkins, Michele Elam,
Alisha Gaines, Jennifer Glaser, Allyson Hobbs, Brandon J. Manning,
Loran Marsan, Lara Narcisi, Eden Osucha, Gayle Wald, and Deborah
Elizabeth Whaley
Spanning from the debut of A Raisin in the Sun on Broadway in 1959
to her early death from cancer in January 1965, Lorraine
Hansberry's short stint in the public eye changed the landscape of
American theater. With A Raisin in the Sun, Hansberry (1930-1965)
became both the first African American woman to have a play
produced on Broadway and the first to win the prestigious New York
Drama Critics' Circle Award. Resonating deeply with the aims of the
civil rights movement, Raisin also ushered in a new era of black
representation on the stage and screen, displacing the cartoonish
stereotypes that were the remnants of blackface minstrelsy in favor
of complex three-dimensional portrayals of black characters and
black life. Hansberry's public discourse in the aftermath of
Raisin's success also disrupted mainstream critical tendencies to
diminish the work of black artists, helping pave the way for future
work by black playwrights. Conversations with Lorraine Hansberry is
the first volume to collect all of her substantive interviews in
one place, including many radio and television interviews that have
never before appeared in print. The twenty-one interviews collected
here - ranging from just before the Broadway premier of A Raisin in
the Sun to less than six months before Hansberry's death - offer an
incredible window into Hansberry's aesthetic and political thought.
In these conversations, Hansberry explores many of the questions
most often put to black writers of the mid-twentieth century -
including everything from her thinking about the relationship
between art and protest, university and particularity, and realism
and naturalism, to her sense of the relationship between black
intellectuals and the black masses, integration and Black
Nationalism, and African American and Pan-African liberation. Taken
together, these interviews reveal the insight, intensity, and
eloquence that made Hansberry such a transformative figure in
American letters.
Spanning from the debut of A Raisin in the Sun on Broadway in 1959
to her early death from cancer in January 1965, Lorraine
Hansberry's short stint in the public eye changed the landscape of
American theater. With A Raisin in the Sun, Hansberry (1930-1965)
became both the first African American woman to have a play
produced on Broadway and the first to win the prestigious New York
Drama Critics' Circle Award. Resonating deeply with the aims of the
civil rights movement, Raisin also ushered in a new era of black
representation on the stage and screen, displacing the cartoonish
stereotypes that were the remnants of blackface minstrelsy in favor
of complex three-dimensional portrayals of black characters and
black life. Hansberry's public discourse in the aftermath of
Raisin's success also disrupted mainstream critical tendencies to
diminish the work of black artists, helping pave the way for future
work by black playwrights. Conversations with Lorraine Hansberry is
the first volume to collect all of her substantive interviews in
one place, including many radio and television interviews that have
never before appeared in print. The twenty-one interviews collected
here - ranging from just before the Broadway premier of A Raisin in
the Sun to less than six months before Hansberry's death - offer an
incredible window into Hansberry's aesthetic and political thought.
In these conversations, Hansberry explores many of the questions
most often put to black writers of the mid-twentieth century -
including everything from her thinking about the relationship
between art and protest, university and particularity, and realism
and naturalism, to her sense of the relationship between black
intellectuals and the black masses, integration and Black
Nationalism, and African American and Pan-African liberation. Taken
together, these interviews reveal the insight, intensity, and
eloquence that made Hansberry such a transformative figure in
American letters.
African Americans once passed as whites to escape the pains of
racism. Today's neo-passing has pushed the old idea of passing in
extraordinary new directions. A white author uses an Asian pen
name; heterosexuals live "out" as gay; and, irony of ironies,
whites try to pass as black. Mollie Godfrey and Vershawn Ashanti
Young present essays that explore practices, performances, and
texts of neo-passing in our supposedly postracial moment. The
authors move from the postracial imagery of Angry Black White Boy
and the issues of sexual orientation and race in ZZ Packer's short
fiction to the politics of Dave Chappelle's skits as a black
President George W. Bush. Together, the works reveal that the
questions raised by neo-passing-questions about performing and
contesting identity in relation to social norms-remain as relevant
today as in the past. Contributors: Derek Adams, Christopher M.
Brown, Martha J. Cutter, Marcia Alesan Dawkins, Michele Elam,
Alisha Gaines, Jennifer Glaser, Allyson Hobbs, Brandon J. Manning,
Loran Marsan, Lara Narcisi, Eden Osucha, Gayle Wald, and Deborah
Elizabeth Whaley
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