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<Inapoi la Cuprins

 

 Corina Crisu
 

Rewriting

Polytropic Identities

in the Postmodern African American Novel

 

 

Notes

Introduction

 

1.     Jacobs’s decision to hide in a garret situated above her grandmother’s house represented a fissure in the racial system. She remained hidden for the next seven years, reading, sewing, watching her children playing in the street, and sending letters to her master, Dr. Flint, in order to confuse him that she had escaped North.

2.     By imitating the white model, nineteenth century black authors also destabilized it. The whole process of writing their slave narratives, “the process of authorship” offered the black writers “a measure of authority unknown to them in either real or fictional life” (Valerie Smith 1987, 2).

3.     See here, for example, William Wells Brown (1847), Henry Bibb (1849), Sojourner Truth (1850), Solomon Northrup (1853), Harriet Wilson (1859), Josiah Henson (1881), and others. Estimated as more than 5.000, slave narratives could flexibly include anything from a newspaper clip to an authenticated text.

4.     Wendy Harding and Jacky Martin specify in this direction: “The narratives produced by emancipated slaves and most narratives written by black authors before the 1970s were of little help since they more or less replicate dominant patterns” (1994, 153).

5.     As demonstrated by Paul Gilroy’s The Black Atlantic (1993), the Enlightenment was shaped not just by Western ideas, but also by the slave trade that was the first instance of transnational trade that allowed Western modernity to achieve its economic and cultural hegemony.

6.     See here Jerry H. Bryant’s book, Born in a Mighty Bad Land: The Violent Man in African American Folklore and Fiction (2003).

7.     As Michael Awkward cogently comments, “perhaps the dominant image in the recent creative and critical writing of Afro-American women [is] the struggle to make articulate a heretofore repressed and silenced black female story and voice” (1989 a, 1).

 

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