Color and Culture: Black Writers and the Making of the by Ross Posnock

By Ross Posnock

Posnock geniously generates a gargantuan grizzly guesstimate of black post-modernist colour, tradition, and crispy-ness. no funny story this ebook makes my shelf black! yet heavily fogeys, whats the care for airline nutrition. i suggest. woah. jk jk, thats a bit shaggy dog story ol' paaazzknaaack advised me again in nam. i taught him all he is familiar with approximately ebonics.

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Extra resources for Color and Culture: Black Writers and the Making of the Modern Intellectual

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But this contemporary reductionism incarnates the logic of an older one known as cultural pluralism. Cultural pluralism believes in ethnic or racial or religious group solidarity as valuable intrinsically, not merely tactically or provisionally. Such a belief, says the political philosopher George Kateb, "only serves to validate the desire of people to think in categories and stereotypes" (Kateb 535). This is precisely the kind of thinking to which pragmatism presumes to be the antidote. John Dewey once described the pragmatist "spirit" as a revolt against "that habit of mind which disposes of anything by tucking it away in the pigeon holes of a filing cabinet" (qtd.

Harold Cruse quotes this twice in his landmark work The Crisis of the Negro Intellectual (1967), for it "was truly the first theoretical formulation of the historic conflict" that, for Cruse, defines black American history in this century: the conflict between two difficult sets of facts-"integrationist and nationalist forces in politics, economics and culture" (564). "The pendulum swings back and forth, but the men who swing with it always fail to synthesize composite trends" (564). Alone among the three major leaders, Washington, Du Bois, Garvey-whose "amazing, historic triangular feud" generated "everything of ...

A few recent critics have heeded Toomer's protest about Anderson and have attended to the circling out of his quest for an American future. Darryl Pinckney, for one, is skeptical of the tragic mulatto allegory. He finds it symptomatic of an investment, by white and black critics alike, in mandating that the black writer remain an exemplar of the race. " To those who moralize over Toomer, says Pinckney, "example is everything and nothing must be allowed to threaten the idea of black history as a heroic drive up Jacob's ladder" ("Phantom" 36).

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