Paul Gilroy The Black Atlantic

Huxley’s deliberate and distinct separation of two cultures mirrors the separate communities occupying America today: the black city and white suburbs. Huxley’s creation of his culturally separated world projects the ethnic divide America faces in 2017. Ethan Blake, a professor at Brown University, explains that post-WWII, “White America dramatically and swiftly became suburbanized” as the Baby Boom began and popular TV shows promoted to white audiences the, “idyllically picturesque suburban lifestyle,” (Blake 43). Unfortunately, Black America continued to face “Jim Crow structural racism” while White America's dream of suburbanization “drained public municipal funding and resources” which crowded Black America into “the descent and least

This week’s reading of Roderick A. Ferguson’s Aberrations in Black: Towards a Queer of Color Critique offers a queer of color analysis that poses itself against Marxism, revolutionary nationalism, liberal pluralism and historical materialism, and opts instead for an “understanding of nation and capital as the outcome of manifold intersections that contradict the idea of liberal nation-state and capital as sites of resolution, perfection, progress and confirmation (3). By challenging some of the main complacent thinking that characterized canonical sociology, Ferguson pushes for an engagement with racial knowledge about African American culture as it was produced by American sociology if one is to fully understand the gender and sexual variations within the African American culture. One of the principle assumptions of canonical sociology is represented by its use of cultural, racial and sexual differences in the process of pathologizing African American culture. By juxtaposing canonical sociological texts from the Chicago School of Sociology with that of African American literature, Ferguson provides a genealogy of this foundational issue of imagining African American culture as sites of polymorphous gender and sexual perversions and how these perversions are in turn associated with societal and moral failings.

Furthermore, Biman Basu’s The Black Voice And The Language Of The Text: Toni Morrison’s Sula, investigates what he calls “one of the most significant developments in African American tradition…the formation of a class of intellectuals” (Article). More precisely, Basu is speaking of individuals like Morrison, who have not only broken down barriers for herself as a woman writer, but the others whom have followed in her footsteps to publish a rich tapestry of African-American literature. Furthermore, Basu’s investigates the conflict that arises when one class overtakes another stating that the conflict “on one hand, is between African-American and American Culture, and on the other, between this class of intellectuals and the ‘people’”(article).

   Our African American texts call for close examination of the status of slaves and subsequent generations of free Blacks, how they fit into American society, and their quest for and denial of the benefits of Americanism. So does one assimilate or resist? But The Melting Pot Theory is not inclusive of Blacks since the process of assimilation could not work its magic on black skin.

In its broadest dimensions Afrofuturism is an extension of the historical recovery projects that black Atlantic intellectuals have engaged in for well over two hundred years (sdonline). Black authors such as Samuel Delany, Octavia Butler, Charles Saunders, and Jewelle Gomez of the past fifty or so years have collaborated with the sci-fi world “because it so effectively captures the experience of living in a high-tech world (Yaszek 2002: 97)” which is our world today. Coupling that with a political mission, creates the activist genre of Afrofuturism. In Eshuns Further Considerations on Afrofuturism he talks about how everything we do and have is built upon the slaves and their oppressed history. Every school, bank and restaurant we have were all possible by the capital gain from the slavery era. Afrofuturism writers and works make these truths know and force readers to look into the future to see what could become. The way these works incorporate the truths of the past and possible realities for the future, categorizes it as more than just science

This idea has taken on many different forms over the past century and a half, and its discourse has evolved alongside the major works of prominent figures like W.E.B. Du Bois, Martin Delany, and Marcus Garvey. A common theme among these thinkers is the notion of historicizing the development of black culture relative to diasporic movements in the preceding centuries. However, they differ significantly in their visions and aspirations for the culture at large, as well as in their interpretations of how peoples of African descent should behave with respect to the dominant (primarily white) societies in which they live and function. In particular, earlier scholars like Du Bois tended to “sustain their faith in a partnership with white allies, wagering that [their] commitments to ‘civilization building’ ... would hasten the day when they and their race would be respected as equal partners” (Ewing 16). In contrast, Garvey, a contemporary of Locke, supported a radical agenda for African independence, and a mass migration to bring peoples of African descent back to Africa (Ewing 76).

Born with physical deformities, he was able to experience the “double-consciousness” of the American outsider as described by DuBois, and these personal experiences led him to embark on “an investigation of what Americanism may rightly mean” which culminates into a work titled “Transnational America” (Bourne 249, Transnational America 5). His argument centers around the idea that “we are all foreign-born or the descendants of foreign-born” and that America is furthered by the “strong foreign cultures” that “have struck root in a new and fertile soil” (Bourne 249, 253). There is no mention of DuBois’ “color line,” but there is mention of what can be called a “culture line.” However, to acknowledge one is to acknowledge the other, for the solution needed to shatter both is one and the same. Just as DuBois suggests that the African American has much to offer American culture in The Souls of Black Folk, Bourne advocates that American culture should not be a homogeneous melting pot of a single “Americanized” culture, but rather a heterogeneous blend of other rich and unique cultures so that “whatever American nationalism turns out to

“Representing Whiteness in the Black Imagination” written by American author, feminist and social activist, bell hooks, dissects the dichotomy of black and white culture in a westernized society. Hooks utilizes the term ‘whiteness’ throughout her piece as an acknowledgment of the domination, imperialism, colonialism, and racism that white people have asserted among black people. This discipline progressively has evolved from history; through slavery and forth, leaving an imprint in

The Unites States is a true melting pot of ethnicities and cultures. For many members of minority groups a certain hybridity is readily adopted, but for others, cultural assimilation can be quite difficult. Chicana author, Sandra Cisneros described this phenomenon as “always straddling two countries… but not belonging to either culture” (Doyle. 54). African American author, Alice Walker shared Cisneros’ sentiment, but focused her attention on the assimilation of black cultures and subcultures within the United States. Cisneros and Walker make the same poignant statement about the strains of cultural assimilation, with reconciliation of split identities as the goal, in their respective works, 1991’s “Woman Hollering Creek,” and 1973’s “Everyday Use,” yet their unique ethnic perspectives allow them to make it in surprisingly different ways.

The issue of slavery in the United States has been hotly debated for centuries. Historians continuously squabble over the causes and effects of America’s capitalistic, industrial form of slavery. But two of the most heavily discussed questions are whether the institution of slavery destroyed African culture in America, and whether it reduced slaves to a child-like state of dependency and incompetence. Anthropologist Melville Herskovits, and historian Stanley Elkins both weigh in on this debate: Herskovits with, The Myth of the Negro Past, and Elkins with, Slavery: A Problem in American Institutional and Intellectual Life. In, Slavery: A Problem in American Institutional and Intellectual Life, Elkins asserts that African culture was all but destroyed by a repression of the slaves’ rights, at the hands of their masters. He claims that complete dependence on their masters and a lack of collective cultural identity and family bonds, reduced slaves to a child-like state of helplessness and ignorance, and childish behavior called the ‘Sambo’. Herskovits takes a different stance in this debate. In, The Myth of the Negro Past, he claims that African culture was not completely destroyed by slavery, and that the ‘Sambo’ stereotype was no more than a myth or at least a gross generalization. He uses slave revolts and the persistence of African culture in American in music, dance, and language as evidence to prove this.

The African-American literary period of Realism, Naturalism, and Modernism, also referred to as the Age of Wright, was when the writers and artist would expose the realities and identities of living in America and the harshness of society. This African-American literary period would begin around the time the Great Depression ends and would end the year in the death of Richard Wright, which was 1960. One of the most notable writers of this period was, of course, Richard Wright. By his way of thinking and the way he wrote literature, “Wright [had] effectively executed his own blueprint by rejecting what Locke termed the ‘decadent aestheticism’ of Harlem Renaissance writers and by drawing on the presumably more ‘nourishing’ elixir of Marxism and social protest” (Gates, 97). Richard Wright’s Blueprint for Negro Writing appeared in the journal New Challenge that he and other African-American writers had published in 1937. Although Richard Wright’s Blueprint for Negro Writing was written before 1940, this literature work makes an excellent representation of Urban Realism. This text represents this literary period because it tells about the reality, but also the promotion of success in African-American literature by criticizing black culture and nationalism in literary works.

The 1920’s were a time of change for African Americans. They were beginning to retain a sense of pride in their background and culture, were becoming more independent socially and economically, and were becoming more militant. Part of this was because of the Great Migration, in which a proliferation of African Americans moved from the Southern states to the Northern states, and the excessive levels of racism and prejudice they faced during the process. African Americans were really starting to make their voices and identities prevalent, especially through movements like the Harlem Renaissance and Marcus Garvey’s Universal Negro Improvement Association (UNIA). This mentality of independence and militance that African Americans adopted which is represented through the actions of Ossian Sweet is what makes up the 1920s cultural construct of the “New Negro” which allowed me to understand the realness and effectiveness of cultural constructs.

Pan Africanism, in its fundamental definition, implores the black population to pursue self-dignity and self-determination in bettering their situation and becoming equal to the majority population; W.E.B. Dubois and Marcus Garvey, while both active Pan-Africanists in theory, have different goals and perspectives on the ways in which the racial problems should be approached. The central differences between Dubois and Garvey lie in their adolescent upbringings, and permeate through adulthood to form opinions about the history of colonialism and imperialism that separated society as a whole. In many ways, class structure ultimately shapes the views of a person towards themselves as well as society in general — as we compare and contrast

This essay will analyse the concept of ‘The Black Atlantic’ by sociologist Paul Gilroy. Written almost 20 years ago, it is an important concept which has been celebrated as instrumental in the re-imagining of black culture. Its framework will be examined by referencing its history and exploring some of its influences from other theorists such as Stuart Hall. Following this contextual background, its impact will be discussed on its significance to the black

Frantz Fanon’s “The Fact of Blackness,” a chapter from Black Skin, White Masks describes the anxiety felt while held in the gaze of the colonizer. A reading of Judith Butler’s Gender Trouble in conjunction with Fanon’s work raises questions and possible strategies on how to reject neocolonialism and contemporary white supremacy. Fanon’s idea of blackness is performative but not for the gain of the black man, rather for the white man. Butler suggests that regaining control of the black man’s fate comes from interpellation, the act, of interrupting the white man’s claims or ideas, or rather their misconceptions of the black man. A way of disregarding the white man’s claims is a form of rejecting that normativity, similar to Butler’s analysis of drag where one rejects normativity altogether. The black man’s lack of interpellation enhances the white man’s performativity furthering white supremacy; a way of rejecting neocolonialism that disregards societal norms.