In this first book-length study of Charles Johnson's work, Jonathan Little offers an engaging account of the artistic growth of one of the most important contemporary African American writers. From his beginnings as a political cartoonist through his receipt of the National Book Award for Middle Passage, Johnson's imagination has become increasingly spiritual. Little draws upon a wide array of sources, including short stories, interviews, reviews, articles, and cartoons, as he traces the brilliant achievement of this provocative artist who is very much at the height of his career. Charles Johnson's Spiritual Imagination begins with an analysis of Johnson's political cartoons from the late sixties and early seventies, when he was immersed in the Black Power Movement. Little shows that in these early cartoons one can already see Johnson's comic genius and his quest for unconstrained artistic freedom even when dealing with the highly charged issues of racial politics. By examining how Johnson incorporates the influences of phenomenology, Zen Buddhism, Taoism, Hinduism, and Romanticism into a strikingly original perspective on individual and social identity, Little chronicles Johnson's development. The book illuminates the progression of Johnson's aesthetics as he deals with the at times disturbing contrast between the hope offered by art and spirituality and the harsh realities of African American existence. As he situates Johnson within the tradition of African American literature, Little pairs each of his novels with a major precursor, including novels by Richard Wright and Ralph Ellison, and such far-ranging sources as Hermann Hesse's Siddhartha and the Ten Oxherding Pictures. These comparisons help to show Johnson's innovations within the African American literary tradition and include discussions of naturalism, realism, and modernism. This book will appeal to anyone interested in African American literature, spirituality, aesthetics, and the culture wars.

Understanding Charles Johnson offers a critical introduction to the fiction of one of the most highly acclaimed contemporary writers and the first African American male since Ralph Ellison to win the National Book Award, which Johnson received in 1990 for Middle Passage. In addition to providing a biographical sketch, Gary Storhoff analyzes Johnson's four novels and two volumes of short stories. Describing his body of work as unique in American fiction, Storhoff explains how philosophical and religious orientations differentiate Johnson's writings and challenge his readers. Storhoff explores the merging of Johnson's philosophical and spiritual interests with his concern for African American culture. In identifying the literary principles of Johnson's texts, Storhoff emphasizes the writer's commitment to Buddhism and demonstrates its impact on his themes, characters, narratives, and rhetoric. Suggesting that Buddhism is the linchpin of Johnson's work, Storhoff acknowledges that scholars and critics are aware of Johnson's close association with the tradition but provides readers with what they need to appreciate fully its importance in his work. which includes a Ph.D. in the subject. Storhoff explicates the influence of the British empiricists, including Bishop George Berkeley, on the novelist; his rejection of relativism and utilitarianism; his adaptation of Aristotelian ethics; and his ambivalent treatment of American pragmatism as recently propounded by Cornel West. Johnson emerges from Storhoff's discussion as a profoundly eclectic, sophisticated, interdisciplinary writer, with complex views on race relations in the twenty-first century.

"This is truly a major contribution to African American literary criticism, and it promises to elevate Johnson to the place in the literary firmament he so richly deserves." -- Henry Louis Gates, Jr., Harvard University Charles Johnson came of age during the Black Arts Movement of the 1960s and 1970s. His fiction bears the imprint of his formal training as a philosopher and his work as a journalist and cartoonist with a well-honed interest in political satire. Mentored by the American writer John Gardner, Johnson is preoccupied with questions of morality, which are informed by his knowledge of Continental and Asian philosophical traditions. In this book, Rudolph Byrd examines Johnson's four novels -- Faith and the Good Thing, Oxherding Tale, Middle Passage (National Book Award Winner), and Dreamer -- under the rubric of philosophical black fiction, as art that interrogates experience. Byrd contends that Johnson suspends, shelves, and brackets all presuppositions regarding African American life. This bracketing accomplished, the African American experience becomes a pure field of appearances within two poles: consciousness and the people or phenomena to which it is related. Johnson's principal themes are identity and liberation. Intent upon the liberation of perception, for the reader and the writer, Johnson's fiction aims at "whole sight," encompassing a plurality of meanings across a symbolic geography of forms, texts, and traditions from within the matrix of African American life and culture. And like a palimpsest, Johnson's texts contain multiple layers of meaning of disparate origins imprinted over time with varying degrees of visibility and significance. Charles Johnson's Novels will appeal to fans of the writer's work, but it also will serve as a helpful guide for readers newly introduced to this brilliant contemporary American writer.

A fearless experimenter and one of the most important contemporary American writers, Charles Johnson challenges separatist politics and tries to get beyond race as a literary category. In Charles Johnson's Fiction, William R. Nash emphasizes and explores the tensions in Johnson's work between his ideal of race as illusion and his methods of articulating racial grievance. Nash examines Johnson's short stories, novels--Faith and the Good Thing, Oxherding Tale, Middle Passage, and Dreamer--and the nonfiction work Being and Race. Tracing the themes of Johnson's political and artistic concerns as they evolved in his work, Nash locates his fascination with the aesthetics of the Black Arts Movement and his dismissal of separatist black politics and racialist thought. He also considers Johnson's adoption of Western and Eastern philosophies and belief that race is a blinding, limiting category that impedes the exploration of individual and collective identity. In formulating a mode of expression that balances the conflicting demands of race and aesthetics, Johnson crafts a new vision of history and African American identity that signifies on a range of black and white literary predecessors, including Zora Neale Hurston, Theodore Dreiser, Ralph Waldo Emerson, Ralph Ellison, James Baldwin, and Herman Melville. Nash argues that Johnson's hybrid philosophy of Buddhism and phenomenology defies the basic premises of identity formation and leads to the perception of a different self. Juxtaposed with jarring storylines of racial injustice, Johnson's notion that race is an illusion informs his aesthetic, promotes his strategies for battling oppression, and reminds readers what African Americans have already overcome in the quest to cultivate new visions of identity. Charles Johnson's Fiction also includes eight of Johnson's cartoons published in Black Humor and Half-Past Nation Time in the early 1970s.

In a letter to Boccaccio, Petrarch extolled the virtue of poetry and letters for promoting an understanding of both human nature and morals. The letter was designed to console him after hearing a prediction that he was soon to die and that he ought to renounce poetry. The prophecy came from an elder renowned for his piety, but Petrarch admonished that too often dishonesty and fraud are couched in religious sentiments. Nothing, not even death, according to Petrarch, ought to divert us from literature. For Petrarch, Virgil was the source for understanding how literary studies not only promote eloquence, but enhance morals. If anything, literature dispels the fear of death. The claims of this volume is that it may be the case that the virtuous life can be achieved by those ignorant of letters but a more direct and certain route is guaranteed by a devotion to literature. The collected works in this new volume of the Transaction series Religion and Public Life heeds Petrarch's advice that literature not only orients us to life's developmental stages, it can provide us with a more complete understanding of the human character while artfully advancing morals. To this end, Michelle Darnell's opening chapter entitled "A New Age of Reason" explains how existentialism is an argument for how literature can take on philosophical form, not as formal argument, but as persuasive narrative. Over the objections of even those who study Sartre, Darnell uses Sartre's The Age of Reason as a model and shows how his literary output was a legitimate philosophical inquiry. In addition to the Darnell piece, the volume boasts a series of outstanding and innovative works by scholars in the field. Taken together as a whole, these authors not only illustrate the moral consequences of an original choice, but oblige the reader to explore the ramifications of such a choice in one's own life.

From Ishmael Reed and Toni Morrison to Colson Whitehead and Terry McMillan, Darryl Dickson-Carr offers a definitive guide to contemporary African American literature. This volume-the only reference work devoted exclusively to African American fiction of the last thirty-five years-presents a wealth of factual and interpretive information about the major authors, texts, movements, and ideas that have shaped contemporary African American fiction. In more than 160 concise entries, arranged alphabetically, Dickson-Carr discusses the careers, works, and critical receptions of Alice Walker, Gloria Naylor, Jamaica Kincaid, Charles Johnson, John Edgar Wideman, Leon Forrest, as well as other prominent and lesser-known authors. Each entry presents ways of reading the author's works, identifies key themes and influences, assesses the writer's overarching significance, and includes sources for further research. Dickson-Carr addresses the influence of a variety of literary movements, critical theories, and publishers of African American work. Topics discussed include the Black Arts Movement, African American postmodernism, feminism, and the influence of hip-hop, the blues, and jazz on African American novelists. In tracing these developments, Dickson-Carr examines the multitude of ways authors have portrayed the diverse experiences of African Americans. The Columbia Guide to Contemporary African American Fiction situates African American fiction in the social, political, and cultural contexts of post-Civil Rights era America: the drug epidemics of the 1980s and 1990s and the concomitant "war on drugs," the legacy of the Civil Rights Movement, the struggle for gay rights, feminism, the rise of HIV/AIDS, and racism's continuing effects on African American communities. Dickson-Carr also discusses the debates and controversies regarding the role of literature in African American life. The volume concludes with an extensive annotated bibliography of African American fiction and criticism.

Known for his blending of philosophy, spirituality, humor, and a rollicking good story, Charles Johnson is one of the most important novelists writing today. From his magical first novel, Faith and the Good Thing, to his decidedly philosophical Oxherding Tale; from his swashbuckling indictment of the slave trade in the National Book Award-winning Middle Passage, to his more recent imaginative treatment of Martin Luther King Jr. in Dreamer, Johnson has continually surprised, instructed, and entertained his many avid readers. As this collection of interviews suggests, the novelist is as multifaceted and complex as his novels. Trained in cartooning and philosophy, martial arts and meditation, and producing teleplays, photobiographies, and literary criticism in addition to fiction, Charles Johnson represents a model of what he calls �life as art.� Alluding to the "Three Gates" of Buddhist "Right Speech," the title of this volume aptly captures the generous spirit that characterizes Charles Johnson�s work. An indispensable resource for all of Johnson�s many readers, Passing the Three Gates represents both the transformation of the artist over time and the continuity and endurance of his aesthetic and spiritual vision.

"American Writers focuses on the rich diversity of American novelists

"Were it not for the Buddhadharma, says Charles Johnson in his preface to Turning the Wheel, "I'm convinced that, as a black American and an artist, I would not have been able to successfully negotiate my last half century of life in this country. Or at least not with a high level of creative productivity." In this collection of provocative and intimate essays, Johnson writes of the profound connection between Buddhism and creativity, and of the role of Eastern philosophy in the quest for a free and thoughtful life. In 1926, W. E. B. Du Bois asked African-Americans what they would most want were the color line miraculously forgotten. In Turning the Wheel, Johnson sets out to explore this question by examining his experiences both as a writer and as a practitioner of Buddhism. He looks at basic Buddhist principles and practices, demonstrating how Buddhism is both the most revolutionary and most civilized of possible human choices. He discusses fundamental Buddhist practices such as the Eightfold Path, Taming the Mind, and Sangha and illuminates their place in the American Civil Rights movement. Johnson moves from spiritual guides to spiritual nourishment: writing. In essays touching on the role of the black intellectual, Uncle Tom's Cabin, and Ralph Ellison, Johnson uses tools of Buddhist thinking to clarify difficult ideas. Powerful and revelatory, these essays confirm that writing and reading, along with Buddhism, are the basic components that make up a thoughtful life.

The encounter between Buddhism and American literature has been a powerful one for both parties. While Buddhism fueled the Beat movement's resounding critique of the United States as a spiritually dead society, Beat writers and others have shaped how Buddhism has been presented to and perceived by a North American audience. Contributors to this volume explore how Asian influences have been adapted to American desires in literary works and Buddhist poetics, or how Buddhist practices emerge in literary works. Starting with early aesthetic theories of Ernest Fenollosa, made famous but also distorted by Ezra Pound, the book moves on to the countercultural voices associated with the Beat movement and its friends and heirs such as Ginsberg, Kerouac, Snyder, Giorno, Waldman, and Whalen. The volume also considers the work of contemporary American writers of color influenced by Buddhism, such as Maxine Hong Kingston, Charles Johnson, and Lan Cao. An interview with Kingston is included.