Focus on the works of Toni Morrison, Gaye Jones, and Alice Walker.

This book critically situates the figure of the black female vampire in several fields of study including literary studies, cultural studies, gender studies, and critical race studies. Black female vampires continue to appear as important literary devices and revealing indicators of cultural attitudes and trends about African American women’s bodies. This book examines five novels written by four African American women writers to investigate what it means to represent African American womanhood through the lens of vampirism, interrogate how these representations connect to or stem from historical representations of African American women, and explore how representations of black female vampires in African American women’s literature simultaneously negate, reinforce, or dismantle stereotypes of African American women.

Surveying the evolution of images of black women in black fiction from 1892 to 1976, Christian analyzes novelists from Frances Harper through Zora Neale Hirston to Anne Perty. She traces the struggle of black female novelists to contend against the images that have defined them in American life and literature. Part II discusses three contemporary novelists -- Paule Marshall, Tom Morrison and Alice Walker.

A passionate and celebrated pioneer in her own words New Black Feminist Criticism, 1985-2000 collects a selection of essays and reviews from Barbara Christian, one of the founding voices in black feminist literary criticism. Published between the release of her second landmark book Black Feminist Criticism and her death, these writings include eloquent reviews, evaluations of black feminist criticism as a discipline, reflections on black feminism in the academy, and essays on Toni Morrison, Alice Walker, Paule Marshall, and others.

“Black women writers and critics are acting on the old adage that one must speak for oneself if one wishes to be heard.” —Claudia Tate, from the introduction Long out-of-print, Black Women Writers At Work is a vital contribution to Black literature in the 20th century. Through candid interviews with Maya Angelou, Toni Cade Bambara, Gwendolyn Brooks. Alexis Deveaux, Nikki Giovanni, Kristin Hunter, Gayl Jones, Audre Lorde, Toni Morrison, Tillie Olson, Sonia Sanchez, Ntozake Shange, Alice Walker, Margret Walker, and Shirley Anne Williams, the book highlights the practices and critical linkages between the work and lived experiences of Black women writers whose work laid the foundation for many who have come after. Responding to questions about why and for whom they write, and how they perceive their responsibility to their work, to others, and to society, the featured playwrights, poets, novelists, and essayists provide a window into the connections between their lives and their art. Finally available for a new generation, this classic work has an urgent message for readers and writers today.

What does the tradition of marriage mean for people who have historically been deprived of its legal status? Generally thought of as a convention of the white middle class, the marriage plot has received little attention from critics of African-American literature. In this study, Ann duCille uses texts such as Nella Larsen's Quicksand (1928) and Zora Neale Hurston's Their Eyes Were Watching God (1937) to demonstrate that the African-American novel, like its European and Anglo-American counterparts, has developed around the marriage plot--what she calls "the coupling convention." Exploring the relationship between racial ideology and literary and social conventions, duCille uses the coupling convention to trace the historical development of the African-American women's novel. She demonstrates the ways in which black women appropriated this novelistic device as a means of expressing and reclaiming their own identity. More than just a study of the marriage tradition in black women's fiction, however, The Coupling Convention takes up and takes on many different meanings of tradition. It challenges the notion of a single black literary tradition, or of a single black feminist literary canon grounded in specifically black female language and experience, as it explores the ways in which white and black, male and female, mainstream and marginalized "traditions" and canons have influenced and cross-fertilized each other. Much more than a period study, The Coupling Convention spans the period from 1853 to 1948, addressing the vital questions of gender, subjectivity, race, and the canon that inform literary study today. In this original work, duCille offers a new paradigm for reading black women's fiction.

Thesis (M.A.) from the year 2005 in the subject American Studies - Literature, grade: 2.3, Ernst Moritz Arndt University of Greifswald, language: English, abstract: The paper is concerned with the depiction of black women’s subjugation and resistance in fiction. It examines the quality of black women’s suffering through racism and sexism, especially within the system of slavery in America from the 17th to the 19th century. Moreover, the paper contrasts black women’s status in and after slavery. This is done, on the one hand, in order to illustrate and underline slavery’s inhuman conditions black women suffered from and, on the other hand, to show the continuation of racism and sexism after slavery. It will be revealed that the assumed changes of conditions for black women nowadays are rather superficial and that discrimination and inequality, compared to men and white people, have been persisting. The study is based on the novels Beloved and Sula by Toni Morrison and on Maryse Condé’s novel I, Tituba, Black Witch of Salem. These three novels are selected as basis for the analysis because they depict black people’s oppression in several forms, intensities and times and focus especially on women’s particular situation. It will be discussed how Blacks were capable at all to endure and survive the physical and mental tortures of captivity in slavery or of discrimination and inequality after slavery. Connected with this question the role of the African culture is debated. Here, attention is turned to the authors’ African roots and the question how (much) these roots inspired the elements of the actions and in what respect African tradition and beliefs are interwoven in the books. Being further backing aspects for the novels’ women, human interpersonal relationships and collectivity are examined connected with a consideration of the novels’ investigation and analysis of human nature, psyche and emotions. Here, the analysis focuses on questions that are essential for an entire comprehension of the books, for example: How are feelings (especially love) presented and which special functions do they fulfill in the works? What significance do the various interpersonal relationships have? To what extent are they cores of resistance? What causes the significance of female friendships? What differentiates female suffering from male? This paper claims to elucidate the profound meaning Morrison’s and Condé’s insights into black women’s present and past provide and their works’ potential to be far more than just entertaining pieces of magic realism.

This study, focusing on select novels by women writers of the African Diaspora, illustrates that a surprising degree of commonality exists among works with obvious geographical, cultural, and linguistics differences--an affirmation of the philosophical essence of the Vodun religion as an antidote to Western spiritual and cultural moribundity. A close reading Zora Neale Hurston's Their Eyes Were Watching God, Simone Schwarz-Bart's Pluie et Vent sur Telumée Miracle, and Paule Marshall's Praisesong for the Widow, demonstrates the way in which these works allude to the Vodun pantheon and ancestor veneration in order to valorize a worldview that recognizes the interconnectedness of all living things, visible and invisible. This is accomplished by locating each novel within its socio-political context and developing African diasporic literary tradition wherein African-derived beliefs have become sources of cultural resistance. After this reconstruction, the author is able to explicate the representation and function of Vodun as it is employed by each of the authors under consideration.

In what innovative ways do novels by diasporic Black women writers experiment with the representation of Black subjectivity? This collection explores the inventiveness of contemporary Black women writers – Black British, African, Caribbean, African American – who remake traditional understandings of blackness. As the title word “experimental” signals, these essays foreground the narrative form and stylistic innovations of the black-authored novels they analyze. They also show how these experiments with form mirror the novels' convention-breaking experiments with reimagining Black female subjectivities. While each novel, of course, represents the complexities of diasporic experiences differently, some issues emerge that are broadly shared not just within a regional group, but across geographical borders. One feature of the collection is a comparative look at such linking themes across borders, under the rubrics: a return to precolonial systems of belief, reinventions of mothering, relational subjectivities, memory, history and haunting, and posthumanist revaluations. These themes take different shapes across the multitude of diverse cultures studied in this book. But together they establish a pan-global imaginative practice.