By Jennifer M. Wilks
Wilks starts with Lacascade, whom she deems "best identified for being unknown," analyzing Lacascade's novel Claire-Solange, âme africaine (1924) as a protofeminist, proto-Negritude articulation of Caribbean id. She then examines the fissures left unexplored in New Negro visions of African American group by means of displaying the ways that Bonner's essays, performs, and brief tales spotlight problems with financial category. Césaire utilized the information and strategies of surrealism to the French language, and Wilks finds how her writings within the magazine Tropiques (1941-45) at once and insightfully have interaction the highbrow impacts that educated the paintings of canonical Negritude. Wilks' shut examining of West's The residing is simple (1948) offers a retrospective critique of the forces that persevered to circumscribe women's lives in the middle of the social and cultural awakening most likely embodied within the New Negro.
To exhibit how the black literary culture has endured to confront the conflation of gender roles with social and literary conventions, Wilks examines those writers along the overdue twentieth-century writings of Maryse Condé and Toni Morrison. in contrast to many literary analysts, Wilks doesn't assemble the 4 writers in accordance with geography. Lacascade and Césaire got here from assorted Caribbean islands, and although Bonner and West have been from the us, they by no means crossed paths. In contemplating this eclectic workforce of ladies writers jointly, Wilks unearths the analytical chances unfolded by means of evaluating works motivated through a number of highbrow traditions.
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Additional resources for Race, Gender, and Comparative Black Modernism: Suzanne Lacascade, Marita Bonner, Suzanne Césaire, Dorothy West
Race, Gender, and Comparative Black Modernism: Suzanne Lacascade, Marita Bonner, Suzanne Césaire, Dorothy West by Jennifer M. Wilks