In Tate's words, such novels offered “cultural description as symbolic representation, not transparent presentation” (101). Hopkins offered shrewd portrayals of the gap between an imagined world of ideal courtship and marriage and the actual world of racial injury. Tate argues that African-American women novelists in the 1890s presented to their readers “allegories of political desire.” Rather than domestic mimesis, Frances E. They have qualified the charges of acquiescence leveled against the literature of respectability or “uplift”: the charges that such literature adopted white middle-class values of industry, frugality, circumspection, and moral purity in a bid for social acceptance, and that such literature was distinguished by condescension towards the African-American masses and surrender to the dominant culture. Domingo, Its Revolutions and Its Patriots,” John Beard’s The Life of Toussaint L’Ouverture, Baron de Vastey’s Réflexions, and the work of James McCune Smith and Henry Bibb.Literary critics such as Claudia Tate and Ann duCille have taught us to think differently about form and class in late nineteenth-century and early twentieth-century African-American literature. The result, she argues, is to “expose the inherent Africanness of all American literature,” to consider African American literary tradition as multiple and linked to spaces beyond the nation, and finally to understand all American literature as diasporic, as determined not by borders and the geopolitical they assert but “by people and their movements.” In doing so, Daut examines Martin Delany’s Blake, Oneida Debois’s oratory, George Vashon’s and Pierre Faubert’s poetry, the first-known Trinidadian novel by Maxwell Phillip, Frank Webb’s The Garies and Their Friends, William Wells Brown’s Clotel, “St. For Daut, the stakes are at least twofold, one being to acknowledge African American writing as transnational, thereby altering the geography of American literature, and, second, what the Americas come to be when the Haitian Revolution appears at the center, as it did for these writers. Marlene Daut’s chapter focuses on Haiti as diasporic crossroads and argues that Haiti is both a geographical and an intellectual meeting place for African American writers at mid-century.
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