Real Negro (Literary Criticism and Cultural Theory)

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In this book, Shelly Eversley historicizes the demand for racial authenticity-what Zora Neale Hurston called "the real Negro"-in twentieth-century American literature. Eversley argues that the modern emergence of the interest in "the real Negro" transforms the question of what race an author belongs into a question of what it takes to belong to that race. Consequently, Paul Laurence Dunbar's Negro dialect poems were prized in the first part of the century because-written by a black man-they were not "imitation" black, while the dialect performances by Zora Neale Hurston were celebrated because, written by a "real" black, they were not "imitation" white. The second half of the century, in its dismissal of material segregation, sanctions a notion of black racial meaning as internal and psychological and thus promotes a version of black racial "truth" as invisible and interior, yet fixed within a stable conception of difference. The Real Negro foregrounds how investments in black racial specificity illuminate the dynamic terms that define what makes a text and a person "black," while it also reveals how "blackness," spoken and authentic, guards a more fragile, because unspoken, commitment to the purity and primacy of "whiteness" as a stable, uncontested ideal.

Real Negro (Literary Criticism and Cultural Theory) Review

This book is a true testament to thought in reference to "the place" of the black writer. The issues raised bv the author can be piercing in their clarity. It is a must for any university Lit program or library collection, where real discussion is placed on African-American Literature, thereby American Literature.

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