By Ana Nunes
This quantity explores African American historic fiction written by means of girls within the final 4 many years of the 20 th century. entire in scope, this e-book refers to over thirty authors whose work has contributed to the culture, from Margaret Walker to Sherley Anne Williams to Toni Morrison. Ana Nunes’s approach to the text emphasizes the narrative and thematic achievements of person novels against the backdrop of the most developments and advancements of the modern African American ancient novel.
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Additional resources for African American Women Writers' Historical Fiction
Walker plays with stereotypical images of African American identity to deconstruct and revise them. The names of the first two characters introduced illustrate this point. ”62 Both Tom’s and Lisa’s identities are defined by their slave status. Walker’s use of the epithets plays with the way whites imposed fixed identities on black people, robbing them of a sense of individuality. On the other hand, shattering the cast-iron mask presented to the master, Walker reveals the flesh, the personality, and the humanity of her characters.
When she began having babies it was no problem. ”88 The narrator’s language is direct and the account is succinct, reflecting a social system where there was no scope for anyone’s views but those of the master. The expression that closes the paragraph mirrors a world created and controlled by the white man, which was not to be easily shaken. The reader is forced to contemplate the sense of inescapability that dominated the slave’s life. indd 41 3/10/11 8:38 AM 42 AFRICAN AMERICAN WOMEN WRITERS’ HISTORICAL FICTION moribund woman’s side.
Like he did to one of his good hound dogs”68 and repeatedly raped his wife in his absence. Jake’s feelings can hardly be articulated in words, as the short clauses linked by the copulative conjunction, conferring syncopated and fragmented rhythm to his thoughts, demonstrate: “Jake hated Marster and despised himself and looked at Hetta and got mad and evil. But that was the end of it. ”69 Jake knew that if he attempted to protect his wife by word or deed, he would put his life at risk. The pressure on the rhythm of the language is but one sign of the repression Jake and his community suffered.