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Postmodernism, Traditional Cultural Forms, and African American Narratives Postmodernism, Traditional Cultural Forms, and African American Narratives Postmodernism, Traditional Cultural Forms, and African American Narratives W. Lawrence Hogue SUNY P R ESS Published by State University of New York Press, Albany © 2013 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, contact State University of New York Press, Albany, NY, www.sunypress.edu. Production by Diane Ganeles Marketing by Michael Campochiaro Library of Congress Cataloging-in-Publication Data Hogue, W. Lawrence Postmodernism, traditional cultural forms, and African American narratives / W. Lawrence Hogue. pages cm Includes bibliographical references. Summary: “Examines how six writers reconfigure African American subjectivity in ways that recall postmodernist theory”—Provided by publisher. ISBN 978-1-4384-4835-0 (hardcover: alk. paper)— 1. American literature—African American authors—History and criticism. 2. Subjectivity in literature. 3. African Americans— Intellectual life. 4. Postmodernism (Literature)—United States. I. Title. PS153.N5H63 2013 810.9'9286’08996073—dc23 2012045528 10 9 8 7 6 5 4 3 2 1 Contents Acknowledgments vii 1. Postmodernism, Traditional Cultural Forms, and African American Subjectivity 1 2. Multiple Representations of Philadelphia and John Edgar Wideman’s Philadelphia Fire 64 3. The Trickster Figure, The African American Virtual Subject, and Percival Everett’s Erasure 101 4. Using Jazz Music and Aesthetics to Redescribe the African American in Toni Morrison’s Jazz 137 5. Revolting to Sustain Psychic Life: Bonnie Greer’s Hanging by Her Teeth and the Encounter with the Other 175 6. Virtual-Actual Reality and Clarence Major’s Reflex and Bone Structure 212 7. The Jungian/African Collective Unconscious, Jazz Aesthetics, and Xam Cartiér’s Muse-Echo Blues 245 8. Conclusion 297 Notes 301 Works Cited 309 Index 325 v Acknowledgments he completion of this manuscript was facilitated by a TFaculty Development Leave, Office of the Dean, Col- lege of Liberal Arts and Social Sciences (Spring 2011), and by summer stipends from the University of Houston, which allowed me to work uninterrupted. I benefited enormously from conversations with a number of colleagues and friends. I thank my colleague Hazel Pierre—an astute and very capa- ble Caribbeanist and postcolonial theorist—who reminded me of the importance of history: if you do postcolonial the- ory, you must first study the anticolonials. If you want to examine the emergence of African American studies in the 1960s, you also need to study the precursors to the 1960s. I want to thank my colleague Patricia Yongue, who is always prepared and ready to pull up a chair and discuss any intel- lectual and/or political issue on my mind. I thank former students Sabrina Hassumani and Gregg Carleton who do not make a single demand on me but whose friendship com- mands me to continually grow intellectually. I also thank my dear friend Dr. Bill Taylor, who always lends me his ear for discussions about jazz and psychology. He pointed me in the appropriate psychological direction in my discussion of the jazz great Thelonious Monk, who lived with a form of schizophrenia. We also had conversations about drugs and music as they pertain to the bebop great Charlie Parker. Although some of the chapters are drawn from existing publications, they were all reworked for publication here. The Toni Morrison and Clarence Major chapters are drawn vii viii ACKNOWLEDGMENTS from “Postmodernism, Traditional Cultural Forms, and the African American Narrative,” Novel: A Forum on Fiction 35.2–3 (Spring–Summer 2002). The Wideman chapter is a revised version of “Radical Democracy, African American (Male) Subjectivity and John Edgar Wideman’s Philadelphia Fire” that first appeared in MELUS 33.3 (Fall 2008): 45–69. MELUS is published by the Society for the Study of the Multi-Ethnic Literature of the United States. Finally, I want to thank Dr. Michael Rinella, Senior Acquisitions Editor at SUNY Press, who recognized the importance of this manuscript and saw it through to publication. — 1 — Postmodernism, Traditional Cultural Forms, and African American Subjectivity n the West, a notion we must divide because the Euro- Ipean West is not the American West, people of African descent have always already been defined as Other. They are represented in an unequal, restrictive white- black bi- nary opposition that defines whites as normative and su- perior and represents blacks as primitive, as deviant, as devalued Other, and/or more recently as the same.1 The African American, to use the words of Madhu Dubey, is represented as “the negative term against which modern norms of body, identity, reason, or culture are defined and propped up” (“Contemporary African American Fiction” 158). He exists, to use the words of British psychoanalyst Christopher Bollas, “to contain unwanted destructiveness in the oppressor who insists at the same time that the [Afri- can American] be like a fecal entity that is so odious that it cannot be recognized, except if and when it is out of sight, and finally eliminated” (Said, Freud 6). As the less power- ful negative term of the binary, the African American is “socialized in such a way that [he] cannot trust [his] own ‘consciousness’” (Sylvia Wynter qtd. in Thomas, “Proud- Flesh Inter/Views” 2), which in many ways is the same as the normative consciousness. This means that since the middle- class puritan white norm—which is a space of dif- ference that I am representing singularly—defines him negatively, he can also define himself in negative terms. Historically, how has the African American dealt with this predicament? How does he psychologically and socially 1 2 CHAPTER 1 liberate himself from this binary? Does or can he offer a different kind of subjectivity?2 There have always been African American social and political movements, individuals, scholars, black studies, and cultural forms that have resisted and/or countered this negative representation of the African American. These re- sisting entities seek to maintain sanity for African Ameri- cans through the insistence that the African American self exists even as the normative American society seeks to deny or eliminate it. Therefore, despite the fact that some African American movements, individuals, and scholars seek freedom by defining the African American as being the same as the middle-class puritan American norm and thereby reproduce the binary, I am interested in a differ- ent notion of (African American) freedom and subjectiv- ity, one that is different from but equal to the middle-class American norm, one that knows the Other. Therefore, I am not just concerned with the African American flip- ping the white- black binary opposition and being defined/ constructed as better than or the same as the middle-class puritan American norm, as a fixed and ontological subject in the modern sense. Flipping the binary means that the modern African American subject participates in violence similar to the mainstream hierarchy. This modern binary- constructed African American subjectivity does not or can- not know or empathize with the Other. In her discussion of postmodernism in A Poetics of Postmodernism, Linda Hutcheon argues that the self- Other binary opposition belongs to what she calls a modern mo- ment and that perhaps it has outlived its effectiveness. “The modernist concept of a single and alienated otherness is challenged by the postmodern questioning of binaries that conceal hierarchies (self/other)” (61). Binary opposi- tions, which are at the foundation of Western metaphysics in terms of how we define meaning, are inherently violent in their reduction or devaluation of their lower halves. The logic of binary oppositions is the logic of domination and subordination. Instead of binary oppositions, Hutcheon suggests that it is more useful to think of difference and the chaining movement of signifiers (originating in Ferdinand POSTMODERNISM, TRADITIONAL CULTURAL FORMS, AND AFRICAN AMERICAN SUBJECTIVITY 3 de Saussure’s insights and developed further by Jacques Derrida) that describes not only the movement of mean- ing constitution within language but also self- constitution. “Difference suggests multiplicity, heterogeneity, plurality, rather than binary opposition and exclusion” (61). With dif- ference, we can define situations, events, and subjectivities not in terms of binary logic and violent hierarchies but in- stead in terms of differences, without hierarchies. In focusing on a different kind of (African American) subject, one that escapes the violence and repression of ra- tional, linear, Eurocentric Enlightenment reason, I am most concerned with how African American individuals, schol- ars, and cultural forms define American/African American history (social real) and African American subjectivity or self- constitution in certain postmodern terms, as a new set of terms. I am concerned with a subjectivity or an I that has many selves, that is not an individual with definite limits that separate him or her from the Other, not a form of knowledge, but instead is a chaining movement of signi- fiers, a network of contextual, partial,
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