Gloria Naylor: A Selected Bibliography Author(s): Tracy Butts Source: Callaloo , Autumn, 2000, Vol. 23, No. 4 (Autumn, 2000), pp. 1497-1512 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.com/stable/3300094

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This content downloaded from 64.121.99.5 on Mon, 22 Jun 2020 17:52:58 UTC All use subject to https://about.jstor.org/terms GLORIA NAYLOR A Selected Bibliography

by Tracy Butts

Primary Works (A Chronological Listing)

Novels The Women of Brewster Place: A Novel in Seven Stories. New York: Viking, 1982. Paperback reprint, New York: Penguin, 1983. Linden Hills. New York: Ticknor & Fields, 1985. Paperback reprint, New York: Penguin, 1986.

Mama Day. New York: Ticknor & Fields, 1988. Paperback reprint, New York: Vintage, 1989.

Bailey's Cafe. New York: Harcourt, Brace, Jovanich, 1992. Paperback reprint, New York: Vintage/Random House, 1993.

The Men of Brewster Place. New York: Hyperion, 1998.

Articles, Essays, & Notes "A Life on Beekman Place." Essence 9 (March 1979): 84-96.

"When Mama Comes to Call." Essence 13 (August 1982): 78-81.

"A Message to Winston: To Black Men Who Are Gay." Essence 13 (November 1982): 79-85.

"Famous First Words." New York Times Book Review (June 2, 1985): 52.

"Reflections." Centennial. Ed. Michael Rosenthal. New York: Pindar Press, 1986. 68- 71.

[Untitled "Hers" column]. New York Times (February 20, 1986): C2.

"Power: Rx for Good Health." Ms. (May 1986): 58-60.

"The Myth of the Matriarch." Life 11 (Spring 1988): 65. "Love and Sex in the Afro-American Novel." Yale Review 78 (1988): 19-31.

"Sexual Ease." Essence (December 1988): 108.

"African-American or Black: What's in a Name?" Ebony (July 1989): 80.

Callaloo 23.4 (2000) 1497-1512

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"Graceful Passages." Essence (May 1990): 134. Staging a Novel: Bailey's Cafe. , Mitzi Newhouse Theater. 27 October 1992.

[Untitled]. Writers Dreaming. Ed. Naomi Epel. New York: Carol Southern Books, 1993. 167-77.

"Of Fathers and Sons: A Daughter Remembers." In Their Footsteps. Ed. Henry Chase. New York: Henry Holt, 1994. 5-7.

"Telling Tales and Mississippi Sunsets." Grand Mothers: Poems, Reminisces, and Short Stories about the Keepers of Our Traditions. Ed. Nikki Giovanni. New York: Henry Holt, 1994. 59-62.

[Untitled]. I Know What the Red Clay Looks Like: The Voices and Vision of Black Women Writers. Ed. Rebecca Carroll. New York: Crown Trade Paperbacks, 1994.160-65.

Interviews & Conversations An Evening with Gloria Naylor. (Minneapolis: Minneapolis Public Library and Infor- mation Center, 1991).

Bellinelli, Mateo, dir. A Conversation with Gloria Naylor (videotape). Produced by RTSJ-Swiss Television. California Newsreel, 1992.

Bonnetti, Kay. "An Interview with Gloria Naylor" (audiotape). New York: American Prose Library, 1988.

Carabis, Angel. [Interview with Gloria Naylor]. Belles Lettres 7 (Spring 1992): 36-42. Fowler, Virginia. Appendix. "A Conversation with Gloria Naylor." Gloria Naylor: In Search of Sanctuary. Twayne United States Authors Series, #660. New York: Simon and Schuster Macmillan, 1996. 143-57.

"Gloria Naylor and : A Conversation." Southern Review 21 (1985): 567-93.

Loris, Michelle C., and Sharon Felton. "The Human Spirit is a Kick-Ass Thing." The Critical Response to Gloria Naylor. Ed. Sharon Felton and Michelle C. Loris. Connecticut: Greenwood, 1997. 253-64.

Pearlman, Mickey. "An Interview with Gloria Naylor." High Plains Literary Review 5 (Spring 1990): 98-107.

Perry, Donna. "Gloria Naylor." Backtalk: Women Writers Speak Out. New Brunswick: Rutgers University Press, 1993. 217-44. ,and Katherine Usher Henderson. "Gloria Naylor." A Voice of One's Own: Conversations with American's Writing Women. Boston: Houghton Mifflin, 1990. 27-34.

Rowell, Charles. "An Interview with Gloria Naylor." Callaloo: A Journal of African- American and African Arts and Letters 20.1 (Winter 1997): 179-92.

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Other "Hidden Wealth?" First Words: Earliest Writingfrom Favorite Contemporary Authors. Ed. Paul Mandelbaum. Chapel Hill, N.C.: Algonquin Books, 1993. 364.

Children of the Night: The Best Short Stories by Black Writers, 1967 to Present. Ed. Gloria Naylor. Boston: Little, Brown, 1995.

Secondary Sources

Andrews, Larry. "Black Sisterhood in Gloria Naylor's Novels." CLA Journal 33.1 (1989): 1-25. Analysis of Naylor's progression toward a "more complex vision of sister- hood" from her first novel to her third.

Awkward, Michael. "Authorial Dreams of Wholeness: (Dis)Unity, (Literary) Parent- age, and The Women of Brewster Place." Inspiriting Influences: Tradition, Revision, and Afro-American Women's Novels. New York: Columbia University Press, 1989. 97-134. Reprinted in Gates and Appiah, Gloria Naylor, 37-70. Reads The Women of Brewster Place as a revision of Jean Toomer's Cane and Toni Morrison's The Bluest Eye.

Bande, Usha. "Murder as Social Revenge in The Street and The Women of Brewster Place." Notes on Contemporary Literature 23.1 (1993): 4-5. Reads the "extreme violence" in the two texts as black women's reactions to society's failure to recognize them as human beings.

Berg, Christine G. "'giving sound to the bruised places in their hearts': Gloria Naylor and Walt Whitman." Felton and Loris, Critical Response to Gloria Naylor, 98-111. Analysis of David's recitation of Whitman's poem "Whoever You are Holding Me Now in Hand" at his male lover's wedding in Linden Hills. Argues that Naylor's incorporation of Whitman's poetry "reveals... a connection be- tween writers of different races and a continuum of American literature as a whole...."

Bobo, Jacqueline, and Ellen Seiter. "Black Feminism and Media Criticism: The Women of Brewster Place." Screen 32 (Autumn 1991): 286-302. Reprinted in Vision/Revi- sion: Adapting Contemporary American Fiction Women to Film, ed. Barbara Lupack, Ohio: Popular, 1996, 145-57. Also Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 27-41. Discussion of the reception of the television adaptation of The Women of Brewster Place by African-American feminist critics.

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Bouvier, Luke. "Reading in Black and White: Space and Race in Linden Hills." Gates and Appiah, Gloria Naylor, 140-51. Analysis of the relationship between language, race, gender, and geographi- cal space in Linden Hills.

Boyd, Nellie. "Dominion and Proprietorship in Gloria Naylor's Mama Day and Linden Hills." MAWA-Review 5.2 (Dec. 1990): 56-68. Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 76-80. Analysis of Naylor's use of propriety in her first two novels.

Brantley, Jenny. "Women's Screams and Women's Laughter: Connections and Cre- ations in Gloria Naylor's Novels." Kelley, Gloria Naylor's Early Novels, 21-38. Examines how Naylor's use of screams and laughter in her first four novels creates stories of human grace and salvation. The screams result in "the creation of the narrative, of a story to be shared," whereas laughter "opens a place to begin the healing, and the healing leads to salvation."

Brown, Amy Benson. "Writing Home: The Bible and Gloria Naylor's Bailey's Cafe." Homemaking: Women Writers and the Politics and Poetics of Home. Ed. Catherine Wiley and Fiona Barnes. New York: Garland, 1996. 23-42. Analysis of Naylor's use of biblical allusion in the novel. Asserts that the Bible serves as a "mythical home" which defines and builds women's sexual- ity and identity.

Chavanelle, Sylvie. "Gloria Naylor's Bailey's Cafe': The Blues and Beyond." American Studies International 36.2 (1998): 58-73. Uses Ellison's definition of the blues "as an autobiographical chronicle of personal catastrophe expressed lyrically" to argue that Bailey's Cafe is a blues text.

Christian, Barbara. "Naylor's Geography: Community, Class, and Patriarchy in The Women of Brewster Place and Linden Hills." Reading Black, Reading Feminist. Ed. Henry Louis Gates, Jr. New York: Meridian/Penguin, 1990. 348-73. Reprinted in Gates and Appiah, Gloria Naylor, 106-25. Exploration of the way in which setting affects gender and class in Naylor's first two novels.

. "No More Buried Lives: The Theme of Lesbianism in 's Zami, Gloria Naylor's The Women of Brewster Place, Ntozake Shange's Sassafras, Cypress, and Indigo, and 's The Color Purple." Black Feminist Criticism. New York: Pergammon Press, 1985. 187-204. Argues that the treatment of lesbianism in the texts of African-American women writers shows a growing respectability.

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Christol, Helene. "Reconstructing American History: Land and Genealogy in Gloria Naylor's Mama Day." The Black Columbiad: Defining Moments in African American Literature and Culture. Ed. Werner Sollors and Maria Diedrich. Cambridge: Harvard University Press, 1994. Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 159-65. Explores the themes of topography, genealogy, and narrative voices in Mama Day and Linden Hills and shows how they "allow Naylor to reconstruct a parallel black history."

Collins, Grace E. "Narrative Structure in Linden Hills." CLA Journal 34 (1991): 290-300. Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 80-87. Compares Willie's (odyssey through hell) and Willa's (entrapment in the basement) parallel journeys.

Costino, Kimberly A. "'Weapons Against Women': Compulsory Heterosexuality and Capitalism in Linden Hills." Kelley, Gloria Naylor's Early Novels, 39-54. Uses Adrienne Rich's concept of "compulsory heterosexuality" to suggest that Naylor's characters "fall in the liminal spaces between the two extremes of gay and straight."

Cowart, D. "Matriarchal Mythopoesis: Naylor's Mama Day." Philological Quarterly 77.4 (1998): 439-59. Asserts that Naylor's texts, when studied together, bring forth a "radically feminist revision of traditional patriarchal narrative." By employing a circular framework, Naylor suggests that "in our end ... is our beginning."

Davis, Rocio G. "Identity in Community in Ethnic Short Story Cycles: Amy Tan's The Joy Luck Club, 's Love Medicine, Gloria Naylor's The Women of Brewster Place." Ethnicity and the American Short Story. Ed. William E. Cain and Julia Brown. New York: Garland, 1997. 3-23. Analysis of the treatment of community and ethnic identity in The Women of Brewster Place. diPace, Angela. "Gloria Naylor's Bailey's Caft: A Panic Reading of Bailey's Narrative." Felton and Loris, Critical Response to Gloria Naylor, 194-99. Asserts that Naylor's organization of narratives in the novel, which move from Bailey's tale of the catastrophe of the atomic bombings in Hiroshima and Nagasaki to Gabe's and Mariam's tales of the aftermath of the Jewish Holocaust and Diaspora, eradicate the "delusional desire" to view these historical events as being more horrific or significant than racism in 20th- century America.

Donlon, Joycelyn. "Hearing is Believing: Southern Racial Communities and Strate- gies of Story-Listening in Gloria Naylor and Lee Smith." Twentieth Century Literature 41.1 (1995): 16-35.

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Connects Mama Day to Lee Smith's Oral History. Asserts that reading the two stories together eradicates the belief that white is universal and black different.

Eckard, Paula Gallant. "The Prismatic Past in Oral History and Mama Day." MELUS: The Journal of the Society for the Study of the Multi-Ethnic Literature of the United States 20.3 (Fall 1995): 121-35. Discussion of white Appalachian culture versus rural black island culture and the importance of the past in shaping family, community, and cultural history in both cultures.

Eko, Ebele. "Beyond the Myth of Confrontation: A Comparative Study of African and African-American Female Protagonists." Ariel 17 (October 1986): 139-52. Re- printed in Felton and Loris, Critical Response to Gloria Naylor, 13-22. Analysis of the "new breed of female protagonists" who eradicate negative images of black womanhood by (re)creating nurturing images. Looks at Ato Aidoo's Anowa, Naylor's The Women of Brewster Place, Bessie Head's Maru, and 's Browngirl, Brownstones.

Erickson, Peter. "Shakespeare's Naylor, Naylor's Shakespeare: Shakespearean Allu- sion as Appropriation in Gloria Naylor's Quartet." Literary Influence and African- American Writers. Ed. Tracy Mishkin. New York: Garland, 1996. 325-57. Asserts that Naylor's incorporation of both positive and critical attitudes toward Shakespeare enables her work to fully dramatize "the conflict be- tween established and emergent traditions."

. "'Shakespeare's Black?' The Role of Shakespeare in Naylor's Novels." Rewrit- ing Shakespeare, Rewriting Ourselves. Berkeley: University of California Press, 1991. Reprinted in Gates and Appiah, Gloria Naylor, 231-48. Analysis of Naylor's "assimilation" of Shakespeare in her first three novels which argues that Naylor's texts suggest that Shakespeare's place in the canon as the "all defining center of things" should be reinvestigated.

Felton, Sharon. "Surface, Subtext, and Beyond: Gloria Naylor and Walt Whitman." Tennessee Philological Bulletin 34 (1997): 23-33. Comparative study of the rhetorical technique used in Naylor's Linden Hills and Whitman's Calamus poems.

, and Michelle C. Loris, eds. The Critical Response to Gloria Naylor. Connecticut: Greenwood Press, 1997. Collection of fourteen previously published critical essays, six original essays, excerpts from Naylor's first four novels, and an interview.

Fils-Aime, Holly. "The Sweet Scent of Ginger: Understanding the Roots of Song of Solomon and Mama Day." Griot: Official Journal of the Southern Conference on Afro- American Studies 15.1 (Spring 1996): 27-33. Comparative study of the treatment of ginger in these two works.

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Fowler, Virginia C. Gloria Naylor: In Search of Sanctuary. Twayne United States Authors Series, #660. New York: Simon and Schuster Macmillan, 1996. Analysis of how Naylor's religious and personal background, feminist views, and the emergence of black women writers and scholars during the 1970s have influenced her craft.

Fraser, Celeste. "Stealing B(l)ack Voices: The Myth of the Black Matriarchy and The Women of Brewster Place." Critical Matrix 5 (Fall/Winter 1989). Reprinted in Gates and Appiah, Gloria Naylor, 90-105. Analysis of how the seven female characters come together to create a repre- sentation of black womanhood so as to eradicate the myth of the black matriarchy as put forth by the Moynihan report.

Gates, Henry Louis, Jr. "Significant Others." Contemporary Literature 29 (1988): 606-23. Response to Margaret Homan's essay on Luce Irigaray and Gloria Naylor, "The Woman in the Cave: Recent Feminist Fictions and the Classical Under- world."

, and K.A. Appiah, eds. Gloria Naylor: Critical Perspectives Past and Present. New York: Amistad, 1993. Thirteen reviews from various magazines, journals, and newspapers and fourteen critical essays which show Naylor's placement in the American literary canon.

Glickman, Marlaine. "Black Like Who?" Film Comment 25.3 (May/June 1989): 75-76. Analysis of 's adaptation of The Women of Brewster Place for television.

Goddu, Teresa. "Reconstructing History in Linden Hills." Gates and Appiah, Gloria Naylor, 215-30. Contrasts Willa Nedeed's, Luther Nedeed's, Daniel Braithwaite's, and Willie Mason's historical accounts of Linden Hills.

Hall, Chekita T. Gloria Naylor's Feminist Blues Aesthetic. New York: Garland Publish- ing, 1998. Exploration of the intersection of blues music and black feminist criticism in Naylor's works.

Haralson, Eric L. "Gloria Naylor." African American Writers: Profiles of Their Lives and Works. Ed. Valerie Smith, Lea Baechler, and A. Walton Litz. New York: Macmill- an/Collier, 1991. 267-78. Brief biography and overview of Naylor's first three novels.

Harris, Trudier. The Power of the Porch: The Storyteller's Craft in , Gloria Naylor, and Randall Kenan. Athens: University of Georgia Press, 1996.

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Lectures delivered at Mercer University. Asserts that Naylor is following in the literary footsteps of her "folkloristic foremother," Zora Neale Hurston.

Hayes, Elizabeth T. "Gloria Naylor's Mama Day as ." Felton and Loris, Critical Response to Gloria Naylor, 177-86. Asserts that Mama Day privileges Miranda's nonrationalist ideology ("magic realism") over George's rationalist ideology (realism).

Holloway, Karla F. C. Moorings and Metaphors: Figures of Culture and Gender in Black Women's Literature. New Brunswick, NJ: Rutgers University Press, 1992. Analysis of Naylor's use of an ancestral figure to link gender, culture, and language in her first three novels.

Homans, Margaret. "The Woman in the Cave: Recent Feminist Fictions and the Classical Underworld." Contemporary Literature 29 (1988): 369-402. Reprinted in Gates and Appiah, Gloria Naylor, 152-81. Reads Linden Hills in conjunction with Luce Irigaray's Speculum of the Other Woman in order to show how Naylor and Irigiray both tell "the story of the woman in the cave."

Johnson, Cheryl Lynn. "A Womanist Way of Speaking: An Analysis of Language in Alice Walker's The Color Purple, Toni Morrison's Tar Baby, and Gloria Naylor's The Women of Brewster Place. Felton and Loris, Critical Response to Gloria Naylor, 23-26.

Excerpt from PhD dissertation focuses on how Mattie Michael's failure/ inability to use language within its proper social contexts results in her becoming ostracized from her family.

Juhasz, Suzanne. "The Magic Circle: Fictions of the Good Mother: Louisa May Alcott's Little Women and Gloria Naylor's Mama Day." Reading from the Heart: Women, Literature, and the Search for the True Love. New York: Viking/Penguin, 1994. Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 129-42. Asserts that Alcott and Naylor reverse the traditional narrative focus by making the mother (Mama Day), not the daughter (Cocoa), the subject of the novel.

Kelley, Margot Anne. "Sisters' Choices: Quilting Aesthetics in Contemporary African American Women's Fiction." Quilt Culture: Tracing the Pattern. Ed. Cheryl B. Torsney and Judith Elsley. Columbia: University of Missouri Press, 1994. 49-67. Analysis of Naylor's use of African American quilters' improvisational qualities in Mama Day.

, ed. Gloria Naylor's Early Novels. Gainesville: University Press of Florida, 1999. Collection of essays which examine Naylor's first four novels and seek to reveal "more fully the complexity of [her] vision and wisdom."

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"Framing the Possibilities: Collective Agency and the Novels of Gloria Nay- lor." Gloria Naylor's Early Novels, 133-54. Examines how Naylor's first four novels are connected by intertextual links, such as space, time, African American musical legacies, Western literary traditions, gender issues, birth, and death, which "'form a place' where she has been able to define an aesthetic and cultural terrain that works both with and against the prevailing one(s)."

Kelly, Lori Duin. "The Dream Sequence in The Women of Brewster Place." Notes on Contemporary Literature 21 (September 1991): 8-10. Analysis of the dream sequence as the characters' expression of frustration with their disappointing relationships with men and their "subconscious desire for rebellion and revenge."

Korenman, Joan S. "African-American Women Writers, Black Nationalism, and the Matrilineal Heritage." CLA Journal 38.2 (1994): 143-61. Examines the celebration of matrilineal heritage in Naylor's "Kiswana Browne," Alice Walker's "Everday Use," and 's "My Man Bovanne" and connects this celebration to the writers' reservations about black nationalism.

Kort, Michele. "Lights, Camera, Affirmative Action." Ms. 17.5 (1988): 55. Brief discussion of the cast of The Women of Brewster Place and the making of the television adaptation.

Kubitschek, Missy Dehn. Claiming the Heritage: African American Women Novelists and History. Jackson: University Press of Mississippi, 1991. Connects Naylor's focus in Linden Hills on the black middle class to black women writers of the Harlem Renaissance. Sees the residents of Linden Hills as culturally and emotionally starved because their community failed them.

. "Toward a New Order; Shakespeare, Morrison, and Gloria Naylor's Mama Day." MELUS 19.3 (1994): 75-90. Discussion of how reviewers of Mama Day have "mistaken its genre and defined its origins too narrowly." Also asserts that the novel belongs to the romantic tradition.

Lattin, Patricia Hopkins. "Naylor's Engaged and Empowered Narrative." College Language Association Journal 41.4 (1998): 452-69. Asserts that Naylor's "unusual narrative conceit" in Mama Day is actually a sophisticated narrative strategy.

Levin, Amy K. "Metaphor and Maternity in Mama Day. Kelley, Gloria Naylor's Early Novels, 70-88.

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Asserts that Miranda Day, the title character, follows a model of motherhood influenced by a West African model of mothering and female leadership.

Levy, Helen Fiddyment. "Lead on with Light." Fiction of the Home Place: Jewett, Cather, Glasgow, Porter, Welty, and Naylor. Jackson: University Press of Mississippi, 1992. 196-222. Reprinted in Gates and Appiah, Gloria Naylor, 263-84. Analysis of the disruption of the black community by outside forces (i.e., racism, sexism, homophobia, and colorism) in Naylor's first three novels.

Lewis, Vashi Crutcher. "Gloria Naylor." Dictionary of Literary Biography. Volume 173: American Novelists Since World War II, Fifth Series (1996): 170-76. Brief biography and analysis of Naylor's first four novels. Aligns Naylor with Toni Morrison, Paule Marshall, Alice Walker, and Zora Neale Hurston.

Lynch, Michael F. "The Wall and the Mirror in the Promised Land: The City in the Novels of Gloria Naylor." The City in African-American Literature. Eds. Yoshino- bu Hakutani and Robert Butler. Madison: Fairleigh-Dickinson University Press, 1995. 181-95.

Views the city in Naylor's novels not as a promised land, but as a trap for African Americans. Although characters achieve a better standard of living, materialism entraps them and results in their loss of identity.

Matus, Jill L. "Dream, Deferral, and Closure in The Women of Brewster Place." Black American Literature Forum 24 (1990): 49-64. Reprinted in Gates and Appiah, Gloria Naylor, 126-39. Argues that the absence of closure in the novel reflects Naylor's reinterpreta- tion of Hughes's "dream deferred."

McDonnell, Rhonda R. "Gloria Naylor's Vision for the Future." Notes on Contemporary Literature 27.4 (1997): 10-12. Analysis of Naylor's "blueprint for the process for change" in Linden Hills and Mama Day. Identifies three requirements for change: education of both sexes, redefinition of religion, and equalization of the power structure.

Meisendhelder, Susan. "'Eating Cane' in Gloria Naylor's The Women of Brewster Place and Zora Neale Hurston's 'Sweat."' Notes on Contemporary Literature 23.2 (March 1993): 5-7. Brief discussion of how "eating cane" acts as a "disguised metaphor" for enslaving women.

. "'The Whole Picture' in Gloria Naylor's Mama Day." African American Review 27.3 (1993): 405-19. Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 113-28. Analyzes the competing narratives and values of George (influenced by "white" upbringing) and Cocoa (influenced by "black" upbringing).

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Metting, Fred. "The Possibilities of Flight: The Celebration of Our Wings in Song of Solomon, Praisesongfor the Widow, and Mama Day." Southern Folklore 55.2 (1998): 145-68.

Argues that Naylor, Toni Morrison, and Paule Marshall reclaim and revitalize the idea of flight.

Montgomery, Maxine L. "The Fathomless Dream: Gloria Naylor's Use of the Descent Motif in The Women of Brewster Place." CLA Journal 36.1 (1992): 1-11. Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 42-8. Applies Northrop Frye's theory of the romantic mode to the novel's female characters.

. "Authority, Multivocality, and the New World Order in Gloria Naylor's Bailey's Cafe." African American Review 29.1 (1995): 27-33. Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 187-94. Reads the novel as a "haunting lyrical text steeped in biblical allusion." Asserts that the collective female voices symbolize an end to the male dialec- tic.

. The Apocalypse in African-American Fiction. Gainesville: University Press of Florida, 1996. Sees the women's dismantling of the brick wall, the apocalypse in The Women in Brewster Place, as their reaction to restrictions placed upon them by the white male power structure.

. "Good Housekeeping: Domestic Ritual in Gloria Naylor's Fiction." Kelley, Gloria Naylor's Early Fiction, 55-69. Suggests that Naylor's female characters often find themselves mired in domesticity. Looks at how Naylor's texts mirror the unique realities of black women's lives.

Nash, William R. "The Dream Defined: Bailey's Cafe and the Reconstruction of American Cultural Identities." Felton and Loris, Critical Response to Gloria Naylor, 211-225. Asserts that the characters in the novel reject the dominant/mainstream definition of the American dream, favoring instead a version of reality that "blackens" white dreams.

Novy, Marianne. Engaging with Shakespeare: Responses of George Eliot and Other Women Novelists. Athens: University of Georgia Press, 1994. Comparative study of women novelists' engagement of Shakespeare in their texts, including a brief discussion of Mama Day.

O'Connor, Mary. "Subject, Voice, and Women in Some Contemporary Black Ameri- can Women's Writing." Feminism, Bakhtin, and the Dialogic. Ed. Dale M. Bauer

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and Susan J. McKinstry. Albany: State University of New York Press, 1991. 199- 217.

Comparative study of the relationship of African American women's lan- guage to subjectivity. Looks at Naylor's The Women of Brewster Place, Ntozake Shange's For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf, and Alice Walker's The Color Purple.

Odamtten, Vincent O. "Reviewing Gloria Naylor: Toward a Neo-African Critique." Of Dreams Deferred, Dead or Alive: African Perspectives on African-American Writ- ers. Ed. Ade Ojo. Westport: Greenwood, 1996. 115-28. Analysis of Naylor's treatment of the African American experience in her first three novels.

Page, Philip. "Living with the Abyss in Gloria Naylor's Bailey's Cafe." CLA Journal 40.1 (September 1996): 21-45. Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 225-39. Uses Derrida's concept of the "unnamable bottomless well" as the "abyss" to draw parallels between Derrida, Morrison's Jazz, and Naylor's first four novels.

. "'Into the Midst of Nothing': Gloria Naylor and the Differance." Kelley, Gloria Naylor's Early Novels, 112-32. Analysis of Naylor's use of wells and well-like symbolism. Argues that characters live at the edge of wells/the abyss (the differance) which neither destroys nor benefits them.

Palumbo, Kathryn. "The Uses of Female Imagery in Naylor's The Women of Brewster Place." Notes on Contemporary Literature 15.3 (May 1985): 6-7. Brief analysis of female defined imagery in the novel.

Prahlad, Sw. Anand. "'All Chickens Come Home to Roost': The Function of Proverbs in Gloria Naylor's Mama Day." Proverbium: Yearbook of International Proverb Scholarship 15 (1998): 265-81. Exploration of Naylor's use of proverbs in Mama Day to signal conflict between male-female relationships and to mediate between polarities of gender and corresponding dimensions of society associated with gender (i.e., science/ mysticism, rational/intuitive, and self/community).

Puhr, Kathleen M. "Healers in Gloria Naylor's Fiction." Twentieth Century Literature: A Scholarly and Critical Journal 40.4 (1994): 518-27. Analysis of the recurring healer figure in Naylor's novels.

Reckley, Ralph, Sr. "Science, Faith, and Religion in Gloria Naylor's Mama Day." Twentieth Century Black American Women in Print: Essays by Ralph Reckley, Sr. Ed. Lola E. Jones. Acton, Mass.: Copley Publishing Group, 1991. 87-95.

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Asserts that Naylor's novel forces readers to take a cosmic leap from the world in which they live, one of science and reason, to a border world where religion and faith reign.

Restuccia, Frances L. "Literary Representations of Battered Women: Spectacular Domestic Punishment." Bodies of Writing, Bodies in Performance. Ed. Thomas Foster, Carol Siegel, and Ellen Berry. New York: Press, 1996. 42-71.

Uses Foucault's concept of the pre-panopticon dungeon to answer why battered women remain in abusive relationships. Focuses on Willa Nedeed in Linden Hills.

Rummell, Kathryn. "From Stanley to Miss Maple: A Definition of Manhood in Gloria Naylor's Bailey's Cafe." Diversity: A Journal of Multicultural Issues 2 (1994): 90-96. Uses Marjorie Garber's concept of transvestitism to analyze Naylor's treat- ment of manhood.

Russell, Sandi. Render Me My Song: African-American Women Writersfrom Slavery to the Present. New York: St. Martin's Press, 1990. Comparative study of the texts of Naylor, Paule Marshall, June Jordan, and Audre Lorde, all of which engage in an effort to eradicate stereotypical images of black women.

Sandiford, Keith. "Gothic and Intertextual Constructions in Linden Hills." Arizona Quarterly 47 (1991): 117-39. Reprinted in Gates and Appiah, Gloria Naylor, 195- 214.

Uses Mikhail Bahktin's concept of the polyphonic novel to analyze the various textual voices. Also reads the novel as gothic fiction.

Saunders, James Robert. "The Ornamentation of Old Ideas: Gloria Naylor's First Three Novels." Hollins Critic 27.2 (April 1990): 1-11. Reprinted in Gates and Appiah, Gloria Naylor, 249-62. Reads The Women of Brewster Place, Linden Hills, and Mama Day as revisions of Ann Petry's The Street, Dante's Inferno, and Shakespeare's Hamlet, respec- tively.

. "From the Hypocrisy of the Reverend Woods to Mama Day's Faith of the Spirit." The Wayward Preacher in the Literature of African American Women. Jeffer- son: McFarland, 1995. 105-24. Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 48-61.

Schneider, Karen. "Gloria Naylor's Poetics of Emancipation: (E)merging (Im)possibilities in Bailey's Cafe." Kelley, Gloria Naylor's Early Novels, 1-20. Asserts that Bailey's Cafe demonstrates Naylor's success at appropriating stories from Western culture due to her avoidance of "discursive indenture."

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Showalter, Elaine. Sister's Choice: Tradition and Change in American Women's Writing. New York: Clarendon/Oxford, 1991. Looks at Naylor's and other American women writers' rewriting of Shakespeare's The Tempest.

Sisney, Mary F. "The View from the Outside: Black Novels of Manners." Reading and Writing Women's Lives: A Study of the Novel of Manners. Ed. Bege K. Bowers and Barbara Brothers. Ann Arbor: UMI Research Press, 1990. 171-85. Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 63-75. Asserts that Naylor follows in the tradition of Jesse Fauset and Nella Larsen with Linden Hills, which is to be viewed as a novel of manners.

Smith, Barbara. "The Truth That Never Hurts: Lesbians in Fiction in the 1980's." Wild Women in the Whirlwind: Afra-American Culture and the Contemporary Literary Renaissance. Ed. Joanne M. Braxton and Andree Nicola McLaughlin. New Brun- swick, N.J.: Rutgers University Press, 1990. 213-45. Reprinted in Feminisms: An Anthology of Literary Theory and Criticism, ed. Robyn R. Warhol, New Jersey: Rutgers University Press, 1997, 784-806. Asserts that Naylor's portrayal of "the two" in The Women of Brewster Place "counters" what says to be the growing respectability of the treatment of lesbianism in African American women's texts.

Stanford, Ann Folwell. "Mechanism of Disease: African-American Women Writers, Social Pathologies, and the Limits of Medicine." NWSA Journal 6.1 (Spring 1994): 28-47. Comparative study of the connection between disease and sociocultural conditions. Focuses on Lucielia Louise Turner and Mattie Michael in The Women of Brewster Place.

Stokes, Karah. "Ripe Plums and Pine Trees: Using Metaphor to Tell Stories of Violence in the Works of Gloria Naylor and Charles Chesnutt." Felton and Loris, Critical Response to Gloria Naylor, 199-210. Argues that Naylor's use of metaphor to describe violent acts in her texts in a manner that enables readers who might otherwise resist reading such graphic portrayals to read on is "inherited from her literary ancestor Charles Chesnutt."

Storhoff, Gary. "The Only Voice is Your Own': Gloria Naylor's Revision of The Tempest." African American Review 29.1 (1995): 35-45. Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 166-77. Reads Mama Day as a "speakerly text." Asserts that the "necessity of estab- lishing a narrative authority" is the novel's central theme.

Tanner, Laura E. "Reading Rape: Sanctuary and The Women of Brewster Place." Amer- ican Literature 62 (1990): 559-82. Reprinted in Gates and Appiah, Gloria Naylor, 71- 89.

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Juxtaposes the rape scenes in these two texts to show how Naylor subverts Laura Mulvey's "model of patriarchal viewing."

Thompson, Dorothy Perry. "Africana Womanist Revision in Gloria Naylor's Mama Day and Bailey's Cafe." Kelley, Gloria Naylor's Early Novels, 89-111. Argues that Naylor's texts are influenced by "African womanism" because her characters "are distinctly African in origin" and, thus, they transcend the boundaries of the text and ascend to higher levels of liberation.

Toombs, Charles P. "The Confluence of Food and Identity in Gloria Naylor's Linden Hills: 'What We Eat Is Who We Is."' CLA Journal 37.1 (1993): 1-18. Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 88-98. Analysis of the food consumed by and eating habits of the characters in the novel. Views characters' rejection of "down home food" as personal and cultural starvation.

Traub, Valerie. "Rainbows of Darkness: Deconstructing Shakespeare in the Work of Gloria Naylor and Zora Neale Hurston." Cross-Cultural Performances: Differences in Women's Re-Visions of Shakespeare. Ed. Marianne Novy. Urbana and Chicago: University of Illinois Press, 1993. 150-64. Naylor's use of King Lear, Hamlet, and The Tempest suggests her "complex, ambivalent relationship to Shakespeare."

Tucker, Lindsey. "Recovering the Conjure Woman: Texts and Contexts in Gloria Naylor's Mama Day." African American Review 28 (Summer 1994): 173-88. Re- printed in Felton and Loris, Critical Response to Gloria Naylor, 143-58. Analysis of Naylor's use of the conjure woman testifies to the staying power of the oral tradition.

Wagner-Martin, Linda. "Quilting in Gloria Naylor's Mama Day." Notes on Contempo- rary Literature 18 (May 1988): 6-7. Brief analysis asserts that the quilting scene in Mama Day shows the "interre- lation of women's lives and friendships."

Walter, Roland. "The Dialectics between the Act of Writing and the Act of Reading in Alice Walker's The Temple of My Familiar, Gloria Naylor's Mama Day, and Toni Morrison's Jazz." The Southern Quarterly 35.3 (Spring 1997): 55-66. Ward, Catherine C. "Gloria Naylor's Linden Hills: A Modern Inferno." Contemporary Literature 28 (1987): 67-81. Reprinted in Gates and Appiah, Gloria Naylor, 182-94. Reads novel as a commentary on the price the black middle class has to pay for its upward mobility.

Wardi, Anissa J. "The Scent of a Sugarcane: Recalling Cane in The Women of Brewster Place." College Language Association Journal 42.4 (1999): 483-507.

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Comparative analysis of The Women of Brewster Place and Jean Toomer's Cane which "seeks to intertextually read these works of fiction as composite novels."

Warren, Nagueyalti. "Cocoa and George: A Love Dialectic. " SAGE: A Scholarly Journal on Black Women 7.2 (Fall 1990): 19-25. Asserts that the "sharp contradiction" of love (which denotes feeling) and dialectic (which denotes logic) forms the basis of Mama Day.

Wells, Linda, Sandra E. Bowen (reply), and Suzanne Stutman (reply). "'What Shall I Give My Children?': The Role of Mentor in Gloria Naylor's The Women of Brewster Place and Paule Marshall's Praisesong for the Widow." Explorations in Ethnic Studies 13.2 (1990): 41-60. Analysis of Naylor's and Marshall's use of the mentoring, nurturing figure in the two novels.

Wheliss, Sarah, and Emmanuel S. Nelson. "Gloria Naylor (1950- )." Contemporary African American Novelists: A Bio-Biographical Critical Sourcebook. Ed. Emmanuel S. Nelson and Deborah G. Plant. Connecticut: Greenwood Press, 1999. 366-76. Biography and brief critical analysis of Naylor's major works, themes, and critical reception.

Whitt, Margaret Earley. Understanding Gloria Naylor. Columbia: University of South Carolina Press, 1999. Book-length study of major themes, symbolism, and development of charac- ters in and the influence of the Bible, Dante, Shakespeare, African American folklore, and mythology on Naylor's five novels.

Winsbro, Bonnie. "Modern Rationality and the Supernatural: Bridging Two Worlds in Gloria Naylor's Mama Day." Supernatural Forces: Belief, Difference, and Power in Contemporary Works by Ethnic Women. Amherst: University of Massachusetts Press, 1993. 109-28. Analysis of how the novel "focuses on a struggle between two worlds and the beliefs that sustain the inhabitants of these worlds."

Wood, Rebecca. "'Two Warring Ideals in One Dark Body': Universalism and Nation- alism in Gloria Naylor's Bailey's Cafe." African American Review 30.3 (Fall 1996): 381-95. Reprinted in Felton and Loris, Critical Response to Gloria Naylor, 240-52. Reads the novel as Naylor's revision of Chaucer's Canterbury Tales, Shakespeare's entire body of writings, Toni Morrison's The Bluest Eye, and Ellison's Invisible Man.

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