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Publishing Blackness: Textual Constructions of Race Since 1850 0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE publishing blackness publishing blackness Textual Constructions of Race Since 1850 George Hutchinson and John K. Young, editors The University of Michigan Press Ann Arbor Copyright © by the University of Michigan 2013 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2016 2015 2014 2013 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Publishing blackness : textual constructions of race since 1850 / George Hutchinson and John Young, editiors. pages cm — (Editorial theory and literary criticism) Includes bibliographical references and index. ISBN 978- 0- 472- 11863- 2 (hardback) — ISBN (invalid) 978- 0- 472- 02892- 4 (e- book) 1. American literature— African American authors— History and criticism— Theory, etc. 2. Criticism, Textual. 3. American literature— African American authors— Publishing— History. 4. Literature publishing— Political aspects— United States— History. 5. African Americans— Intellectual life. 6. African Americans in literature. I. Hutchinson, George, 1953– editor of compilation. II. Young, John K. (John Kevin), 1968– editor of compilation PS153.N5P83 2012 810.9'896073— dc23 2012042607 acknowledgments Publishing Blackness has passed through several potential versions before settling in its current form. We have been grateful throughout to George Bornstein, for initiating this project for Michigan’s Editorial Theory and Literary Criticism Series, and for helping to shepherd the book through the production process. We also thank the volume’s contributors, for the depth and range of their insights and for their patience along the way. We have appreciated the questions and objections from the Press’s three anonymous reviewers, each of whom helped to make the final prod- uct stronger. Finally, we have been lucky to work with Thomas Dwyer and other members of the University of Michigan Press staff, including Christopher Dreyer and Alexa Ducsay. Contents Introduction george hutchinson and john k. young 1 The Brief Wondrous Life of the Anglo- African Magazine; or, Antebellum African American Editorial Practice and Its Afterlives ivy g. wilson 18 Representing African American Literature; or, Tradition against the Individual Talent George Hutchinson 39 “Quite as human as it is Negro”: Subpersons and Textual Property in Native Son and Black Boy John K. Young 67 The Colors of Modernism: Publishing African Americans, Jews, and Irish in the 1920s George Bornstein 93 More than McKay and Guillén: The Caribbean in Hughes and Bontemps’s The Poetry of the Negro (1949) Ifeoma Kiddoe Nwankwo 108 Editorial Federalism: The Hoover Raids, the New Negro Renaissance, and the Origins of FBI Literary Surveillance William J. Maxwell 136 Loosening the Straightjacket: Rethinking Racial Representation in African American Anthologies Gene Andrew Jarrett 160 viii contents “Let the World Be a Black Poem”: Some Problems of Recollecting and Editing Black Arts Texts James W. Smethurst 175 Textual Productions of Black Aesthetics Unbound Margo Natalie Crawford 188 Select Bibliography 211 Contributors 215 Index 219 George Hutchinson and John K. Young introduction Ed Bullins’s 1971 one- page play, Malcolm: ’71, or Publishing Blackness, la- ments and excoriates the academic domestication of black radicalism, specifically with reference to a white graduate student’s request that a black playwright recommend black poets for inclusion in her planned anthology of radical American literature. Whitegirl tells Blackman she was given Blackman’s name by Professor Hack, “the white professor who teaches black poetry and aesthetics,” hired as a result of student protests for a Black Studies program at the Black Revolutionary Third World City University. “You wouldn’t imagine,” she tells Blackman, “how terribly, ter- ribly radical and revolutionary this book is going to be! . And I was hoping that, if you could collect a section for the Blacks . I mean the Black poets, of course, well I could meet with you.” Blackman cuts her off, asking who her dog Malcolm (barking in the background throughout) is named for. When she replies, “Malcolm X,” he gently hangs up the phone.1 Central to this interchange is a concern about the cooptation and domestication of black radicalism and black literature, accompanied by implicit worries about textual reproduction and selection in academic scholarship. As Margo Crawford notes in her discussion of Bullins in this volume’s closing essay, Malcolm: ’71 “dramatizes the problem of who frames whom and who collects whom.” At the time of the play, textual scholarship was enjoying something of a revival that would last into the 1980s. Black literary study, on the other hand, was just taking off on its post- 1960s expansion with a growing number of newly reprinted texts, often in hardback facsimile form out of Arno Press of the New York Times or in inexpensive paperback under the aegis of the African/ American Library series edited by Charles R. Larson and published by Collier Books. Scholarly editions of African American literature were practically nonexistent. 2 publishing blackness With its philological roots in the Bible, medieval scrolls, and Shake- speare’s folios and quartos, textual scholarship was slow to come to Af- rican American literature, no doubt in part because textual scholarship depended on an academic industry already built up around canonical, white male authors. Groundbreaking editions like the 1969 “genetic text” of Melville’s Billy Budd (an Inside Narrative) edited by Harrison Hayford and Merton M. Sealts Jr. could only be justified financially on the basis of a large array of courses in which it might be used in place of a cheaper, even if flawed, edition in a paperback collection of Melville’s stories and novellas. The mammoth CEAA-a pproved editions of the complete works of Hawthorne, Melville, Whitman, and Howells—n one of which was fi- nally completed— took decades of work and plenty of money from soon- strapped university presses. They ended in midstream and went out of print as scholarly publishing lost financial support and viability in the course of the 1980s and after. Indeed, textual scholarship easily appeared out of sync with the French poststructuralist wave sweeping the Ameri- can academy in the 1970s and 1980s, and generally lost prestige, not to mention market share, in the profession of literary studies as a whole over the last three decades of the twentieth century.2 African American literary studies, meanwhile, took an opposite trajectory. While African Americanist scholarship exploded by the turn of the twenty- first century and, some might argue, contributed in some of its forms to the domestication of black literary radicalism, textual scholars— almost all of them white—l amented that no one seemed to care anymore about what they did. However, as black- authored texts entered the bookstores and the classrooms in expanding numbers, and black literary scholarship became institutionalized, a new interest in is- sues raised by textual scholars began to appear in African American lit- erary scholarship, and textual scholars began turning to black-a uthored texts. Certain developments in textual scholarship meshed in interest- ing ways with central issues in African American literary study. For ex- ample, a move away from establishing “authoritative” texts based on an author’s initial or final intentions, or a fetishization of “copytext,” suited a field in which intentionality could be difficult to determine.3 The “bro- ken, coded documents”4 of black literary history might be reread and re- edited from theoretical orientations focused on broader imaginings of textuality, without authorial intention as a guiding principle. An interest in what Gerard Genette termed the “paratext,” including prefaces, type- faces, dust jackets, and eventually what came to be known as the “mate- introduction 3 rial text,” connected with long- standing concerns in African American studies about the material and institutional contexts of black literature. Similarly, textual scholarship moved toward a greater acceptance of mul- tiplicity in presentations of texts, or what some have termed the “fluid text,” and this plausibly connects with what have been regarded as the especially performative dimensions of black literature, what Jennifer De- Vere Brody identifies as “the issue of the link (or leak) between black ink and embodied forms of blackness— of being black and black being.”5 While William L. Andrews would lament in a 1997 essay that “classic African American writers” could not “qualify for complete textual edi- tions in formats comparable to those that are sealing a hallowed place in American literary history for a Harold Frederic or a Charles Brockden Brown,” the fifteen
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