Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 5-28-2009 The Good Cut: The Barbershop in the African American Literary Tradition Terry Sinclair Bozeman Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Part of the English Language and Literature Commons Recommended Citation Bozeman, Terry Sinclair, "The Good Cut: The Barbershop in the African American Literary Tradition." Dissertation, Georgia State University, 2009. https://scholarworks.gsu.edu/english_diss/49 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE GOOD CUT: THE BARBERSHOP IN THE AFRICAN AMERICAN LITERARY TRADITION by Terry Bozeman Under the Direction of Thomas McHaney Abstract Few African American males do not have at least one memory of a barbershop. The barbershop is a space that finds a home in virtually every community in which you find Black males. To some degree, virtually all genres and periods of African American literary expression have situated the barbershop as a mediating space in the formulation of a Black masculine identity. The barbershop as mediating space allows Black males the opportunity to view themselves and also critique the ways in which they are gazed upon by the literary imagination. African American authors, through the use of the barbershop, bring to the center the construction of this space in Black masculinity identity formation. Although a common presence in African American literature, the barbershop has not received any serious, i.e. book length examinations in literary analysis. I argue that the historical portrayal of the barbershop as mediating space problematizes the intersections of ancestor, culture, history, memory and literary imagination to reveal the intricate relationship between Black males and the space. I seek to address the gap in coverage of the literary treatment of the African American barbershop as mediating structure in the formulation of a black masculine identity. My research will show that we cannot fully understand the literary formation of Black masculine identity unless we attend to the barbershop as a formative mediating space. INDEX WORDS: Barbers, Barbershop, Black Masculinity, Hush Harbors, Safe Spaces THE GOOD CUT: THE BARBERSHOP IN THE AFRICAN AMERICAN LITERARY TRADITION by TERRY BOZEMAN A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2007 Copyright by Terry Bozeman 2007 THE GOOD CUT: THE BARBERSHOP IN THE AFRICAN AMERICAN LITERARY TRADITION by TERRY BOZEMAN Major Professor: Thomas Mchaney Committee: Mary Zeigler Carolyn Denard Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University May 2007 iv Dedication For my son Terrence, who provides the inspiration I need to believe in the goodness in the world. For My Grandparents Sinclair and Rosa Mae Bozeman, whose strength and love for each other gave me all I need to live. For all the Black men in barbershops who talk, laugh, lie and cry, we do have a voice and it will be heard. v Acknowledgements There can never be enough thanks to my advisor Dr. Tom McHaney. He was there generously giving of his time, advice, and wonderful insight throughout this journey. I am grateful and honored to have worked with such a wonderful scholar and mentor. My committee members, Dr. Mary Zeiglar and Dr. Carolyn Denard were both above and beyond great scholars to work with. They both opened their homes and hearts to me and kept me encouraged. Thank you both for your warmth and generosity. Without question, I could not have done any of this were it not for the wonderful and unending support of my Spelman College family in both the English department and the African Diaspora and the World Program. A special thanks to Ms. Opal Moore, Dr. Akiba Harper, Dr. Anne Warner, Dr. Steven Knadler, Dr. Margaret Price, and Michelle Hite. Each of you were wonderful inspirations. Dr. Geneva Baxter and Dr. Tarshia Stanley, I can never say enough thanks to the two of you. Thank you both for sharing your love of God. You both gave selflessly in your kindness and encouragement through it all. My friends and family members who provided emotional and financial support can share in this wonderful time. Without you and the lessons taught, I could not be here today. Thanks to my mothers, Mildred, Essie, Idell, Patsy, Janie, and Angela. To my mom, Evelyn Slack, thank you for helping me believe I really could do anything I put my mind to. My best friend and sister, Seteria can never know what it meant to have her support. She was there when I couldn’t call anyone else. vi And finally, to my Uncles Eddie, James, Eugene, Delois, Emmanuel, and Willie, you were my many fathers who guided me with your words and your wisdom. A special thanks to Dr. Chaunda McDavis, Dr. James L. Hill, Dr. Marva Banks. Thank You for all the support. vii Table of Contents Acknowledgements v Introduction 1 Remembering the Cut: The Barbershop as Site of Memory Chapter One 30 The Fresh Cut: The Rise of the Barbershop in African American Literature Chapter Two 46 Keeping the Length: Heroic Folk and the Barbershop Chapter Three 91 Holla Back! Signifyin’ and Lyin’: Hush Harbor Rhetoric and the African American Barbershop Chapter Four 122 Line it Up: Trauma and the Traumatized in the African American Barbershop Chapter Five 150 Brush of the Collar: What’s next for the Barbershop in African American Literature? Afterward 159 Cuttin’ a New Look: First Friday Cut Bibliography 172 1 Introduction Remembering the Cut: The Barbershop as Site of Memory “A southern gentleman took a seat for his shave, drew his revolver, and told the black barber that if he were to cut him, he would shoot him. After getting his shave without a nick, the gentleman asked the barber how he had remained so calm during the operation. The barber replied that he had planned to slit the gentleman’s throat if necessary” (52). Cyprian Clamorgan, The Colored Aristocracy of St. Louis (1858) “There is no place like a Negro Barbershop for hearing what Negroes really think. There is more unselfconscious affirmation to be found here on a Saturday than you can find in a Negro College in a month or so it seems to me” (9). Ralph Ellison, Shadow and Act (1953) “The ironclad façade of cool pose is a signature of true masculinity, but it is one-dimensional. If it fails, masculinity fails. Coolness and manhood are so intricately intertwined that letting the cool mask fall, even briefly, feels threatening. This is the façade that provides security in an insecure world.” Richard Majors and Janet Mancini Billson, Cool Pose (1992) Published in 1858, Cyprian Clamorgan’s The Colored Aristocracy of St. Louis captures the historical essence of Black men’s use of the barbershop as a mediating space within the historically prescriptive racial dynamics of America. Clamorgan’s text examines the thin line between the racial identities of those men caught between the worlds of Black and White. This world that created the need for the dual function of the Black barbershop as both mediating space and functional place left in its wake an institution enshrined in the psyche of Black masculine identity that, while it continues to evolve, remains true to its historical roots. While they have evolved in America, Black males are still potentially faced with situations that balance on the edges of violent eruption, though often these are now increasingly threats from within the community. 2 Whether literal or figurative, life on the edge for many Black males is heavily girded by the cultural embracing of a specific type of masculinity. It is a type of hyper-masculinity known as “cool pose.” Richard Majors and Janet Mancini Billson in Cool Pose: The Dilemmas of Black Manhood in America (1992) describe cool pose as a ritualized performance of masculinity utilized as a system of impression-management to thwart social and psychological constructions and deconstructions of Black males (4). In other words, while it may not always be articulated, cool pose is very real. Through its commission, some Black males are able to find agency in their lives. According to Majors and Mancini Billson, “as a response to a history of oppression and social isolation in this country, coolness may be a survival strategy that has cost the black male – and society – an enormous price” (xii). The price has been an expensive one for many Black men. While it is key to point out Majors and Mancini Billson’s observation that cool pose is not inclusive of all Black male experiences and coping strategies (xii), it is important to stress that cool pose itself is neither all good or all bad; it simply is what it is and that is one means of survival Black men have access to. When taken to its extremes, cool pose can be very problematic. Yet its value on a day-to-day scale saves countless lives as it allows survival through the smallest acts of resistance. Yet cool pose for some Black men can often be a “relentless performance for the main-stream audience and often for each other. Creating the right image – the most impressive persona – is part of acting in a theater that is seldom dark” (4). But for some, the performativity of a cool pose stance provides for them a level of visibility that allows the perception of agency.