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Xerox University Microfilms aoo Nor* ZMb now Am Alter, IMeMoon 4S10S 76-19,770 HOUSTON, Helen Ruth, 1939- THE AFRO-AMERICAN NOVEL 1965-1975: A DESCRIPTIVE BIBLIOGRAPHY OF PRIMARY AND SECONDARY MATERIAL. Middle Tennessee State University, D.A., 1976 Literature, modern Xerox University Microfilms, Ann Arbor, Michigan 48106 © 1976 HELEN RUTH HOUSTON All Rights Reserved THE AFRO-AMERICAN NOVEL 1965-1975: A DESCRIPTIVE BIBLIOGRAPHY OF PRIMARY AND SECONDARY MATERIAL By Helen Ruth Houston A dissertation presented to the Graduate Faculty of Middle Tennessee State University in partial fulfillment of the requirements for the degree Doctor of Arts May, 1976 THE AFRO-AMERICAN NOVEL 1965-1975: A DESCRIPTIVE BIBLIOGRAPHY OF PRIMARY AND SECONDARY MATERIAL APPROVED! Graduate Committee: Major Professor Minor Professor Education Professor History Profess Speech and Theatue Ppofessor Head of] the Depaj^ijient of English C. Dean of the Graduate School ABSTRACT THE AFRO-AMERICAN NOVEL 1965-1975: A DESCRIPTIVE BIBLIOGRAPHY OF PRIMARY AND SECONDARY MATERIAL By Helen Ruth Houston This dissertation provides students of Afro-American literature with a descriptive bibliographical tool to aid them in the study of Afro-American novelists. It lists pri­ mary and secondary materials useful in the study of Afro- American writers since 1964. The entry for each author is divided into four sections: a ) biographical data, b ) novels published by the author, C) items of criticism by and about the author, his works and his philosophy, and D) reviews of the novels listed. Sections C and D are arranged in chrono­ logical order according to the novel's copyright date. The bibliography contains over 800 entries. DEDICATION In memory of my mother, Mrs. Ruth Louise Hardiman Houston ii ACKNOWLEDGMENTS I wish to express my appreciation to my committee chairmen, Dr. William M. Beasley and the late Dr. Richard C. Peck, and my committee members, Dr. William J. Connelly, Dr. Wallace R. Maples, Dr. William T. Windham and Dr. Larry V. Lowe for their constant encouragement and assistance. Sincere appreciation is expressed to Dr. Tyree Jones Miller who was consistent and unflinching in her assistance and encouragement. I wish also to acknowledge the aid of Dr. Alberta Barrett; Mrs. Sue P. Chandler, assistant librarian, Special Collection, Fisk University; Mrs. Frances Hunter, reference librarian, Middle Tennessee State University; and Dr. Charles Wolfe. My thanks also go to Douglas Barbour of the University of Alberta, Dr. Thomas D. Clareson of College of Wooster and several fanzine editors: Bruce Gillespie, Peter Nicholls, Andrew Porter and Jeffrey Smith. A special debt of gratitude is due Mrs. C. C. Banning, my friend and high school librarian, who encouraged my interest in Black literature. Most of all, I thank my family who performed all of my household duties so that I could spend hours researching materials. iii CONTENTS Pages INTRODUCTION.................................... 1 BIBLIOGRAPHY.................................... 7 James Arthur Baldwin .................. 8 Barry Beckham ............................... 23 Hal Bennett ................................. 26 Robert Boles ................................. 28 Cecil M. B r o w n ............................... 30 Ed B u l l i n s .................................. 31 George C a i n ................................. 34 Alice Childress ............................. 36 Cyrus Colter ................................. 38 Clarence Cooper, Jr ........................... 40 George Davis ................................. 40 Nolan Davis ................................. 41 Samuel R. Delany ............................. 43 William D e m b y ............................... 50 Ronald L. Fair ............................... 53 Leon Forrest ................................. 56 Ernest J. G a i n e s ............................. 57 Sam G r e e n l e e ................................. 64 Virginia Hamilton ........................... 66 Nathan C. H e a r d ............................. 69 Chester Himes ............................... 70 iv Pages Kristin Hunter ................................ 78 Blyden Jackson ................................ 81 Jesse Jackson ................................ 82 Charles Johnson .............................. 84 Gayl J o n e s .................................... 86 June Jordan .................................. 88 William Melvin Kelley ......................... 89 Arnold K e m p .................................. 95 John Oliver Killens ..................... 96 Audrey L e e .................................... 101 William Mahoney .............................. 101 Clarence Major ................................. 102 Paule Marshall ................................. 105 Sharon Bell Mathis ............................. 109 Louise M. Meriwether ........................... 112 Toni Morrison ................................. 113 Willard Motley ................................ 117 Albert Murray ................................ 120 Robert Deane Pharr ............................ 122 Carlene Hatcher Polite ......................... 124 Ishmael Reed ................................... 125 Bryant Rollins ................................ 134 Gil Scott-Heron ............................... 135 Chuck Stone ................................... 137 v Pages Henry Van D y k e ................................. 139 Melvin Van Peebles ......... 141 Mary Elizabeth V r o m a n .......................... 143 Alice Walker ................................... 144 Margaret Walker ............................. 147 John Edgar Wideman ............................. 150 John Alfred Williams ............................154 Charles Stevenson Wright ...................... 164 Sarah E. Wright ............................... 167 Prank Garvin Y e r b y ............................. 169 A1 Y o u n g ...................................... 174 SOURCES CONSULTED ................................. 177 vi INTRODUCTION Afro-American literature began more than two centuries ago. It began when people like Lucy Terry, Phillis Wheatley and David Walker felt the need to create and to give the world a description of Negro life in America. Since that time, there has been a continual stream of Black literary works. Yet, our American schools have neglected to include literature by and about Afro-Americans in their English curricula. Recently, attempts have been made to rectify this neglect. At the local level, a number of institutions recognized that the inclusion of the Black experience as an integral part of the curriculum is necessary to reduce the human relations gap between whites and Blacks.* These institutions established numerous Afro-American literature courses to give evidence that the Black man has lived, breathed, fought, labored and created.^ Other institutions found it more viable, because of a shortage of funds, *Jean A. Alexander, "Black literature for the 'Culturally Deprived' Curriculumi Who Are the Losers?" Negro American Literature Forum. 4 (Fall 1970), p. 97. ^Richard a . Long, "The Black Studies Boondoggle," Liberator, 10 (September 1970), p. 7. 1 2 faculty, and time to “revise curricula to include and emphasize the contributions of Blacks."5 At the national level, The National Council of Teachers of English adopted a policy of affirmative action Which recommended that ethnic literature be Included in all English curricula. As a result of this action, a portion of the larger society now is aware that it is mandatory that the contributions of Afro-Americans be given particular attention since “Racial harmony cannot be attained without a nationwide