"Highly original and deeply probing in its analyses into the intricacies of its topic, "Constructing the Black Masculine" is a timely and rewarding addition to the study of African American literature, American studies, and race and sexuality. Maurice O. Wallace has a lot to teach."--Nellie McKay, coeditor of "The Norton Anthology of African American Literature"
"Highly original and deeply probing in its analyses into the intricacies of its topic, "Constructing the Black Masculine" is a timely and rewarding addition to the study of African American literature, American studies, and race and sexuality. Maurice O. Wallace has a lot to teach."--Nellie McKay, coeditor of "The Norton Anthology of African American Literature"
List of Illustrations Acknowledgments > Introduction Part One: Spectagraphia 1. On Dangers Seen and Unseen: Identity Politics and the Burden of Black Male Specularity Part Two: No Hiding Place 2. “Are We Men?”: Prince Hall, Martin Delany, and the Black Masculine Ideal in Black Freemasonry, 1775-1865 3. Constructing the Black Masculine: Frederick Douglass, Booker T. Washington, and the Sublimits of African American Autobiography 4. A Man’s Place: Architecture, Identity, and Black Masculine Being Part Three: Looking B(l)ack 5. “I’m Not Entirely What I Look Like”: Richard Wright, James Baldwin, and the Hegemony of Vision; or Jimmy’s FBEye Blues 6. What Juba Knew: Dance and Desire in Melvin Dixon’s Vanishing Room > Afterword: “What Ails you Polyphemus?”: Toward a New Ontology of Vision in Frantz Fanon’s Black Skin White Masks Notes Bibliography Index
List of Illustrations Acknowledgments > Introduction Part One: Spectagraphia 1. On Dangers Seen and Unseen: Identity Politics and the Burden of Black Male Specularity Part Two: No Hiding Place 2. “Are We Men?”: Prince Hall, Martin Delany, and the Black Masculine Ideal in Black Freemasonry, 1775-1865 3. Constructing the Black Masculine: Frederick Douglass, Booker T. Washington, and the Sublimits of African American Autobiography 4. A Man’s Place: Architecture, Identity, and Black Masculine Being Part Three: Looking B(l)ack 5. “I’m Not Entirely What I Look Like”: Richard Wright, James Baldwin, and the Hegemony of Vision; or Jimmy’s FBEye Blues 6. What Juba Knew: Dance and Desire in Melvin Dixon’s Vanishing Room > Afterword: “What Ails you Polyphemus?”: Toward a New Ontology of Vision in Frantz Fanon’s Black Skin White Masks Notes Bibliography Index
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