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Winner of the 2015 LGBT Studies award presented by the Lambda Literary FoundationScholarsof US and transatlantic slavery have largely ignored or dismissed accusations thatBlack Americans were cannibalized. Vincent Woodard takes the enslavedperson's claims of human consumption seriously, focusing on both the literalstarvation of the slave and the tropes of cannibalism on the part of theslaveholder, and further draws attention to the ways in which Blacksexperienced their consumption as a fundamentally homoerotic occurrence. TheDelectable Negro explores these connections between…mehr

Produktbeschreibung
Winner of the 2015 LGBT Studies award presented by the Lambda Literary FoundationScholarsof US and transatlantic slavery have largely ignored or dismissed accusations thatBlack Americans were cannibalized. Vincent Woodard takes the enslavedperson's claims of human consumption seriously, focusing on both the literalstarvation of the slave and the tropes of cannibalism on the part of theslaveholder, and further draws attention to the ways in which Blacksexperienced their consumption as a fundamentally homoerotic occurrence. TheDelectable Negro explores these connections between homoeroticism,cannibalism, and cultures of consumption in the context of American literatureand US slave culture. Utilizing many staples of African American literature and culture, suchas the slave narratives of OlaudahEquiano, Harriet Jacobs, and Frederick Douglass, as well as other lesscirculated materials like James L. Smith's slave narrative, runaway slaveadvertisements, and numerous articles from Black newspapers published in thenineteenth century, Woodard traces the racial assumptions, politicalaspirations, gender codes, and philosophical frameworks that dictated both Europeanand white American arousal towards Black males and hunger for Black male flesh. Woodard uses these texts to unpack how slaves struggled not only againstsocial consumption, but also against endemic mechanisms of starvation andhunger designed to break them. He concludes with an examination of thecontroversial chain gang oral sex scene in Toni Morrison's Beloved,suggesting that even at the end of the twentieth and beginning of thetwenty-first century, we are still at a loss for language with which todescribe Black male hunger within a plantation culture of consumption.

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Autorenporträt
Vincent Woodard (Author) Vincent Woodard (1971-2008) was Assistant Professor of English at the University of Colorado-Boulder. He received his PhD in English from the University of Texas, Austin in 2002. Dwight McBride (Editor) Dwight A. McBride is President of The New School in New York City. Prior to his appointment at The New School, Dr. McBride was Provost and Executive Vice President for Academic Affairs at Emory University, where he also held the position of Asa Griggs Candler Professor of African American Studies, Distinguished Affiliated Professor of English, and Associated Faculty in Women's, Gender, and Sexuality Studies. A leading scholar of race and literary studies, Dr. McBride's books include James Baldwin Now, Impossible Witnesses: Truth Abolitionism, and Slave Testimony, Black Like Us: A Century of Lesbian, Gay, and Bisexual African American Fiction, and A Melvin Dixon Critical Reader. His book Why I Hate Abercrombie and Fitch: Essays on Race and Sexuality won the Lambda Literary Award for LGBTQ Studies and was a finalist for the Hurston-Wright Legacy Award. Justin A. Joyce (Editor) Justin A. Joyce is Postdoctoral Fellow at Northwestern University. He holds a PhD from the University of Illinois at Chicago and is coeditor of A Melvin Dixon Critical Reader. E. Patrick Johnson (Foreword by) E. Patrick Johnson is the Carlos Montezuma Professor of African American & Performance Studies at Northwestern University. He is the author of two award-winning books, Appropriating Blackness: Performance and the Politics of Authenticity (2003) and Sweet Tea: Black Gay Men of the South-An Oral History (2008). Most recently, he is also the author of Honeypot: Black Southern Women Who Love Women (2019), and Black. Queer. Southern. Women--An Oral History (2019).