670:. Earle is a black 16-year-old who lives and attends school in the wealthy neighborhoods of the Upper West Side, Manhattan. While Earle is phenotypically black, he is quite assimilated into white culture. While most of his surroundings and relationships are with white people, Earle is also portrayed as a nerd which is often regarded as having “white” attributes as well as being someone who is intelligent, lacks social skills, and has a hyper-focus on a particular field, in Earle's case that is computer programming. However, Earle tries to explore his black roots when he visits the diner in Harlem where he meets Dorothy for the first time. Dorothy is the attractive female character Dewayne creates. She attends the private St. Rita's School for Girls in Manhattan. Although she lives in inner-city, Harlem, she socializes and attends school on the primarily white side of the city. Dorothy is a part of the popular crowd at school and wants to live the wealthy lifestyle despite her background. Dorothy is considered a "cultural mulatto" because she is someone who is able to thrive in the white world while still embracing her racial identity. She is comfortable among her white friends and even has some power and status among them, but she is also aware of her black identity and how she differs from her them. After asking for advice on how to write his novel, Dewayne encounters Isshee Ayam, an African American feminist writer. She ridicules his works and attempts to "correct" his mistakes by creating her own renditions of the story with more feminist elements. She changes the setting of the story to rural Lowndes County, Georgia as well as most of the characters' traits. As the story goes on, Wellington compromises some of his original ideas to accommodate some of Ayam's preferences. The two narratives of Dewayne and Isshee begin to align as the authors’ writing styles and stories reflect each other's styles and beliefs. By altering the story in accordance to both of the authors’ writing styles and beliefs of how the black characters should be portrayed, Ellis expresses the concept that there is no one black identity that can be defined. Instead, blackness should be defined separately in the case of each person's life through their interactions with the culture and his or her experiences. Along with the aligning of the two stories, a relationship buds between Dewayne Wellington and Isshee Ayam. All in all, a majority of the events that happen in the story of Earle and Dorothy are an indirect reflection of the dynamics of Dewayne Wellington's relationship with Isshee Ayam. In the end, as Earle and Dorothy reconnect and consummate their relationship, Isshee and Dewayne do as well when Isshee visits Dewayne in the last chapter of the novel. Ellis uses Isshee's and Dewayne's novel and of two characters who provide examples of the cultural mulatto to portray the "new black aesthetic" and the absence of a single black identity.
682:, Ellis depicts the tension between two African-American authors, Isshee and Dewayne, as they debate on the proper portrayal of Black characters. Isshee objects to Dewayne's portrayal of Black women, claiming he presented them in an “atavistic” sense, overtly sexualized by Earle, a protagonist in their stories (15). In opposition to Dewayne's story, Isshee recreates his characters as strong, intelligent female characters reinforcing the stereotype of the “Strong Black Woman”. Isshee transforms Earle's doting, White mother into a Mammy figure that she calls “Sister Pride” (41). And she endows Dorothy, the other protagonist in their stories, the beautiful, hyper sexualized teen into a girl with “keen intellect”(42). Isshee develops Dorothy into “the first black female J.D.-M.D.-Ph.D. in the history of the land” (42, 43). Through this conflict, Ellis demonstrates the tension that exists in the literary sphere with the transformation of soul literature, Ishee's narrative to post-soul literature, Dewayne's narrative. Isshee recreates the narrative to an “Afro-American glory-stor” while Dewayne gives a modern, sensual take on middle-class African-Americans (19). Isshee's failure to represent other forms of blackness within her literature represents the theme of respectability that existed within the soul era that Dewayne does away with, resembling New Black Aesthetic and
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masculinity and the stereotype of black hypermasculinity throughout the novel. Traditionally race and gender intersected in black men to create a hypermasculine archetype; however, Earle is an NBA black male who struggles with understanding and asserting such masculinity in key moments. For example, when
Dorothy's boyfriend (hypermasculine LeVon) usurps him as her potential love interest, his response was not aggressive, or even particularly assertive: "I can't believe it. She's not only got a boyfriend but he's Gigantor the Thunder Tyrant. I should’ve known. She's too beautiful for you fatso, why can't you just settle for a tubby acnehead with halitosis who hates you." (141). The self-deprecation of his physical size and shape relative to LeVon's indicated Earle's internalization of his failure in hypermasculinity. Earle's problematized relationship to masculinity is an example of black literature speaking to the experiences of black people who don't resonate with hypermasculinity—a prime illustration of Ellis’ NBA democratization of the black authenticity. This process serves to create a discourse in which black people with non-standard black experiences represented in the NBA and PSA are allowed and encouraged to explore their discomfort with blackness as Earle does.
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atypical forms of blackness, Ishee's style is more traditional and characters are like those found in many works of
African American literature. An example of this is found in a comparison of Earle's mother in Dewayne's version of the story vs. in Ishee's. The disparity in how the two authors choose to represent the black matriarch echoes the differences in style between different schools of black thinkers present in the time the book was written. Even in what they serve to their children, these two mothers depict the differences in representation that the two authors espouse. Through the conclusion reached between the two characters, Ellis seems to suggest that a synthesis of these two styles should be worked toward. It is only when Dewayne and Ishee reconcile their differences and give in to their feelings for one another that the conclusion of the story they are writing can be reached. Far from the postmodern beating out the traditional, or the experimental taking a back seat to the realist, the honest black experience of the time can only be told through a combination of the two approaches. In the narratives of Dewayne and Ishee several stereotypes of Black literature are explored, both common and unexpected. Here are a few:
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Harlem. While
Dorothy, is a resident of urban Uptown Harlem and the daughter of a restaurateur. She comes from humble beginnings, but she shares the same privileges as Earle able to transverse both white and black worlds and still fit in. Their integration in both worlds indicates their ability to participate socially and culturally as members of both space. Earle and Dorothy are cultural mulattoes, a term coined by Ellis in his essay “The New Black Aesthetic” (NBA). However, Earle and Dorothy are different types of cultural mulattoes. Earle is a neutered mutation, another neologism created by Ellis, mainly “white-cultured” he is able to fit into the white society, downtown Harlem, but he is unable to blend with ease in uptown Harlem, the black world. His inability to blend with the black world is demonstrated by the
567:, or "neutered mutant". The tragic mulatto is an individual who, while struggling to fit into white culture, alienates him or herself from black culture. "Today's cultural mulattoes echo those 'tragic mulattoes' critic Sterling Brown wrote about in the Thirties only when they too forget they are wholly black." While prevalent as a stereotypical figure in 19th- and 20th-century American literature, the tragic mulattoes need not exist in postmodern society. The NBA, as characterized by Ellis, allows space for the cultural mulatto to perform a self-defined, authentic form of identity that does not rely on the self-deluding practice of negating his or her blackness. Relatedly, the cultural mulatto need not perform a "superblackness" to overcompensate for "
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cultural mulattoes: "thriving hybrids" and "neutered mutants". The thriving hybrid has transcended the stereotypes associated with blackness and predicates their identity on their individuality as opposed to their blackness. They recognize the position that society has placed on them because of their race, but they don't let it inhibit their growth. Ellis writes: "Just as a genetic mulatto is a black person of mixed parents who can often get along fine with his white grandparents, a cultural mulatto, educated by a multi-racial mix of cultures, can also navigate easily in the white world."
604:. As characters, Issa and "Earn" display an ability to navigate white spaces to varying degrees and embody the idea of the "cultural mulatto". For Issa, this is a common occurrence at her workplace with her boss and white coworkers. For Earn, this is best established in the episode "Juneteenth" in which while at a Juneteenth celebration attended by mostly white people, he and his girlfriend play along with the expectations of the attendees to an almost ludicrous degree. Throughout most of the party, the white people that Earn and his girlfriend interact with are oblivious to their game.
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closed to blacks in
America. It signals an opening of socially acceptable aesthetic possibilities for blacks beyond "Africa and jazz". Now, for example, black students go to colleges to be art majors rather than always pursuing a law degree or going to medical school upon graduating because their parents have given them the means to do so. In this short piece, Ellis includes interviews from black filmmaker, Spike Lee, as well as the black band, Fishbone. He uses these as examples of thriving hybrids, or people who don't leave behind their culture to be successful. Ellis' novel
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666:, the story begins with an experimental Black writer by the name of Dewayne Wellington. He is trying to figure out how to write his novel. He scoffs at the mainstream image of "authentic blackness" by creating the character Earle, a chubby teenage New Yorker who only thinks about sex (that he is not having) and academics. This is a departure from the stereotypical young black male who is assumed to only care about girls/sex, basketball, and hip hop music. He is in all sense what Ellis calls the
571:" or to gain cultural credibility from the black community. On the converse Ellis also defines the "neutered mutation", a cultural mulatto who tries hard to please both worlds and ends up pleasing neither. Cultural mulattoes exist in great numbers and, fueled by the ideology of the NBA, space for hybridity is opened and, subsequently, feelings of dislocation in a strictly dichotomous society are collectively obliterated.
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504:, which ran from the late 1920s to the late 1950s, and was a household favorite. Before it became a television show, it was America's most listened-to radio show. During the time, it was voiced by white actors, and the show was criticized for the way it "vilified as modern-day Uncle Toms for wanting the same opportunities for success that their white counterparts took for granted". However
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698:(23). His counterpart, Dorothy is a thriving hybrid, another neologism by Ellis, she is capable of blending into the landscapes of both worlds, yet she is still self-conscious of her presence in both spaces. She views Earle and herself as commuters between the two worlds and contemplates the loneliness they share that comes from being interlopers between the two worlds (147).
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encapsulates Eliss's image of the New Black
Aesthetic as a compilation of intersecting black identities that reflect Janelle Monae's existence as a thriving hybrid. Monae expresses this identity clearly in her album, as well as through her personal style and her refusal to conform to anyone's idea of
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According to B.D. Ashe, this is still the era of the New Black
Aesthetic, or what he calls the "Post-soul Aesthetic". Ashe writes, "There has been no fundamental, sociocultural paradigm shift akin to the civil rights movement to alter the post-soul aesthetic focus" or to thrust black Americans into a
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As a part of Ellis' NBA (also related to Mark
Anthony Neal's concept of the post-soul aesthetic), Earle represents a sort of new black male whose narrative is free to explore his non-archetypically "black" conflicts. This NBA tenet is repeatedly evident in the presentation of Earle's relationship to
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In
Dewayne's narrative of Earle and Dorothy, both belong to the class of the Black post-bourgeoisie. Earle is the son of a working-class white mother. His existence is the product of the civil rights movement which sanctioned the ability for him to live unpunished within the white world of Downtown
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Ellis is also known for the small piece he wrote titled "New Black
Aesthetic" (NBA) which describes the change in the overall image of "blackness" that has emerged in American society in the past few decades. In this essay, Ellis argues that there is a broader way to characterize middle class blacks
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As a black nerd, Earle complicates traditional ideas of black masculinity. He occupies a place as an intellectual outsider, excluded from the mainstream, and yet the nerd identity is hyper-white. This idea of how blackness can be diverse and differ from typical ideas blackness accurately depict what
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The NBA represents, in Ellis' mind, a new stage in cultural interaction for black
Americans. He does not deny that there are many aspects of American society that still work against the interests of black Americans, but the emergence of the NBA opens up an aesthetic realm that was, until recently,
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follows the story of Earle, a black, private high-school student in New York City. The novel itself wrestles with many concepts outlined in "The New Black Aesthetic," namely the existence of the cultural mulatto. Earle, as a second generation middle-class, black nerd, embodies this identity—on his
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I now know that I'm not the only black person who sees the black aesthetic as much more than just Africa and jazz. Finally finding a large body of the like-minded armors me with the nearly undampenable enthusiasm of the born again. And my friends and I—a minority's minority mushrooming with the
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One theme of the novel is the question of how to represent blackness. This theme is portrayed in the novel through the conflict between Dewayne and Ishee. The two characters argue on how they think black people should be represented in their works. While Dewayne's style is postmodern and depicts
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was wrong, that it was one of TV's first ever sitcoms and the all-black cast were some of the most brilliant comedians to ever walk the earth, I knew I had to bring their story back to life". 'Holy Mackerel!', the phrase the show invented, is a comedy about the tragedy of what happened to them."
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Like most postmodern literature, the structure of this novel is discontinuous. Ellis maintains the aleatory disconnection by constantly changing the style of the novel; he shifts from dialogue to stream of consciousness to a third-person omniscient point of view. Ellis breaks the normal flow of
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The novel makes extensive use of structure. Largely a metafictional work, Ellis moves between a more post-modern, deconstructed style and a more traditional, black female style through the voices of fictional authors Wellington and Ishee Ayam. Ellis' exaggerated representations of each style is
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helps the reader explore the New Black Aesthetic by portraying one story in which the two fictional authors, Dewayne and Isshee, embody two different ideas and perspectives on how black should be expressed and another story of two characters’ struggle to fit into the white world as a “cultural
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The phrase, coined by Ellis in his essay "The New Black Aesthetic", (NBA) refers to a black individual who possesses the ability to thrive and successfully exist in a white society while simultaneously maintaining all facets of his or her complex cultural identity. Ellis signifies two types of
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The theme of representation is shown in the ways Earle chooses to align himself within the different communities of Uptown and Downtown. In Downtown Harlem, Earle is friends with other geeks and nerds and this nerdom, is a marker of whiteness. In Uptown Harlem, Earle aligns himself with Black
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takes advantage of the NBA in order to represent some of the new aesthetic possibilities available to blacks in America. He also talks about the concept of the "cultural mulatto", or someone who can relate to multiple cultures the same way a multiracial person can relate to their different
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Through their skills that allow successful navigation in both the white and black social spheres, the cultural mulattoes that typify the NBA are using their access to higher education and various breeds of dominant cultural capital to make "atypically black" art and earn respect devoid of
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also "introduc America to a range of black people who included doctors and lawyers, and depicted the black family at a time when no one else was doing so". When the show moved to television, they hired black actors. After only two seasons, the show was cancelled due to a boycott led by
645:. It tells the tale of competing African-American fictional characters, Dewayne and Isshee, as they struggle to define blackness using two cultural mulatto characters. This novel provides examples of what Ellis describes as New Black Aesthetic in his 1989 essay of the same title.
725:, coming-of-age, narratives about Earle and Dorothy. The novel falls under the genre of New Black Aesthetic, art produced by the post-bourgeoisie Black that portrays cultural hybridity and escapes the boundaries of civil rights literature and their themes of respectability.
618:, Monae gives a voice to the kind of blackness that she embodies as a queer black woman. Janelle Monae doesn't cater to a specific black or white audience, but an audience that can relate to the experiences she speaks of in her music. While many of the songs on
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Even further than television, there are examples of artists who exemplify the New Black Aesthetic through mediums such as music. One vocal artist who embodies this idea that blackness can and does exist in a multi-faceted way is
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speak of the challenges black people face in America, Monae focuses on these issues in a way that empowers people like herself. She uses her music to empower black queer women when these voices have been historically ignored.
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heritages. He refers to Whitney Houston and Lionel Richie as "neutered mutations" that chose to conform and commercialize their once soulful style just so they could maximize their profits by appealing to multiple cultures.
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visit to Harlem he feels entirely out of place. Alongside this narrative is the story of Dorothy, a black student at a private high school who lives in Harlem, yet can navigate easily in her mostly white social circles.
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in his creation of rhetoric to describe this contemporary black locus as a means to challenge prevalent notions of multiracial; or in this case, "culturally multiracial", black people falling subject to the fate of the
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new way of being and existing. As it is, there are a number of modern examples that emphasize the NBA's persistence through the contemporary moment. Some current examples of this are television shows like
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The Black masculine figure, Levon, Dorothy's athletic boyfriend in Dewayne's narrative. He is described as the “humongous black” football player “who looks like he could rip out a door” (140).
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current black bourgeoisie boom—have inherited an open-ended New Black Aesthetic from a few Seventies pioneers that shamelessly borrows and reassembles across both race and class lines.
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The Jezebel figure, the portrayal of females as lascivious, promiscuous, and hypersexual. Dewayne's mother, Dorothy, and Julie and Isshee's Darcelle are portrayed as Jezebels.
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Neal, Mark Anthony. "You Remind Me of Something." Soul Babies: Black Popular Culture and the Post-Soul Aesthetic. New York: Routledge, 2002. 1-22. Print.
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The mammy figure in Isshee's story, Earle's Black mother, “Sister Pride”. She is a desexualized, self-sacrificing, religious, strong Black woman.
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The Black geek, Earle in Dewayne's narrative. He is technologically skilled and has ambitions of an undergraduate education at Caltech or M.I.T..
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https://shadowandact.com/2016/09/12/black-list-live-presents-mykelti-williamson-david-alan-grier-jesse-williams-amos-n-andy-comedy-live-read/
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The absent Black fathers appear in both Isshee's and Dewayne's stories, Earle and Dorothy are always fatherless.
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he experiences while in a restaurant in uptown Harlem. He perceives himself through the eyes of others thinking
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Ellis, Trey (2003). Platitudes and 'The New Black Aesthetic'. Boston: Northeastern University Press.
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Ellis, Trey (2003). Platitudes and 'The New Black Aesthetic'. Boston: Northeastern University Press.
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that states a Knowledge editor's personal feelings or presents an original argument about a topic.
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humorous, essentially complicating the hegemonic artistic voice of the Black Arts Movement.
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format. The novel is a bricolage of letters, menus, exams, songs and other documents.
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contentious material about living people that is unsourced or poorly sourced.
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Ellis, Trey. "The New Black Aesthetic." Callaloo 38. Winter (1989): 233-243
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today, and with this new characterization comes a new aesthetic movement.
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had its first staged reading in 2016. The play follows the evolution of
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Trey Ellis is most famous for his first work of metafiction called
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Politics by assisting with the campaign of a Black politician.
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award for Best Teleplay of the year, and was nominated for a
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Bedtime Stories: Adventures in the Land of Single-Fatherhood
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personal reflection, personal essay, or argumentative essay
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on South Carolina Educational Television/WETA-TV in 1991.
366:(2008), a memoir of his life as a single father of two.
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290:. He was born in Washington D.C. and graduated from
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53:Learn how and when to remove these messages
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142:This article includes a list of general
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488:Satchel Paige and the Kansas City Swing
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472:Graduate School of Film.
417:
298:, where he studied under
296:Phillips Academy, Andover
1752:Josephine Gattuso Hendin
705:
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2727:American male novelists
1579:Septima Poinsette Clark
1569:Lucia Chiavola Birnbaum
842:African American Review
526:The New Black Aesthetic
369:
163:more precise citations.
1188:Evangelina Vigil-Piñón
538:
502:The Amos 'n' Andy Show
217:by rewriting it in an
93:Please help by adding
88:self-published sources
2023:José Antonio Burciaga
1998:A'Lelia Perry Bundles
1970:Nora Marks Dauenhauer
1288:Mei-mei Berssenbrugge
1152:Ronald Phillip Tanaka
992:Mei-mei Berssenbrugge
579:Contemporary examples
533:
443:The Los Angeles Times
362:. His latest book is
356:Right Here, Right Now
330:Ellis's first novel,
2605:E. Donald Two-Rivers
2478:Shirley Geok-lin Lim
2453:Guillermo Gómez-Peña
2140:Francisco X. AlarcĂłn
2008:Benjamin Alire Sáenz
1876:Shirley Geok-lin Lim
1837:José Emilio González
1772:William Minoru Hohri
1742:J. California Cooper
1583:Cynthia Stokes Brown
1403:Robert Edward Duncan
1311:Ellen Lai-shan Yeung
1033:Bienvenido N. Santos
957:American Book Awards
719:story within a story
692:double consciousness
2206:Janet Campbell Hale
1945:Karen Tei Yamashita
1857:Michelle T. Clinton
1697:Alma Luz Villanueva
1634:Jimmy Santiago Baca
1564:Juan Felipe Herrera
1303:Ruthanne Lum McCunn
1147:Lorna Dee Cervantes
987:Leslie Marmon Silko
959:winners (1980–1999)
684:Post-Soul Aesthetic
470:Columbia University
466:associate professor
458:The Huffington Post
437:The Washington Post
385:The Tuskegee Airmen
360:American Book Award
320:Columbia University
304:Stanford University
2667:LuĂs Alberto Urrea
2529:Brenda Marie Osbey
2216:Lawson Fusao Inada
2073:Verlyn Klinkenborg
1974:Richard Dauenhauer
1935:John Edgar Wideman
1884:Margarita Donnelly
1453:Gloria E. AnzaldĂşa
1356:Colleen J. McElroy
1351:John Kuo Wei Tchen
1326:William J. Kennedy
1321:Venkatesh Kulkarni
1268:Imamu Amiri Baraka
1137:Joyce Carol Thomas
425:The New York Times
326:Novels and memoirs
316:Gilbert Sorrentino
308:Stanford Chaparral
219:encyclopedic style
206:is written like a
100:
99:Immediately remove
90:
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2468:Montserrat Fontes
2367:E.J. Miller Laino
2262:Abraham Rodriguez
2246:Virginia L. Kroll
2155:Leroy V. Quintana
2135:Eugene B. Redmond
2111:Christopher Mogil
2078:William B. Branch
2048:Peter Kalifornsky
1982:Thomas Centolella
1900:Alejandro MurguĂa
1847:Lloyd A. Thompson
1762:Shuntaro Tanikawa
1732:Henry Louis Gates
1667:Salvatore La Puma
1178:Barbara Christian
1132:Jerome Rothenberg
1114:Hilton Obenzinger
1078:Toni Cade Bambara
844:, 41(4), 609-623.
464:, where he is an
302:before attending
300:Alexander Theroux
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2634:James D. Houston
2624:Gioia Timpanelli
2610:Edwidge Danticat
2554:Nora Okja Keller
2544:John A. Williams
2498:William M. Banks
2417:Stephanie Cowell
2326:Gordon Henry Jr.
2236:Rose L. Glickman
2013:Donna J. Haraway
1978:R. Baxter Miller
1960:Meridel Le Sueur
1930:Jessica Hagedorn
1915:Charley Trujillo
1880:Mayumi Tsutakawa
1871:Paula Gunn Allen
1827:J. Raymond Jones
1818:James M. Freeman
1798:Daniela Gioseffi
1788:Adrienne Kennedy
1757:Leslie Scalapino
1619:David Halberstam
1539:Etheridge Knight
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2615:Judith Roche
2569:Thomas Lynch
2549:Nancy Rawles
2493:Tom De Haven
2443:Derrick Bell
2321:Sandra Martz
2301:Li-Young Lee
2291:Thomas Avena
2281:John Egerton
2191:Eric Drooker
2145:Gerald Graff
2130:Diane Glancy
2106:Belvie Rooks
2102:Asake Bomani
2082:Amiri Baraka
1950:Lucia Berlin
1920:D. H. Melhem
1910:Bruce Wright
1808:Hualing Nieh
1677:Wing Tek Lum
1647:Egyirba High
1574:Michael Mayo
1559:John Wieners
1549:Harvey Pekar
1544:Gary Giddins
1519:Ana Castillo
1393:Maureen Owen
1233:Seán Ó Tuama
1162:Tato Laviera
1119:Him Mark Lai
1099:Duane Niatum
1063:Robert Kelly
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84:verification
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36:Please help
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2712:1962 births
2639:Jerry Lipka
2590:Anna Linzer
2534:Don DeLillo
2458:Louis Owens
2391:Kimiko Hahn
2386:Edward Said
2331:Tricia Rose
2316:Peter Quinn
2226:Paul Gilroy
2211:Jill Nelson
2150:Jack Beatty
2120:Cornel West
2043:Peter Bacho
2038:Norma Field
1866:Miles Davis
1832:John Norton
1712:Carolyn Lau
1707:Audre Lorde
1681:Tek Lum Lum
1614:Daisy Bates
1554:James Welch
1498:Toshio Mori
1468:Linda Hogan
1379:Sojin Takei
1366:Peter Irons
1273:JesĂşs ColĂłn
1263:Mark Podwal
1254:Gary Snyder
1249:Cecil Brown
977:Edward Dorn
806:29 November
715:metafiction
643:metafiction
412:The Inkwell
394:, starring
391:Good Fences
382:-nominated
354:(1993) and
161:introducing
2706:Categories
2652:Trey Ellis
2595:Brian Ward
2539:Jim Barnes
2352:Arthur Sze
1905:bell hooks
1842:Sergei Kan
1727:Frank Chin
1488:Susan Howe
1398:May Sarton
1383:Muin Ozaki
1371:Keiho Soga
1293:Miné Okubo
1218:Judy Grahn
1213:Joy Kogawa
1109:Frank Chin
1104:E. L. Mayo
1073:Susan Howe
1038:Helen Adam
912:Trey Ellis
800:Trey Ellis
784:References
736:epistolary
711:Platitudes
680:Platitudes
664:Platitudes
659:Platitudes
655:Platitudes
641:is a 1988
639:Platitudes
633:Platitudes
543:Platitudes
408:Black Reel
336:Platitudes
332:Platitudes
312:Platitudes
284:playwright
268:Trey Ellis
144:references
39:improve it
2682:Gary Gach
2382:Joe Sacco
2286:John Ross
2267:Herb Boyd
1940:Joy Harjo
1524:Cyn Zarco
1408:Ron Jones
1361:Gary Soto
1127:Judy Yung
1123:Genny Lim
729:Structure
462:Manhattan
280:professor
169:June 2010
80:citations
45:talk page
2438:Alurista
1094:Al Young
674:Analysis
601:Insecure
596:Issa Rae
288:essayist
272:novelist
591:Atlanta
560:mulatto
468:at the
454:blogger
431:Playboy
213:Please
157:improve
872:
742:Themes
418:Essays
388:, and
286:, and
146:, but
706:Genre
515:NAACP
476:Plays
73:This
2578:1999
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1437:1986
1335:1985
1242:1984
1171:1983
1087:1982
1023:Alta
1016:1981
965:1980
916:IMDb
870:ISBN
808:2017
717:, a
490:and
446:and
398:and
380:Emmy
370:Film
294:and
82:for
914:at
678:In
598:'s
594:or
588:'s
483:Fly
456:on
404:PEN
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449:GQ
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