By Brian Norman
This examine of what Brian Norman phrases a neo–segregation narrative culture examines literary depictions of lifestyles lower than Jim Crow that have been written good after the civil rights movement. From Toni Morrison’s first novel, The Bluest Eye, to bestselling black fiction of the Nineteen Eighties to a string of modern paintings by means of black and nonblack authors and artists, Jim Crow haunts the post–civil rights mind's eye. Norman lines a neo–segregation narrative tradition—one that constructed in tandem with neo–slave narratives—by which writers go back to a second of stark de jure segregation to deal with modern issues approximately nationwide id and the endurance of racial divides. those writers disillusioned dominant nationwide narratives of completed equality, portraying what are usually extra elusive racial divisions in what a few could name a postracial present. Norman examines works via black writers reminiscent of Lorraine Hansberry, Toni Morrison, Alice Walker, David Bradley, Wesley Brown, Suzan-Lori Parks, and Colson Whitehead, movies via Spike Lee, and different cultural works that have interaction in debates approximately gender, Black energy, blackface minstrelsy, literary historical past, and whiteness and ethnicity. Norman additionally indicates that multiethnic writers corresponding to Sherman Alexie and Tom Spanbauer use Jim Crow as a reference aspect, extending the culture of William Faulkner’s representations of the segregated South and John Howard Griffin’s infamous account of crossing the colour line from white to black in his 1961 paintings Black Like Me.
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Additional info for Neo-Segregation Narratives: Jim Crow in Post-Civil Rights American Literature
In a directorial note, Hansberry describes the new neighborhood: “These are American homes where rather ordinary types and varieties of Americans live; but at the moment something Jim Crow Jr. ”5 The screenplay better diagnoses the “something sinister” that underlies the Youngers’ apartment and their lives outside it. With film technology, Hansberry could bring her audience onto the streets of Chicago, not unlike Du Bois’s famous invitation to his (white, northern) readers to join him on the Jim Crow car.
Johnson maps how Jim Crow migrates and adapts. With Mrs. Johnson, revolutionary rhetoric is not confined to Walter Lee’s economic plans or Beneatha’s college idealism — the sweet lady down the street could be a street preacher. The screenplay promised to further map this new segregation geography. Though she ultimately deemed the film version “a thing of beauty,” Hansberry noted that most footage of Chicago was cut. There are varying explanations for why so much of the original screenplay was cut.
First she goes to a local market where the white clerk shows little patience for Lena’s discerning eye. ” (53). Lena refuses the second-rate goods available to folks living on the South Side, which the clerk meets with exasperation and an offer to shop elsewhere. ” (53). In this sole scene of Lena’s outrage, we see a pedestrian struggle against the daily injustices of Jim Crow’s urban cousin. Lena is a heroic figure of racial protest, contrary to her detractors who read her as compliant and committed to some naïve version of the American dream.
Neo-Segregation Narratives: Jim Crow in Post-Civil Rights American Literature by Brian Norman