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This chapter explores how the African American novel imagined a better world, experimented with form, and reflected the artistic and cultural sophistication of Black people in the twentieth century. It argues that understanding the twentieth-century African American novel in the context of various overlapping liberation movements helps us organize our thinking about the ways in which writers used long fiction to explore the social, political, ideological, and historical realities that informed the time period in which they were writing. Focusing on African American fiction produced within and around several Black liberation movements and historical interregnums – i.e., Post-Reconstruction, the Harlem Renaissance, the Black Arts Movement (BAM), and the post-BAM Toni Morrison era – the chapter examines the nuances and complexities of novelists who used the novel as form to reflect and inspire shared visions of a liberated future.
This book shows how African American literature emerged as a world-recognized literature: less as the product of a seamless tradition of writers signifying upon their ancestors and more the product of three generations of ambitious, competitive individuals aiming to be the first great African American writer. It charts a canon of fictional landmarks, beginning with The House Behind the Cedars and culminating in the National Book Award-Winner Invisible Man, and tells the compelling stories of the careers of key African American writers, including Charles Chesnutt, James Weldon Johnson, Jean Toomer, Zora Neale Hurston, Richard Wright, and Ralph Ellison. These writers worked within the white-dominated, commercial, Eurocentric literary field to put African American literature on the world literary map, while struggling to transcend the cultural expectations attached to their position as 'Negro authors'. Literary Ambition and the African American Novel tells as much about the novels that these writers could not publish as it does about their major achievements.
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