The 1980s was a decade in which African American literary production was starting to get the long overdue attention it deserved, but also a decade in which African American artists were emboldened to explore new territory, mainstream recognition be damned.The juxtaposition of James Baldwin’s funeral in 1987 and Trey Ellis’s essay “The New Black Aesthetic” in 1989 represent not a mere passing of the torch from the old guard to the avant-garde.Rather, the old guard was flourishing, and younger artists were also getting attention on new frontiers.In an unprecedented way, the 1980s marked an era when Black writers were sought out and recognized, to the point that their work dominated the critical conversation.This was especially true of Black women writers such as Toni Morrison, Alice Walker, and Rita Dove who enjoyed a readership unlike anything they had ever seen before.

African American women writers of the 1980s were arguably the beneficiaries of cultural and political phenomena that held sway during the 1970s and 1980s.One of the major tenets and accomplishments of the Black Arts Movement and the Black Aesthetic of the 1960s was the validation of Black voices that came from within Black communities, drew upon the culture of Black communities -- especially the use of music and the vernacular -- and posited the validity, reality, and truth of that culture.Black women writersof the 1980s provide a logical progression from those communal assertions of value and freedom to extending the possibilities for such expression.This chapter considers the contributions of writers such as Nikki Giovanni, Alice Walker, Audre Lorde, Rita Dove, Octavia Butler, Gloria Nayor, Sherley Anne Williams, and Toni Morrison as writers who extend and liberate creative and cultural possibilities initiated in earlier decades.