Facing Black and Jew: Literature as Public Space in by Adam Zachary Newton

By Adam Zachary Newton

Adam Zachary Newton works of prose fiction by means of African American and Jewish American authors from Henry Roth and Ralph Ellison to Philip Roth and David Bradley. interpreting the paintings of such writers along and during each other, Newton bargains an unique method of juxtaposing significant traditions in American literature and rethinking their occasionally vexing courting. Newton combines Emmanuel Levinas' moral philosophy and Walter Benjamin's thought of allegory in shaping an leading edge form of ethical-political feedback. a last bankruptcy addresses the Black/Jewish size of the O. J. Simpson trial.

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Facing Black and Jew: Literature as Public Space in Twentieth-Century America (Cultural Margins)

Adam Zachary Newton works of prose fiction via African American and Jewish American authors from Henry Roth and Ralph Ellison to Philip Roth and David Bradley. interpreting the paintings of such writers along and during each other, Newton deals an unique method of juxtaposing significant traditions in American literature and rethinking their occasionally vexing courting.

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Extra resources for Facing Black and Jew: Literature as Public Space in Twentieth-Century America (Cultural Margins)

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It is the difference, finally, between allegorical conjuring and allegorical sorcery. That the short stories below depend on each other to form a composite allegorical whole, thus, is exactly the point; their plausibility derives from that very counterpoint. What Theresa Kelley notes about allegory in Benjamin could itself almost as accurately describe the maneuvered impingement here that makes Blacks and 16 Introduction Jews dialectical partners, rival troupes of actors back-dropped by History: If the two terms are antagonistic, and to some extent they are, this is so because they are stuck together as they patrol a shared boundary.

He won’t eat ham and goes the synagogue on Saturday. He’s got a beard now as well as a mustache. You’d die if you saw him. He’s really too funny for words. ’’ Numbers 12:1 In the previous section, I suggested an alternate kind of public space. Here, I want to show its inseparability from allegory, since the allegorical implications of literary recognition in this case already reside, albeit precariously, in grander narratives of cultural formation and deformation, of redemption and disaster. The facing-at-oneanother of texts may thus only deepen, and be presupposed by, the already compacted historical fates of American Blacks and Jews.

As these texts fairly soak in their own linguistic plenitude, such objectfacts are at the same time, perhaps even primarily, facts of language, separately and altogether a kind of summons to readers’ eyes and ears. Additionally, each novel invokes language and other symbol-systems by turns coded, opaque, and politically charged, selecting out insiders and outsiders. Then later [my grandfather] told me to open my briefcase and read what was inside and I did, finding an official envelope stamped with the state seal; and inside the envelope I found another, and another endlessly, and I thought I would fall at weariness .

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