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Full Description
In a series of incisive readings, Francisco E. Robles provides a literary history of midcentury US multiethnic literature, tracing the shift from coalitional aesthetics to multiculturalism by focusing on how migrancy and labor politics shape literary innovation. Along the way, Robles shows how writers kept the Popular Front's legacy of coalitional aesthetics alive through literary practices of what he calls speaking with, whereby authors undo their authority as scribes, audiences become participatory interpreters, and texts emerge as places of communal and collaborative work.
Beginning with significant, unexpected connections between Zora Neale Hurston and Muriel Rukeyser, and delving deeply into the work of Sanora Babb, Woody Guthrie, Gwendolyn Brooks, poets of the Memphis Sanitation Strike, Carlos Bulosan, Tomás Rivera, and authors included in This Bridge Called My Back, Robles examines texts whose range of experimental strategies deliberately engage figurations of movement, migration, and coalition. The experimentation these works display emerges from the particular methods of speaking with that they contain, whether it's overcoming exclusion by finding new ways of representing migrants through word and sound, or in the astonishing ways these authors conceive of migrancy as neither static nor statistical but as a modality that necessitates writerly innovation. The result is a genealogy of coalitional aesthetics as a significantly important branch of American midcentury multiethnic writing that sustained and indeed extended the Popular Front and its legacies.
Contents
Acknowledgments
Introduction: Speaking With and the Work of Coalitional Aesthetics
1. Migrating Engagements: Muriel Rukeyser, Zora Neale Hurston, and New Visions for Migrant Voices
2. Movement Politics and the Politics of Movement: Migrant Coalitions and Farm Labor in the 1940s
3. Signs of Protest: The Poetics of the Memphis Sanitation Strike and Gwendolyn Brooks's "Warpland" Poems
4. Coalitional Aesthetics against Allegory: Carlos Bulosan's and Tomás Rivera's Migrant Pizcaresques
5. This Bridge Called My Back and the Shape of Dialectics to Come
Notes
Index
