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Brooks E.
Black Pulp
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3937328Black Pulphttps://www.gandhi.com.mx/black-pulp-9781452966786/phttps://gandhi.vtexassets.com/arquivos/ids/2948152/7c0d3bb6-f588-4303-9cdb-4d7e262a0ebe.jpg?v=63838467005170000013941936MXNUniversity of Minnesota PressInStock/Ebooks/<p><strong>A deep dive into mid-century African American newspapers, exploring how Black pulp fiction reassembled genre formulas in the service of racial justice</strong></p><p>In recent years, Jordan Peeles <em>Get Out</em>, Marvels <em>Black Panther</em>, and HBOs <em>Watchmen</em> have been lauded for the innovative ways they repurpose genre conventions to criticize white supremacy, celebrate Black resistance, and imagine a more racially just worldimportant progressive messages widely spread precisely because they are packaged in popular genres. But it turns out, such generic retooling for antiracist purposes is nothing new.</p><p>As Brooks E. Hefners <em>Black Pulp</em> shows, this tradition of antiracist genre revision begins even earlier than recent studies of Black superhero comics of the 1960s have revealed. Hefner traces it back to a phenomenon that began in the 1920s, to serialized (and sometimes syndicated) genre stories written by Black authors in Black newspapers with large circulations among middle- and working-class Black readers. From the pages of the <em>Pittsburgh Courier</em> and the <em>Baltimore Afro-American</em>, Hefner recovers a rich archive of African American genre fiction from the 1920s through the mid-1950sspanning everything from romance, hero-adventure, and crime stories to westerns and science fiction. Reading these stories, Hefner explores how their authors deployed, critiqued, and reassembled genre formulasand the pleasures they offer to readersin the service of racial justice: to criticize Jim Crow segregation, racial capitalism, and the sexual exploitation of Black women; to imagine successful interracial romance and collective sociopolitical progress; and to cheer Black agency, even retributive violence in the face of white supremacy.</p><p>These popular stories differ significantly from contemporaneous, now-canonized African American protest novels that tend to represent Jim Crow America as a deterministic machine and its Black inhabitants as doomed victims. Widely consumed but since forgotten, these genre storiesand Hefners incisive analysis of themoffer a more vibrant understanding of African American literary history.</p>...3875188Black Pulp13941936https://www.gandhi.com.mx/black-pulp-9781452966786/phttps://gandhi.vtexassets.com/arquivos/ids/2948152/7c0d3bb6-f588-4303-9cdb-4d7e262a0ebe.jpg?v=638384670051700000InStockMXN99999DIEbook20219781452966786_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_<p><strong>A deep dive into mid-century African American newspapers, exploring how Black pulp fiction reassembled genre formulas in the service of racial justice</strong></p><p>In recent years, Jordan Peeles <em>Get Out</em>, Marvels <em>Black Panther</em>, and HBOs <em>Watchmen</em> have been lauded for the innovative ways they repurpose genre conventions to criticize white supremacy, celebrate Black resistance, and imagine a more racially just worldimportant progressive messages widely spread precisely because they are packaged in popular genres. But it turns out, such generic retooling for antiracist purposes is nothing new.</p><p>As Brooks E. Hefners <em>Black Pulp</em> shows, this tradition of antiracist genre revision begins even earlier than recent studies of Black superhero comics of the 1960s have revealed. Hefner traces it back to a phenomenon that began in the 1920s, to serialized (and sometimes syndicated) genre stories written by Black authors in Black newspapers with large circulations among middle- and working-class Black readers. From the pages of the <em>Pittsburgh Courier</em> and the <em>Baltimore Afro-American</em>, Hefner recovers a rich archive of African American genre fiction from the 1920s through the mid-1950sspanning everything from romance, hero-adventure, and crime stories to westerns and science fiction. Reading these stories, Hefner explores how their authors deployed, critiqued, and reassembled genre formulasand the pleasures they offer to readersin the service of racial justice: to criticize Jim Crow segregation, racial capitalism, and the sexual exploitation of Black women; to imagine successful interracial romance and collective sociopolitical progress; and to cheer Black agency, even retributive violence in the face of white supremacy.</p><p>These popular stories differ significantly from contemporaneous, now-canonized African American protest novels that tend to represent Jim Crow America as a deterministic machine and its Black inhabitants as doomed victims. Widely consumed but since forgotten, these genre storiesand Hefners incisive analysis of themoffer a more vibrant understanding of African American literary history.</p>(*_*)9781452966786_<p><strong>A deep dive into mid-century African American newspapers, exploring how Black pulp fiction reassembled genre formulas in the service of racial justice</strong></p><p>In recent years, Jordan Peeles <em>Get Out</em>, Marvels <em>Black Panther</em>, and HBOs <em>Watchmen</em> have been lauded for the innovative ways they repurpose genre conventions to criticize white supremacy, celebrate Black resistance, and imagine a more racially just worldimportant progressive messages widely spread precisely because they are packaged in popular genres. But it turns out, such generic retooling for antiracist purposes is nothing new.</p><p>As Brooks E. Hefners <em>Black Pulp</em> shows, this tradition of antiracist genre revision begins even earlier than recent studies of Black superhero comics of the 1960s have revealed. Hefner traces it back to a phenomenon that began in the 1920s, to serialized (and sometimes syndicated) genre stories written by Black authors in Black newspapers with large circulations among middle- and working-class Black readers. From the pages of the <em>Pittsburgh Courier</em> and the <em>Baltimore Afro-American</em>, Hefner recovers a rich archive of African American genre fiction from the 1920s through the mid-1950sspanning everything from romance, hero-adventure, and crime stories to westerns and science fiction. Reading these stories, Hefner explores how their authors deployed, critiqued, and reassembled genre formulasand the pleasures they offer to readersin the service of racial justice: to criticize Jim Crow segregation, racial capitalism, and the sexual exploitation of Black women; to imagine successful interracial romance and collective sociopolitical progress; and to cheer Black agency, even retributive violence in the face of white supremacy.</p><p>These popular stories differ significantly from contemporaneous, now-canonized African American protest novels that tend to represent Jim Crow America as a deterministic machine and its Black inhabitants as doomed victims. Widely consumed but since forgotten, these genre storiesand Hefners incisive analysis of themoffer a more vibrant understanding of African American literary history.</p>...9781452966786_University of Minnesota Presslibro_electonico_a6d63eeb-9866-3458-aa1f-23693e21fdb6_9781452966786;9781452966786_9781452966786Brooks E.InglésMéxicohttps://getbook.kobo.com/koboid-prod-public/uminnesotapress-epub-39fe19c6-13ec-4779-a946-165a3134bddf.epub2021-12-21T00:00:00+00:00University of Minnesota Press