Claude McKay, code name Sasha : queer Black Marxism and the Harlem Renaissance
著者
書誌事項
Claude McKay, code name Sasha : queer Black Marxism and the Harlem Renaissance
University Press of Florida, c2007
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Bibliography: p. [249]-262
Includes index
内容説明・目次
内容説明
Sasha was the code name adopted by Harlem Renaissance writer Claude McKay (1889-1948) to foil investigations of his life and work. In this study of four of McKay's texts - the first literary, cultural, and historical analysis to address the multilayered ""queer black anarchism"" in McKay's writings - Holcomb argues that McKay's ""fringe"" perspective not only targeted him for investigation but also contributed to a declining literary reputation. Perceived as mystifying and unacceptable because of his dedication to communism, McKay is perplexing and difficult to classify within the traditional constructs of the Harlem Renaissance. The problem that McKay's transnational, aesthetically itinerant writing inevitably has posed is where to locate him. Holcomb analyzes three of the most important works in McKay's career - the Jazz Age bestseller ""Home to Harlem"", the negritude manifesto Banjo, and the unpublished ""Romance in Marseilles"". Holcomb uncovers ways in which Home to Harlem assembles a homefront queer black anarchism, and treats Banjo as a novel that portrays Marxist internationalist sexual dissidence. Finally, he examines McKay's extensive FBI file and his late-1930s autobiography, ""A Long Way from Home"", in which McKay disguises his past as a means of eluding his harassers. The memoir is essential to understanding McKay's first three novels.
「Nielsen BookData」 より