The extensive influence of the creative traditions derived from slave culture, particularly black folklore, in the work of nineteenth- and twentieth-century black authors, such as Ralph Ellison and Toni Morrison, has become a hallmark of African American scholarship. Yet similar inquiries regarding white authors adopting black aesthetic techniques have been largely overlooked.
Gretchen Martin examines representative nineteenth-century works to explore the influence of black-authored (or narrated) works on well-known white-authored texts, particularly the impact of black oral culture evident by subversive trickster figures in John Pendleton Kennedy's Swallow Barn, Harriet Beecher Stowe's Uncle Tom's Cabin, Herman Melville's Benito Cereno, Joel Chandler Harris's short stories, as well as Mark Twain's Adventures of Huckleberry Finn and Pudd'nhead Wilson.
As Martin indicates, such white authors show themselves to be savvy observers of the many trickster traditions and indeed a wide range of texts suggest stylistic and aesthetic influences representative of the artistry, subversive wisdom, and subtle humor in these black figures of ridicule, resistance, and repudiation.
The black characters created by these white authors are often dismissed as little more than limited, demeaning stereotypes of the minstrel tradition, yet by teasing out important distinctions between the wisdom and humor signified by trickery rather than minstrelsy, Martin probes an overlooked aspect of the nineteenth-century American literary canon and reveals the extensive influence of black aesthetics on some of the most highly regarded work by white American authors.
The extensive influence of the creative traditions derived from slave culture, particularly black folklore, in the work of nineteenth- and twentieth-century black authors, such as Ralph Ellison and Toni Morrison, has become a hallmark of African American scholarship. Yet similar inquiries regarding white authors adopting black aesthetic techniques have been largely overlooked.
Gretchen Martin examines representative nineteenth-century works to explore the influence of black-authored (or narrated) works on well-known white-authored texts, particularly the impact of black oral culture evident by subversive trickster figures in John Pendleton Kennedy's Swallow Barn, Harriet Beecher Stowe's Uncle Tom's Cabin, Herman Melville's Benito Cereno, Joel Chandler Harris's short stories, as well as Mark Twain's Adventures of Huckleberry Finn and Pudd'nhead Wilson.
As Martin indicates, such white authors show themselves to be savvy observers of the many trickster traditions and indeed a wide range of texts suggest stylistic and aesthetic influences representative of the artistry, subversive wisdom, and subtle humor in these black figures of ridicule, resistance, and repudiation.
The black characters created by these white authors are often dismissed as little more than limited, demeaning stereotypes of the minstrel tradition, yet by teasing out important distinctions between the wisdom and humor signified by trickery rather than minstrelsy, Martin probes an overlooked aspect of the nineteenth-century American literary canon and reveals the extensive influence of black aesthetics on some of the most highly regarded work by white American authors.
Gretchen Martin, Wise, Virginia, is an associate professor of American literature at the University of Virginia’s College at Wise. She is the author of The Frontier Roots of American Realism and has published articles in Southern Literary Journal, Mississippi Quarterly, South Atlantic Review, Southern Studies, North Carolina Literary Review, Studies in American Humor, and Mark Twain Journal.
Dancing on the Color Line is a significant contribution to
nineteenth-century American literary and cultural studies.
Original, illuminating, and meticulously researched, Martin’s book
examines texts of John Pendleton Kennedy, Harriet Beecher Stowe,
Herman Melville, Joel Chandler Harris, and Mark Twain, showing how
these writers assimilated and employed black aesthetic strategies
of ‘signifying’ and ‘double voice’ associated with the trickster
figure. Martin lays the groundwork for further scholarly inquiry,
particularly regarding possible lines of influence of minority
American writers on modern and postmodern canonical authors and
their works."" - Ed Piacentino, emeritus professor of English at
High Point University and editor of Southern Frontier Humor: New
Approaches (University Press of Mississippi)
""Dancing on the Color Line explores the familiar world of
nineteenth-century US writing about race to defamiliarize it by
suggesting its hybrid nature. Through Martin’s careful readings,
well-known figures emerge as deeply influenced by the aesthetics
and techniques of African American storytelling, and their
literature reveals multiple trickster figures who turn a critical
eye on the white power that frames them. Martin’s readers encounter
the fiction she discusses differently and with more attention to
the complexity of the historical and literary context in which it
was created."" - Kathryn McKee, McMullan Associate Professor of
Southern Studies and English at the University of Mississippi and
coeditor of American Cinema and the Southern Imaginary
""Martin has proven to be one of our most important scholars in
American humor and culture. Wherever she focuses her attention, and
brings to bear her critical intelligence, new insights and useful
ideas emerge. Dancing on the Color Line is a thoughtful and
enlightening study of the African American trickster figure. The
result is a solid contribution to both African American studies and
our understanding of the continuously complex nature of American
humor."" - M. Thomas Inge, Blackwell Professor of Humanities at
Randolph-Macon College and author of many works on American humor,
southern culture, comic art, and William Faulkner
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