Darryl Pinckney Quotes
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'Harlem: The Unmaking of a Ghetto' is a surprise and a fresh way of looking at Harlem, connecting the black district with the architecture of its historical past.
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The draining away of James Baldwin's magic was a drama much discussed in the years leading up to his death in 1987 at the age of sixty-three.
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A few of Ellison's short stories from the 1940s and 1950s were widely anthologized over the years. After a while, it became generally known that he was at work on another novel. Though he remained aware ever afterward of the authority 'Invisible Man' gave to him, no second novel followed his brilliant debut in 1952.
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The history of black people in Manhattan is a story of people getting pushed farther uptown as land acquires new uses and increases in value.
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I carried props into the subway - the latest 'Semlotext(e),' a hefty volume of the Frankfurt School - so that the employed would not get the wrong idea or, more to the point, the usual idea about me.
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That slave narratives existed at all implied a satisfactory conclusion to the journey - the attainment of literacy, the escape to the place where one could reflect on the experience of bondage and the flight to freedom, and, in the early days of the slave trade, the conversion to Christianity.
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When writing on black life, whites have often been unwelcome, usually called upon to give witness or hauled in as the accused.
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Race pride, socialist ideals, and a sincerity as exalted as that of Carlyle's visionaries coalesced in Asa Philip Randolph.
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Manhattan was the capital of the twentieth century for black writers, artists, and intellectuals as much as it was for their white counterparts.
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I was a slow and lazy reader as a kid. 'The Prince and the Pauper' was the only non-school book I would read, over and over, between television, records and radio, until I picked up my aunt's copy of 'In Cold Blood' and she didn't ask for it back.
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'High Cotton' is more conscious of class than 'Black Deutschland.'
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Once upon a time, I was morbidly sensitive about the impertinence born of sociology. Taxi drivers would not stop for me after dark; white girls jogged to keep ahead of my shadow thrown at their heels by the amber street lamps. Part of me didn't blame them, but most of me was hurt.
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'Invisible Man' holds such an honored place in African-American literature that Ralph Ellison didn't have to write anything else to break bread with the remembered dead. But he did try to go on, because if a writer has done one great thing, then the pressures to do another are intense.
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Black America has always felt itself divided into two classes: the mucky-mucks and the folk.
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I had a lot of notes and fragments and observations that never amounted to anything. After the Wall had gone down, so many people were writing about Berlin, I didn't have the same urgency or feel enough authority.
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Novels set in distant places give us expectations not unlike those we have of travel writing, and often the distinctions are blurred, as in, say, the way the low life of Tokyo's Shinjuku Ward is depicted in John David Morley's recent 'Pictures from the Water Trade.'
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Ellison was prominent on the lecture circuit even in the Black Aesthetic days of the Sixties when his defiantly pro-American and prickly-proud intellectual act met with some hostility.
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None of the black abolitionist newspapers, the first of which appeared in 1827, was in existence after the Civil War.
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I never read lying down.
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Harlem's streets lead backward, into history, straight to a work such as 'This Was Harlem.'
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The demise of Reconstruction had made it hard for blacks to acquire capital or to pass on property to their children. As blacks were driven from all but the most limited spheres of business and political life, the prestige of the professional rose in the black community.
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Identity is made up of lots of different things now. Different colors and patterns stand out at different times. Different instruments in the symphony of being are more distinct than others at different times.
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I wrote 'Black Deutschland' very quickly one summer, probably because I had a lot of it in pieces and fragments sitting around over the years as false starts or notes.
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Jean Toomer is a phantom of the Harlem Renaissance. Pick up any general study of the literature written by Afro-Americans, and there is the name of Jean Toomer. In biographies and memoirs of Harlem Renaissance figures, his name is invoked as if he had been one of the sights along Lenox Avenue.