Darryl Pinckney Quotes
-
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.
-
For a long time, Nella Larsen was the mystery woman of the Harlem Renaissance. In the late 1920s, she published two sophisticated novels, 'Quicksand' and 'Passing,' and then her writing life came to an end. She died in obscurity in 1964.
-
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.
-
Slave narratives had their greatest influence on public opinion and on literature in the U.S. between 1830 and 1860. After Reconstruction's defeat, their urgency of tone was replaced by the softer one of reminiscence.
-
'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.
-
'Go Tell It on the Mountain,' its pages heavy with sinners brought low and prayers groaning on the wind, scared me when I read it as a teenager.
-
'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.
-
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.
-
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.
-
When writing on black life, whites have often been unwelcome, usually called upon to give witness or hauled in as the accused.
-
Race pride, socialist ideals, and a sincerity as exalted as that of Carlyle's visionaries coalesced in Asa Philip Randolph.
-
I never read lying down.
-
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.'
-
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.
-
'High Cotton' is more conscious of class than 'Black Deutschland.'
-
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.
-
History is a sly boots, and for a generation of blacks that cannot identify with the frustrations of Jim Crow, and for whites who cannot understand the hard deal that faces working-class blacks, it is difficult to reconcile Hughes's reputation as a poet-hero with his topical verse and uncomplicated prose.
-
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.
-
Tone is everything.
-
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.
-
Black America has always felt itself divided into two classes: the mucky-mucks and the folk.
-
Harlem's streets lead backward, into history, straight to a work such as 'This Was Harlem.'
-
None of the black abolitionist newspapers, the first of which appeared in 1827, was in existence after the Civil War.
-
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.