Nishikawa Kinohi Street Players: Black Pulp Fiction and the Making of a Literary Underground 9780226586915

Варианты приобретения

Цена: 25350.00T
Кол-во:
Наличие: Поставка под заказ. Есть в наличии на складе поставщика.
Склад Америка: 259 шт.
При оформлении заказа до: 2025-08-04
Ориентировочная дата поставки: Август-начало Сентября
При условии наличия книги у поставщика.

Добавить в корзину

в Мои желания

Автор: Nishikawa Kinohi
Название: Street Players: Black Pulp Fiction and the Making of a Literary Underground
ISBN: 9780226586915
Издательство: Wiley
Классификация:

Литература: история и критика

Социальная история и история культуры

Этнические исследования

Исследования азиатских и африканских этнических групп

ISBN-10: 022658691X
Обложка/Формат: Paperback
Страницы: 288
Вес: 0.67 кг.
Дата издания: 12.11.2018
Язык: English
Размер: 154 x 230 x 19
Ссылка на Издательство: Link
Рейтинг:
Поставляется из: Англии
Описание: The uncontested center of the black pulp fiction universe for more than four decades was the Los Angeles publisher Holloway House. From the late 1960s until it closed in 2008, Holloway House specialized in cheap paperbacks with page-turning narratives featuring black protagonists in crime stories, conspiracy thrillers, prison novels, and Westerns. From Iceberg Slims Pimp to Donald Goiness Never Die Alone, the thread that tied all of these books together--and made them distinct from the majority of American pulp--was an unfailing veneration of black masculinity. Zeroing in on Holloway House, Street Players explores how this world of black pulp fiction was produced, received, and recreated over time and across different communities of readers.

Kinohi Nishikawa contends that black pulp fiction was built on white readers fears of the feminization of society--and the appeal of black masculinity as a way to counter it. In essence, it was the original form of blaxploitation: a strategy of mass-marketing race to suit the reactionary fantasies of a white audience. But while chauvinism and misogyny remained troubling yet constitutive aspects of this literature, from 1973 onward, Holloway House moved away from publishing sleaze for a white audience to publishing solely for black readers. The standard account of this literary phenomenon is based almost entirely on where this literature ended up: in the hands of black, male, working-class readers. When it closed, Holloway House was synonymous with genre fiction written by black authors for black readers--a field of cultural production that Nishikawa terms the black literary underground. But as Street Players demonstrates, this cultural authenticity had to be created, promoted, and in some cases made up, and there is a story of exploitation at the heart of black pulp fictions origins that cannot be ignored.

Street Players: Black Pulp Fiction and the Making of a Literary Underground, Nishikawa Kinohi