FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2045761519> ?p ?o ?g. }

• W2045761519 endingPage "657" @default.
• W2045761519 startingPage "634" @default.
• W2045761519 abstract "Toward an All-Inclusive Structure:The Early Fiction of Gayl Jones Casey Clabough (bio) What was uppermost in my mind while I read her manuscript was that no novel about any black woman could ever be the same after this. This girl had changed the terms, the definitions of the whole enterprise. Toni Morrison, Toni Morrison on a Book She Loves: Gayl Jones' Corregidora When young Gayl Jones, having grown up in Lexington, Kentucky, and gone on to receive her Ph.D. in English from Brown University in 1973, burst upon the literary scene in the mid-1970s with her two short novels Corregidora (1975) and Eva's Man (1976), she was met by a whole range of critical reactions—celebrations and condemnations of her portrayals of abusive patriarchal oppression, castigations and valorizations of her detailed, gender-conscious renderings of African American alterity, praises and attacks for her frank and often violent portrayals of African American culture. The myriad receptions, some of which were diametrically opposed, pointed—among many other things—to their undeniable value as powerful, albeit controversial, contemporary synecdoches of African American life in the United States. However, while together they constitute a diverse body of critical readings, most early reviews tended to focus on only one or two given aspects of Jones's novels. For example, Raymond Sokolov concluded that Corregidora is a book with virtually no other subject than sex (22).1 Other critics attacked and praised the two novels' unique sexual episodes and memorable gender characterizations through conscious and specialized political lenses. Conceptualizing these types of arguments in the 1990s, Carol Margaret Davison constructs Eva Medina Canada's act of oral castration on Davis Carter as an assertion of selfhood, which also constitutes the most direct, shocking, and brutal attack on phallocentrism in African American literature (396). By contrast, an anonymous initial reviewer condemned Eva's Man on political grounds, alleging an ugly, stereotypical portrayal of black women seen purely as sexual beings (Review of Eva's Man, Booklist 1164). Early reviewers were equally mindful of the books' acute vernacular and arresting narrative techniques, John Wideman asserting that Corregidora's most important characteristic is its language.2 Still others blended the novels' erotic, linguistic, and political themes to arrive at hybrid readings; Valerie Gray Lee claimed that Corregidora's sexual and semantic concerns come together to comprise a gender-informed exercise in subaltern folktalk.3 Several critics who coupled the books' erotic and linguistic themes also discovered their [End Page 634] cultural and historical implications. For example, John Updike concluded that Corregidora persuasively fuses black history, or the mythic consciousness that must do for black history, with the emotional nuances of contemporary black life (Selda 81). Connecting modern African American life and history in different terms, Charles R. Larson remarked, Reading Corregidora one feels that this is not a novel at all, but oral history finally got down on paper (17). Updike's and Larson's observations on the meeting of language, history, and consciousness would later receive support from Jones herself, who recounts, Ursa in Corregidora tells her own story in her own language and so does Eva in Eva's Man. I was interested in having their language do everything that anybody's language used as a literary language can do (Rowell, Interview 32). For Jones, the books' numerous themes, nearly all of them identified by various reviewers, ultimately remained subject to her protagonists' rich literary languages—filtered representations of her own aesthetic ambitions for the novels. The multiple themes and sometimes controversial readings—phenomena surrounding most meaningful works of art—arising from Corregidora in particular, led, perhaps inevitably, to blanketing declarations of its greatness. Reviewer Christopher Lehmann-Haupt celebrated Corregidora's unique and overarching artistic realism and declared the book a masterpiece.4 Perhaps the highest measure of praise came from fellow novelist Toni Morrison, who recalled, What was uppermost in my mind while I read her manuscript was that no novel about any black woman could ever be the same after this. This girl had changed the terms, the definitions of the whole enterprise (14). That Morrison—still developing as a novelist herself at the time—suggested Jones had fundamentally changed..." @default.
• W2045761519 created "2016-06-24" @default.
• W2045761519 creator A5005660650 @default.
• W2045761519 date "2006-01-01" @default.
• W2045761519 modified "2023-09-27" @default.
• W2045761519 title "Toward an All-Inclusive Structure: The Early Fiction of Gayl Jones" @default.
• W2045761519 cites W136173828 @default.
• W2045761519 cites W1518476699 @default.
• W2045761519 cites W1539981007 @default.
• W2045761519 cites W155204697 @default.
• W2045761519 cites W1624687364 @default.
• W2045761519 cites W178451709 @default.
• W2045761519 cites W1971539217 @default.
• W2045761519 cites W1975535383 @default.
• W2045761519 cites W1977876451 @default.
• W2045761519 cites W2000990464 @default.
• W2045761519 cites W2012266568 @default.
• W2045761519 cites W2049244502 @default.
• W2045761519 cites W2051180177 @default.
• W2045761519 cites W2093237613 @default.
• W2045761519 cites W2113097492 @default.
• W2045761519 cites W2312469316 @default.
• W2045761519 cites W2313497626 @default.
• W2045761519 cites W2315231607 @default.
• W2045761519 cites W2322217488 @default.
• W2045761519 cites W2322951831 @default.
• W2045761519 cites W2331148911 @default.
• W2045761519 cites W2332351764 @default.
• W2045761519 cites W2486390665 @default.
• W2045761519 cites W2527664157 @default.
• W2045761519 cites W2730897493 @default.
• W2045761519 cites W2795720497 @default.
• W2045761519 cites W2796236506 @default.
• W2045761519 cites W2796734968 @default.
• W2045761519 cites W2798993877 @default.
• W2045761519 cites W568423176 @default.
• W2045761519 cites W581017821 @default.
• W2045761519 cites W645372607 @default.
• W2045761519 cites W652541103 @default.
• W2045761519 doi "https://doi.org/10.1353/cal.2006.0093" @default.
• W2045761519 hasPublicationYear "2006" @default.
• W2045761519 type Work @default.
• W2045761519 sameAs 2045761519 @default.
• W2045761519 citedByCount "23" @default.
• W2045761519 countsByYear W20457615192016 @default.
• W2045761519 countsByYear W20457615192018 @default.
• W2045761519 countsByYear W20457615192020 @default.
• W2045761519 countsByYear W20457615192021 @default.
• W2045761519 countsByYear W20457615192022 @default.
• W2045761519 crossrefType "journal-article" @default.
• W2045761519 hasAuthorship W2045761519A5005660650 @default.
• W2045761519 hasConcept C104317684 @default.
• W2045761519 hasConcept C107993555 @default.
• W2045761519 hasConcept C119857082 @default.
• W2045761519 hasConcept C124952713 @default.
• W2045761519 hasConcept C138496976 @default.
• W2045761519 hasConcept C142362112 @default.
• W2045761519 hasConcept C144024400 @default.
• W2045761519 hasConcept C15744967 @default.
• W2045761519 hasConcept C161191863 @default.
• W2045761519 hasConcept C17744445 @default.
• W2045761519 hasConcept C185592680 @default.
• W2045761519 hasConcept C199539241 @default.
• W2045761519 hasConcept C2776291640 @default.
• W2045761519 hasConcept C2776526686 @default.
• W2045761519 hasConcept C2777855551 @default.
• W2045761519 hasConcept C2778047097 @default.
• W2045761519 hasConcept C41008148 @default.
• W2045761519 hasConcept C55493867 @default.
• W2045761519 hasConcept C56273599 @default.
• W2045761519 hasConcept C94625758 @default.
• W2045761519 hasConcept C95457728 @default.
• W2045761519 hasConceptScore W2045761519C104317684 @default.
• W2045761519 hasConceptScore W2045761519C107993555 @default.
• W2045761519 hasConceptScore W2045761519C119857082 @default.
• W2045761519 hasConceptScore W2045761519C124952713 @default.
• W2045761519 hasConceptScore W2045761519C138496976 @default.
• W2045761519 hasConceptScore W2045761519C142362112 @default.
• W2045761519 hasConceptScore W2045761519C144024400 @default.
• W2045761519 hasConceptScore W2045761519C15744967 @default.
• W2045761519 hasConceptScore W2045761519C161191863 @default.
• W2045761519 hasConceptScore W2045761519C17744445 @default.
• W2045761519 hasConceptScore W2045761519C185592680 @default.
• W2045761519 hasConceptScore W2045761519C199539241 @default.
• W2045761519 hasConceptScore W2045761519C2776291640 @default.
• W2045761519 hasConceptScore W2045761519C2776526686 @default.
• W2045761519 hasConceptScore W2045761519C2777855551 @default.
• W2045761519 hasConceptScore W2045761519C2778047097 @default.
• W2045761519 hasConceptScore W2045761519C41008148 @default.
• W2045761519 hasConceptScore W2045761519C55493867 @default.
• W2045761519 hasConceptScore W2045761519C56273599 @default.
• W2045761519 hasConceptScore W2045761519C94625758 @default.
• W2045761519 hasConceptScore W2045761519C95457728 @default.
• W2045761519 hasIssue "2" @default.
• W2045761519 hasLocation W20457615191 @default.
• W2045761519 hasOpenAccess W2045761519 @default.
• W2045761519 hasPrimaryLocation W20457615191 @default.
• W2045761519 hasRelatedWork W2058684118 @default.

• next