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• W2091691949 abstract "Grace Paley is steeped in traditions of community, social activism, and struggle for transformation. A descendant of East European Jewish socialist tradition, who developed as a writer in tumult of 1960s, Paley remains a political activist. Like her politics, often-noted power and charm of her literary voice is not merely a personal idiosyncrasy but derives from extensive roots. Her Yiddish heritage blends with urban dialect and African American inflections to create a quirky expressiveness, a cross-section of everchanging American language. These influences coalesce in prototypical ethnic mix of New York City, scene of a plethora of linguistic styles, an exotic territory familiarized through Paley's community of voices. urban milieu is crucial in portraying a Jewish American community branching out and cross-pollinating with peoples, creating a (post)modern multicultural persona. Simultaneously, Paley tests and refines Jewish American identity against African American experience. Black presence forces an engagement with past Jewish marginalization, calling into question a comfortable incorporation into mainstream America. American minority communities must define not just against a presumed American center but against each other. Americanization as simple assimilation into a preordained culture is revealed as untenable. The spatial topography of center and margin, Henry Louis Gates suggests, started to exhaust its usefulness in describing our own modernity (189). There is no stable framework into which one fits one's cultural patterns, but an everchanging aggregation in which various communities interrogate each in an incessant reshaping. Paley's New York is ideal setting for a (post)modern literature: polyglot, multilingual, interethnic. As early as 1924 Mikhail Bakhtin defined modern literature as surmounting limitations of earlier forms to create a dialogic blending. Monologism is pierced by a multiplicity of voices, an expanding variety of classes and backgrounds, so that the world becomes polyglot, once and for all and irreversibly. period of national languages, coexisting but closed and deaf to each other, comes to an end. Languages throw light on each other (Bakhtin 12). This view of literature as an instrument of change proves somewhat idealistic in practice. Bakhtin overlooks elite nature of institutions through which literature is transmitted; spectrum of voices is inevitably filtered through an educated class. From a position not only of difference but of power, privileged authors may choose to write across class and racial boundaries; their authority and authenticity, however, is problematic. posture of speaking for Other has long marked Jewish speakers and writers regarding African Americans; in Andrew Lakritz's terms such representations make risky incursions on uncommon grounds of groups that have not been accorded authority to speak for themselves (4). Speaking for another often leads to representing one's own concerns, distorting or even erasing that identity. So Michael Rogin argues that by adopting blackface guise, such Jewish figures as Al Jolson created as Americans through contrast with excluded Other. minstrel guise passed immigrants into Americans by differentiating them from black Americans through whom they spoke, who were not permitted to speak for themselves (Rogin 56). However most situations in which Jews attempt to represent or speak for African Americans are ambiguous, characterized by mixed motives and mixed results. In representing African American presence within a larger cultural imagination, Paley, despite her obvious sympathy with Black communities, ratifies and interrogates her own Jewish American identity. As she herself explains, if you speak for others--if you really perform that great social task . …" @default.
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• W2091691949 date "2000-01-01" @default.
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• W2091691949 title "Grace Paley's Faith: The Journey Homeward, the Journey Forward" @default.
• W2091691949 doi "https://doi.org/10.2307/468157" @default.
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