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• W233575391 abstract "Amiri Baraka, in The Music: Reflections on Jazz and Blues, criticizes white musicians, production companies, and critics for taking blues, jazz, and other types of music based in African American and either co-opting them, commercializing them, decontextualizing them, or doing all three simultaneously. Baraka argues that music industry regularly translates African American music into more acceptable white forms: Traditional jazz had its Dixieland; Big-band jazz its Swing; BeBop its Cool; RB and Contemporary black music its Fusion, all of which, in main, were corporate creations aimed at a white middle-class audience with mainly white performers. What this does is help keep black players and artists and black nation itself at bottom of society, unable even to fully benefit from creations of their own culture (264). Without proper context of African American music, which he argues is based in class struggle, blues and jazz are stripped of some of their essential ingredients.(1) His critique raises interesting questions for a novel written by Ellen Douglas, a white southerner, called Can't Quit You, Baby (1988), which pulls its title and major symbol from a Willie Dixon blues song of same name. Certainly novel does not adapt rhythms of blues or jazz into its structure in any extended way, as do writings of Baraka himself or poet/essayist Al Young, for instance. Rather, Douglas uses Dixon's song much as authors often use quotations from other works as epigraphs or include occasional quote from a literary source as a unifying thread throughout novel: that is, while her use of song plays an important role in thematics, its application is largely utilitarian. Now use of a blues song, even fairly briefly, in itself is not necessarily that problematic. What is more problematic, however, is Douglas's decision to use character of an African American housekeeper to emotionally save white protagonist named Cornelia. Much as Dixon text to illuminate conflicts of book and much as jazz is co-opted by some white artists for material gain, housekeeper, named Tweet (or Julia, as Cornelia tellingly prefers to call her), serves Cornelia not only as her domestic servant but also as her spiritual guide. Drawing on folk wisdom at key points in novel, Tweet becomes Douglas's way to use African American in order to suggest new ways for white women to relate to others around them. At end of this essay, I connect Cornelia and Douglas's use of Tweet to difficult issues that arise from whites writing about race in academia. By exploring between a white employer and her African American housekeeper, Douglas is clearly tapping into an image with much historical and literary resonance. most American novels, as Elizabeth Shultz states, the between white women and women of color follows this paradigm of mistress and servant, victimizer with and with only an occasional reversal which converts historical to victimizer, historical victimizer to victim (69). Douglas attempts to rework traditional dichotomy by exploring women's in more depth, examining conflict while suggesting a bond. Tweet and Cornelia's is in transition in novel. It moves from a based upon willful ignorance of Cornelia to one in which there is a more honest attempt at actual understanding on part of both women. Since domestic service is one of few long-standing occupations where both employer and employee are often women and one in which women are often of different races, studying these kinds of relationships tells us much about way women interact in hierarchical situations (Rollins 6). In describing a specific between an actual African American housekeeper and a white female employer, Judith Rollins says, Love, economic exploitation, respect and disrespect, mutual dependency, intense self-interest, intimacy without genuine communication, mutual protection--all of these elements were contained in this extraordinarily complex relationship (178). …" @default.
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• W233575391 date "1998-09-22" @default.
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• W233575391 title "The servant and the served : Ellen Douglas's can't quit you, baby" @default.
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