I found literary idols in Adrienne Kennedy, Nella Larsen, and Ntozake Shange, writers who'd dared to locate a sanctioned, forbidden space between white vulnerability and black invincibility.
Interpretation
The quote highlights the courage of certain writers in addressing complex racial dynamics.
Margo Jefferson reflects on the influence of notable black female writers who navigate and articulate the nuanced space between the perceived fragility of white identity and the strength of black identity. These authors have not only confronted societal boundaries but have also created a literary space that challenges conventional narratives about race, vulnerability, and resilience, pushing the discourse towards a more inclusive understanding of identity.
In practice
In a literary discussion about the role of race in storytelling.
We talk about how we think, believe, suspect Michael Jackson treats children. We don't talk about how WE treat child stars. Child stars are abused by the culture. And what's more treacherous than when the rewards of child stardom issue from the abuse?_x000D_ Child stars are performers above all else. Whenever their triumps, they are going to make sure we see everyone of their scars. That's the final price of admission.
I think it's too easy to recount your unhappy memories when you write about yourself. You bask in your own innocence. You revere your grief. You arrange your angers at their most becoming angles.
So much of what blacks and women contend with is centered in how we view, and how the world views, our bodies. Gestures, voices, affect.
Depression is so treacherous - it can be so alluring as well as punishing. After all, it's yours and yours alone - no one else can interfere with it.
Black Power was really a major challenge to the social privileges and structures of the kind of privilege that I had grown up with. That whole belief... that you will only be able to advance if you are perfectly behaved, if you present yourself as what white people would consider an ideal of whiteness... all of that just began to burst open.
Like dancers with choreography or actors with scripts, jazz singers could take material that was known, even loved, then risk interpreting and revising it. They could conceal even as they revealed themselves. Inflection, timing and tonality were their language, at least as much as words.
Ultimately, my books are not about the politics, although the toil and the struggle and the wars in Afghanistan have a significant impact on the lives of my characters.
There might be a different model for a literary community that's quicker, more real-time, and involves more spontaneity.
When I went to college - when I read Shakespeare or Dickens or Scott - I just felt that, as a citizen of England, a British citizen, this was as much my heritage as any schoolboy's. That is one of the things the Empire taught, that apart from citizenship, the synonymous inheritance of the citizenship was the literature.
It's extraordinary how many people read a book that's new and weird and befriend it.
Lots of people can write a good first page but to sustain it, that's my litmus test. If I flip to the middle of the book and there's a piece of dialogue that's just outstanding, or a description, then I'll flip back to the first page and start it.
I don't believe chance can play a role in my literature.
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