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F.B. Eyes : How J. Edgar Hoover's Ghostreaders Framed African American Literature /
Few institutions seem more opposed than African American literature and J. Edgar Hoover's white-bread Federal Bureau of Investigation. But behind the scenes the FBI's hostility to black protest was energized by fear of and respect for black writing. Drawing on nearly 14,000 pages of newly...
| Autor principal: | |
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| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Princeton, New Jersey :
Princeton University Press,
[2015]
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Maxwell, William J. |c (College teacher), |e author. | |
| 245 | 1 | 0 | |a F.B. Eyes : |b How J. Edgar Hoover's Ghostreaders Framed African American Literature / |c William J. Maxwell. |
| 264 | 1 | |a Princeton, New Jersey : |b Princeton University Press, |c [2015] | |
| 264 | 3 | |a Baltimore, Md. : |b Project MUSE, |c 2015 | |
| 264 | 4 | |c ©[2015] | |
| 300 | |a 1 online resource (384 pages). | ||
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| 505 | 0 | |a Cover -- Title -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction -- The FBI against and for African American Literature -- The Files and the FOIA -- Five Theses and the Way Forward -- Part One/Thesis One: The Birth of the Bureau, Coupled with the Birth of J. Edgar Hoover, Ensured the FBI's Attention to African American Literature -- The Bureau before Hoover -- Hoover before the Bureau -- Bureau of Letters: Lit.-Cop Federalism, the Hoover Raids, and the Harlem Renaissance -- Part Two/Thesis Two: The FBI's Aggressive Filing and Long Study of African American Writers Was Tightly Bound to the Agency's Successful Evolution under Hoover -- Flatfoot Montage: The Genre of the Counterliterary FBI File -- The Counterliterary State and the Charismatic Bureaucracy: Trimming the First Amendment, Fencing the Harlem Renaissance -- Persons to Racial Conditions: Literary G-Men and FBI Counterliterature from the New Deal to the Second World War -- Afro-Loyalty and Custodial Detention: Files of World War II -- Total Literary Awareness: Files of the Cold War -- COINTELPRO Minstrelsy: Files of Black Power -- Part Three/Thesis Three: The FBI Is Perhaps the Most Dedicated and Influential Forgotten Critic of African American Literature -- Reading Like a CIA Agent -- Reading Like an FBI Agent -- Critics behind the Bureau Curtain: Meet Robert Adger Bowen and William C. Sullivan -- Ask Dr. Hoover: Model Citizen Criticism and the FBI's Interpretive Oracle -- Part Four/Thesis Four: The FBI Helped to Define the Twentieth-Century Black Atlantic, Both Blocking and Forcing Its Flows -- The State in the Nation-State -- the State of the Transnational Turn -- The State of Black Transnationalism -- the State in the Black Atlantic -- Checking Diasporan ID: Hostile Translation and the Passport Office. | |
| 505 | 0 | |a State-Sponsored Transnationalism: The Stop Notice and the Travel Bureau -- Jazz Ambassadors versus Literary Escapees -- Part Five/Thesis Five: Consciousness of FBI Ghostreading Fills a Deep and Characteristic Vein of African American Literature -- Reading Ghostreading in the Harlem Renaissance: New Negro Journalists and Claude McKay -- Invisible G-Men En Route to the Cold War: George Schuyler, Langston Hughes, and Ralph Ellison -- Mysteries and Antifiles of Black Paris: Richard Wright, William Gardner Smith, and Chester Himes -- Black Arts Antifiles and the "Hoover Poem": John A. Williams, James Baldwin, Sam Greenlee, Melvin Van Peebles, Ishmael Reed, Amiri Baraka, Nikki Giovanni, and Sonia Sanchez -- Bureau Writing after Hoover: Dudley Randall, Ai, Audre Lorde, Danzy Senna, and Gloria Naylor -- Appendix: FOIA Requests for FBI Files on African American Authors Active from 1919 to 1972 -- Notes -- Works Cited -- Index. | |
| 520 | |a Few institutions seem more opposed than African American literature and J. Edgar Hoover's white-bread Federal Bureau of Investigation. But behind the scenes the FBI's hostility to black protest was energized by fear of and respect for black writing. Drawing on nearly 14,000 pages of newly released FBI files, F.B. Eyes exposes the Bureau's intimate policing of five decades of African American poems, plays, essays, and novels. Starting in 1919, year one of Harlem's renaissance and Hoover's career at the Bureau, secretive FBI "ghostreaders" monitored the latest developments in African American letters. By the time of Hoover's death in 1972, these ghostreaders knew enough to simulate a sinister black literature of their own. The official aim behind the Bureau's close reading was to anticipate political unrest. Yet, as William J. Maxwell reveals, FBI surveillance came to influence the creation and public reception of African American literature in the heart of the twentieth century. Taking his title from Richard Wright's poem "The FB Eye Blues," Maxwell details how the FBI threatened the international travels of African American writers and prepared to jail dozens of them in times of national emergency. All the same, he shows that the Bureau's paranoid style could prompt insightful criticism from Hoover's ghostreaders and creative replies from their literary targets. For authors such as Claude McKay, James Baldwin, and Sonia Sanchez, the suspicion that government spy-critics tracked their every word inspired rewarding stylistic experiments as well as disabling self-censorship. Illuminating both the serious harms of state surveillance and the ways in which imaginative writing can withstand and exploit it, F.B. Eyes is a groundbreaking account of a long-hidden dimension of African American literature. | ||
| 588 | |a Description based on print version record. | ||
| 610 | 1 | 7 | |a United States. |b Federal Bureau of Investigation. |2 fast |0 (OCoLC)fst00528882 |
| 610 | 1 | 6 | |a États-Unis. |b Federal Bureau of Investigation |x Histoire |y 20e siecle. |
| 610 | 1 | 0 | |a United States. |b Federal Bureau of Investigation |x History |y 20th century. |
| 650 | 7 | |a American literature |x African American authors. |2 fast |0 (OCoLC)fst00807114 | |
| 650 | 7 | |a HISTORY |z United States |y 20th Century. |2 bisacsh | |
| 650 | 7 | |a LITERARY CRITICISM |x American |x General. |2 bisacsh | |
| 650 | 0 | |a American literature |x African American authors |y 20th century. | |
| 650 | 0 | |a American literature |x African American authors |x History and criticism. | |
| 655 | 7 | |a History. |2 fast |0 (OCoLC)fst01411628 | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast |0 (OCoLC)fst01411635 | |
| 655 | 7 | |a Electronic books. |2 local | |
| 710 | 2 | |a Project Muse. |e distributor | |
| 830 | 0 | |a Book collections on Project MUSE. | |
| 856 | 4 | 0 | |z Texto completo |u https://projectmuse.uam.elogim.com/book/36390/ |
| 945 | |a Project MUSE - Custom Collection | ||
| 945 | |a Project MUSE - 2015 History | ||
| 945 | |a Project MUSE - 2015 Complete | ||
| 945 | |a Project MUSE - 2015 American Studies | ||