Authentic Blackness - «Real» Blackness explores and explains the idea of authenticity, of «keeping it real, » as it relates to the multi-faceted meanings of blackness in the United States and the world. Including reflections on hip-hop, comedy, literature, intellectual history, and autobiography, the collection gives both a broad overview of and intervenes in the debates concerning blackness. A comprehensive introductory essay outlines the history of the idea of «authentic blackness, » while other chapters examine the contours of blackness in Canada and Jamaica; the relationship between middle-class status and «real» blackness; the link between «blackness» and hip-hop culture; Dave Chappelle's comedy; and the work of James Baldwin, Countee Cullen, Clarence Major, and John Edgar Wideman as it comments on authenticity in relation to race.

Analysis of four Harlem Renaissance texts that challenges our assumptions about the stability of racial identity and investigates the ways those assumptions shape how we have read literature by Black writers.

DIVA consideration of the performance of Blackness and race in general, in relation to sexuality and critiques of authenticity./div

New York's urban neighborhoods are full of young would-be emcees who aspire to "keep it real" and restaurants like Sylvia's famous soul food eatery that offer a taste of "authentic" black culture. In these and other venues, authenticity is considered the best way to distinguish the real from the phony, the genuine from the fake. But in Real Black, John L. Jackson Jr. proposes a new model for thinking about these issues--racial sincerity. Jackson argues that authenticity caricatures identity as something imposed on people, imprisoning them within stereotypes--turning them into racial objects and inanimate things, instead of living, breathing human beings. Contending that such assumptions deny people agency--not to mention humanity--in their search for identity, Jackson counterposes sincerity, an internal and more productive analytical model for thinking about race. Moving in and around Harlem and Brooklyn, Jackson offers a kaleidoscope of subjects and stories that directly and indirectly address how race is negotiated in today's world--including tales of name-changing hip-hop emcees, book-vending numerologists, urban conspiracy theorists, corrupt police officers, mixed-race neo-Nazis, and high-school gospel choirs forbidden to catch the Holy Ghost. Enlisting "Anthroman," his cape-crusading critical alter ego, Jackson records and retells these interconnected sagas in virtuosic detail and, in the process, shows us how race is defined and debated, imposed and confounded every single day.

A new collection of thought-provoking essays by the best-selling author of Losing the Race examines what it means to be black in modern-day America, addressing such issues as racial profiling, the reparations movement, film and TV stereotypes, diversity, affirmative action, and hip-hop, while calling for the advancement of true racial equality. Reprint.

In this book, Shelly Eversley historicizes the demand for racial authenticity - what Zora Neale Hurston called 'the real Negro' - in twentieth-century American literature. Eversley argues that the modern emergence of the interest in 'the real Negro' transforms the question of what race an author belongs into a question of what it takes to belong to

Authentic Blackness - «Real» Blackness explores and explains the idea of authenticity, of «keeping it real, » as it relates to the multi-faceted meanings of blackness in the United States and the world. Including reflections on hip-hop, comedy, literature, intellectual history, and autobiography, the collection gives both a broad overview of and intervenes in the debates concerning blackness. A comprehensive introductory essay outlines the history of the idea of «authentic blackness, » while other chapters examine the contours of blackness in Canada and Jamaica; the relationship between middle-class status and «real» blackness; the link between «blackness» and hip-hop culture; Dave Chappelle's comedy; and the work of James Baldwin, Countee Cullen, Clarence Major, and John Edgar Wideman as it comments on authenticity in relation to race.