«Through its insightful examination of African American dramas that deal with slavery, this book explores and expands on contemporary debates in African American scholarship around the power of memory and the legacy of slavery. Bada argues that the playwrights she discusses return to the unfinished business of slavery to «reconfigure» the relationship of the African American present to that traumatic past. Inventively, this book offers bold critical approach that has much to offer for critics, scholars, and students of African American drama.» (Harry J. Elam, Jr., Professor of Drama, Stanford University)
Contents: Ambivalent Mnemopoetics. Choral Drama, Epic and Pageantry in Owen Dodson's Amistad (1939) - Spiritual Mnemopoetics. Music as Articulation in Langston Hughes's The Sun Do Move (1942) - Place, Time and Action. Fundamental Disunities in Shirley Graham's It's Mornin' (1940) - Ambivalent Tragedy. Cross-Cultural Poetics in Rita Dove's The Darker Face of the Earth (1994-1996) - Phonomnesia. LeRoi Jones/Amiri Baraka's Slave Ship (1967) - Ontological Journey from Darkness to Blk-ness. Val Ferdinand/Kalamu ya Salaam's Blk Love Song #1 (1969) - Apocalyptic «Eclipsed Presences». Daniel W. Owens's The Box (1989) - «Ripping the Veil». Robbie McCauley's Sally's Rape (1989).
The Author: After graduating from Liège University in 1995, Valérie Bada started her doctoral research at the W.E.B. Du Bois Institute for African and African American at Harvard University under a Belgian American Educational Foundation and Francqui Fellowship. She worked as an assistant on the Du Bois Slave Trade Database project under the supervision of Prof. David Eltis. She completed her Ph.D. at the University of Liège in 2003 thanks to a Junior fellowship from the National Fund for Scientific Research - Belgium (FNRS) and has been working as a FNRS post-doctoral researcher since 2005.