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Author: Justin Gifford
Publisher: Temple University Press
ISBN: 9781439908112
Category : Literary Criticism
Languages : en
Pages : 216
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Book Description
"Lush sex and stark violence colored Black and served up raw by a great Negro writer," promised the cover of Run Man Run, Chester Himes' pioneering novel in the black crime fiction tradition. In Pimping Fictions, Justin Gifford provides a hard-boiled investigation of hundreds of pulpy paperbacks written by Himes, Donald Goines, and Iceberg Slim (aka Robert Beck), among many others. Gifford draws from an impressive array of archival materials to provide a first-of-its-kind literary and cultural history of this distinctive genre. He evaluates the artistic and symbolic representations of pimps, sex-workers, drug dealers, and political revolutionaries in African American crime literature-characters looking to escape the racial containment of prisons and the ghetto. Gifford also explores the struggles of these black writers in the literary marketplace, from the era of white-owned publishing houses like Holloway House-that fed books and magazines like Players to eager black readers-to the contemporary crop of African American women writers reclaiming the genre as their own.
Author: Justin Gifford
Publisher: Temple University Press
ISBN: 9781439908112
Category : Literary Criticism
Languages : en
Pages : 216
Get Book Here
Book Description
"Lush sex and stark violence colored Black and served up raw by a great Negro writer," promised the cover of Run Man Run, Chester Himes' pioneering novel in the black crime fiction tradition. In Pimping Fictions, Justin Gifford provides a hard-boiled investigation of hundreds of pulpy paperbacks written by Himes, Donald Goines, and Iceberg Slim (aka Robert Beck), among many others. Gifford draws from an impressive array of archival materials to provide a first-of-its-kind literary and cultural history of this distinctive genre. He evaluates the artistic and symbolic representations of pimps, sex-workers, drug dealers, and political revolutionaries in African American crime literature-characters looking to escape the racial containment of prisons and the ghetto. Gifford also explores the struggles of these black writers in the literary marketplace, from the era of white-owned publishing houses like Holloway House-that fed books and magazines like Players to eager black readers-to the contemporary crop of African American women writers reclaiming the genre as their own.
Author: Iceberg Slim
Publisher: Simon and Schuster
ISBN: 1936399199
Category : Fiction
Languages : en
Pages : 246
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Book Description
"Mama Black Widow" is the nickname of Otis Tilson, a comely and tragic black queen adrift with his brothers and sisters in the dark ghetto world of pimpdom and violent crime. His story is told in the gut-level language of the homosexual underworld--an unforgettable testament of life lived on the margins of a racist and predatory urban hell.
Author: Justin Gifford
Publisher: Doubleday
ISBN: 0385538383
Category : Biography & Autobiography
Languages : en
Pages : 306
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Book Description
The first and definitive biography of one of America's bestselling, notorious, and influential writers of the twentieth century: Iceberg Slim, né Robert Beck, author of the multimillion-copy memoir Pimp and such equally popular novels as Trick Baby and Mama Black Widow. From a career as a, yes, ruthless pimp in the '40s and '50s, Iceberg Slim refashioned himself as the first and still the greatest of "street lit" masters, whose vivid books have made him an icon to such rappers as Ice-T, Jay-Z, and Snoop Dogg and a presiding spirit of "blaxploitation" culture. You can't understand contemporary black (and even American) culture without reckoning with Iceberg Slim and his many acolytes and imitators. Literature professor Justin Gifford has been researching the life and work of Robert Beck for a decade, culminating in Street Poison, a colorful and compassionate biography of one of the most complicated figures in twentieth-century literature. Drawing on a wealth of archival material—including FBI files, prison records, and interviews with Beck, his wife, and his daughters—Gifford explores the sexual trauma and racial violence Beck endured that led to his reinvention as Iceberg Slim, one of America's most infamous pimps of the 1940s and '50s. From pimping to penning his profoundly influential confessional autobiography, Pimp, to his involvement in radical politics, Gifford's biography illuminates the life and works of one of American literature's most unique renegades.
Author: Iceberg Slim
Publisher: Simon and Schuster
ISBN: 1451617143
Category : Fiction
Languages : en
Pages : 308
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Book Description
“[In Pimp], Iceberg Slim breaks down some of the coldest, capitalist concepts I’ve ever heard in my life.” —Dave Chappelle, from his Nextflix special The Bird Revelation Pimp sent shockwaves throughout the literary world when it published in 1969. Iceberg Slim’s autobiographical novel offered readers a never-before-seen account of the sex trade, and an unforgettable look at the mores of Chicago’s street life during the 1940s, 50s, and 60s. In the preface, Slim says it best, “In this book, I will take you, the reader, with me into the secret inner world of the pimp.” An immersive experience unlike anything before it, Pimp would go on to sell millions of copies, with translations throughout the world. And it would have a profound impact upon generations of writers, entertainers, and filmmakers, making it the classic hustler’s tale that never seems to go out of style.
Author: Maurice Broaddus
Publisher: Apex Publications
ISBN:
Category : Fiction
Languages : en
Pages : 352
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Book Description
Warning: Don’t Believe the Hype! All the poet called Sleepy wants to do is spit his verses, smoke chiba, and stay off the COP’s radar—all of which becomes impossible once he encounters a professional protestor known as (120 Degrees of) Knowledge Allah. They soon find themselves on the wrong side of local authorities and have to elude the powers that be. When young heiress Sophine Jefferson’s father is murdered, the careful life she’d been constructing for herself tumbles around her. She’s quickly drawn into a web of intrigue, politics and airships, joining with Sleepy and Knowledge Allah in a fight for their freedom. Chased from one end of a retro-fitted Indianapolis to the other, they encounter outlaws, the occasional circus, possibly a medium, and more outlaws. They find themselves in a battle much larger than they imagined: a battle for control of the country and the soul of their people. The revolution will not be televised!
Author: Christopher Breu
Publisher: Fordham University Press
ISBN: 0823287785
Category : Literary Criticism
Languages : en
Pages : 184
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Book Description
Noir Affect proposes a new understanding of noir as defined by negative affect. This new understanding emphasizes that noir is, first and foremost, an affective disposition rather than a specific cycle of films or novels associated with a given time period or national tradition. Instead, the essays in Noir Affect trace noir’s negativity as it manifests in different national contexts from the United States to Mexico, France, and Japan and in a range of different media, including films, novels, video games, and manga. The forms of affect associated with noir are resolutely negative: These are narratives centered on loss, sadness, rage, shame, guilt, regret, anxiety, humiliation, resentment, resistance, and refusal. Moreover, noir often asks us to identify with those on the losing end of cultural narratives, especially the criminal, the lost, the compromised, the haunted, the unlucky, the cast-aside, and the erotically “perverse,” including those whose greatest erotic attachment is to death. Drawing on contemporary work in affect theory, while also re-orienting some of its core assumptions to address the resolutely negative affects narrated by noir, Noir Affect is invested in thinking through the material, bodily, social, and political–economic impact of the various forms noir affect takes. If much affect theory asks us to consider affect as a space of possibility and becoming, Noir Affect asks us to consider affect as also a site of repetition, dissolution, redundancy, unmaking, and decay. It also asks us to consider the way in which the affective dimensions of noir enable the staging of various forms of social antagonism, including those associated with racial, gendered, sexual, and economic inequality. Featuring an Afterword by the celebrated noir scholar Paula Rabinowitz and essays by an array of leading scholars, Noir Affect aims to fundamentally re-orient our understanding of noir. Contributors: Alexander Dunst, Sean Grattan, Peter Hitchcock, Justus Nieland, Andrew Pepper, Ignacio Sánchez Prado, Brian Rejack, Pamela Thoma, Kirin Wachter-Grene
Author: Kinohi Nishikawa
Publisher: University of Chicago Press
ISBN: 022658707X
Category : Literary Criticism
Languages : en
Pages : 312
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Book Description
The uncontested center of the black pulp fiction universe for more than four decades was the Los Angeles publisher Holloway House. From the late 1960s until it closed in 2008, Holloway House specialized in cheap paperbacks with page-turning narratives featuring black protagonists in crime stories, conspiracy thrillers, prison novels, and Westerns. From Iceberg Slim’s Pimp to Donald Goines’s Never Die Alone, the thread that tied all of these books together—and made them distinct from the majority of American pulp—was an unfailing veneration of black masculinity. Zeroing in on Holloway House, Street Players explores how this world of black pulp fiction was produced, received, and recreated over time and across different communities of readers. Kinohi Nishikawa contends that black pulp fiction was built on white readers’ fears of the feminization of society—and the appeal of black masculinity as a way to counter it. In essence, it was the original form of blaxploitation: a strategy of mass-marketing race to suit the reactionary fantasies of a white audience. But while chauvinism and misogyny remained troubling yet constitutive aspects of this literature, from 1973 onward, Holloway House moved away from publishing sleaze for a white audience to publishing solely for black readers. The standard account of this literary phenomenon is based almost entirely on where this literature ended up: in the hands of black, male, working-class readers. When it closed, Holloway House was synonymous with genre fiction written by black authors for black readers—a field of cultural production that Nishikawa terms the black literary underground. But as Street Players demonstrates, this cultural authenticity had to be created, promoted, and in some cases made up, and there is a story of exploitation at the heart of black pulp fiction’s origins that cannot be ignored.
Author: Ken Bruen
Publisher: Titan Books
ISBN: 1783295708
Category : Fiction
Languages : en
Pages : 205
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Book Description
Reteaming a decade after their award-nominated first collaboration, Bruen and Starr complete the saga of wannabe druglord Max Fisher and his one-time assistant Angela, now working in the capital of sin and depravity: Hollywood.
Author: Mattius Rischard
Publisher: Taylor & Francis
ISBN: 1040006205
Category : Literary Criticism
Languages : en
Pages : 238
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Book Description
Comprehensive and comparative, this volume investigates African American street novelists since the Chicago Black Renaissance and the semiotic strategies they employ in publication, consumption, and depiction of street life. Divided into three chapters, this text analyzes the content, style, and ethics of “street” narrative through a discursive/rhetorical lens, exploring the development of street literature’s formal and contextual concerns to resolve the sociocultural and political questions surrounding cultural work. The book also gives emphasis to “text” or (post)structural literary analysis by answering questions about the genre’s aesthetic and linguistic techniques that respond to the injustices of urban planning. The last chapter, “Representation,” investigates the phenomenological hermeneutics of more recent street literature and its satire, highlighting the political stakes for authorship, credibility, and subjectivity. Through historical and contemporary studies of urban space, Blackness, and adaptations of street literature, this work attempts to network activists, artists, and scholars with the greater reading public by providing a functional ontology of reading the inner city.
Author: Kinohi Nishikawa
Publisher: University of Chicago Press
ISBN: 022658691X
Category : Literary Criticism
Languages : en
Pages : 312
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Book Description
The uncontested center of the black pulp fiction universe for more than four decades was the Los Angeles publisher Holloway House. From the late 1960s until it closed in 2008, Holloway House specialized in cheap paperbacks with page-turning narratives featuring black protagonists in crime stories, conspiracy thrillers, prison novels, and Westerns. From Iceberg Slim’s Pimp to Donald Goines’s Never Die Alone, the thread that tied all of these books together—and made them distinct from the majority of American pulp—was an unfailing veneration of black masculinity. Zeroing in on Holloway House, Street Players explores how this world of black pulp fiction was produced, received, and recreated over time and across different communities of readers. Kinohi Nishikawa contends that black pulp fiction was built on white readers’ fears of the feminization of society—and the appeal of black masculinity as a way to counter it. In essence, it was the original form of blaxploitation: a strategy of mass-marketing race to suit the reactionary fantasies of a white audience. But while chauvinism and misogyny remained troubling yet constitutive aspects of this literature, from 1973 onward, Holloway House moved away from publishing sleaze for a white audience to publishing solely for black readers. The standard account of this literary phenomenon is based almost entirely on where this literature ended up: in the hands of black, male, working-class readers. When it closed, Holloway House was synonymous with genre fiction written by black authors for black readers—a field of cultural production that Nishikawa terms the black literary underground. But as Street Players demonstrates, this cultural authenticity had to be created, promoted, and in some cases made up, and there is a story of exploitation at the heart of black pulp fiction’s origins that cannot be ignored.
