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Essays by Herman Beavers, Gena Chandler, Marc C. Conner, William Gleason, William R. Nash, Linda Selzer, Gary Storhoff, and John Whalen-Bridge InCharles Johnson: The Novelist as Philosopher, leading scholars examine the African American author's literary corpus and major themes, ideas, and influences. The essays explore virtually all of Johnson's writings: each of his novels, his numerous short stories, the range of his nonfiction essays, his many book reviews, and even several unpublished works. These essays engage Johnson's work from a variety of critical perspectives, revealing the philosophical, cultural, and political implications of his writings. The authors seek especially to understand \"philosophical black fiction\" and to provide the multifocal, \"whole sight\" analysis Johnson's work demands. Johnson (b. 1948)--author ofDreamer,Oxherding Tale, and the National Book Award-winningMiddle Passage--draws upon influences as diverse as Richard Wright, Herman Melville, Thomas Aquinas, Franz Kafka, W. E. B. Du Bois, and Ralph Waldo Emerson. He combines rigorous training in western philosophy with a lifelong practice in eastern religious and philosophical traditions. He has repeatedly told interviewers that he became a writer specifically to strengthen the interplay between philosophy and fiction. Marc C. Conner is associate professor of English at Washington and Lee University. William R. Nash is associate professor of American studies and director of African American studies at Middlebury College.

\"This is truly a major contribution to African American literary criticism, and it promises to elevate Johnson to the place in the literary firmament he so richly deserves.\" -- Henry Louis Gates, Jr., Harvard University Charles Johnson came of age during the Black Arts Movement of the 1960s and 1970s. His fiction bears the imprint of his formal training as a philosopher and his work as a journalist and cartoonist with a well-honed interest in political satire. Mentored by the American writer John Gardner, Johnson is preoccupied with questions of morality, which are informed by his knowledge of Continental and Asian philosophical traditions. In this book, Rudolph Byrd examines Johnson's four novels -- Faith and the Good Thing, Oxherding Tale, Middle Passage (National Book Award Winner), and Dreamer -- under the rubric of philosophical black fiction, as art that interrogates experience. Byrd contends that Johnson suspends, shelves, and brackets all presuppositions regarding African American life. This bracketing accomplished, the African American experience becomes a pure field of appearances within two poles: consciousness and the people or phenomena to which it is related. Johnson's principal themes are identity and liberation. Intent upon the liberation of perception, for the reader and the writer, Johnson's fiction aims at \"whole sight,\" encompassing a plurality of meanings across a symbolic geography of forms, texts, and traditions from within the matrix of African American life and culture. And like a palimpsest, Johnson's texts contain multiple layers of meaning of disparate origins imprinted over time with varying degrees of visibility and significance. Charles Johnson's Novels will appeal to fans of the writer's work, but it also will serve as a helpful guide for readers newly introduced to this brilliant contemporary American writer.

Known for his blending of philosophy, spirituality, humor, and a rollicking good story, Charles Johnson is one of the most important novelists writing today. From his magical first novel, Faith and the Good Thing, to his decidedly philosophical Oxherding Tale; from his swashbuckling indictment of the slave trade in the National Book Award-winning Middle Passage, to his more recent imaginative treatment of Martin Luther King Jr. in Dreamer, Johnson has continually surprised, instructed, and entertained his many avid readers. As this collection of interviews suggests, the novelist is as multifaceted and complex as his novels. Trained in cartooning and philosophy, martial arts and meditation, and producing teleplays, photobiographies, and literary criticism in addition to fiction, Charles Johnson represents a model of what he calls life as art. Alluding to the \"Three Gates\" of Buddhist \"Right Speech,\" the title of this volume aptly captures the generous spirit that characterizes Charles Johnson s work. An indispensable resource for all of Johnson s many readers, Passing the Three Gates represents both the transformation of the artist over time and the continuity and endurance of his aesthetic and spiritual vision.

The Great Migration was the most significant event in black life since emancipation and Reconstruction. Passionately Human, No Less Divine analyzes the various ways black southerners transformed African American religion in Chicago during their Great Migration northward. A work of religious, urban, and social history, it is the first book-length analysis of the new religious practices and traditions in Chicago that were stimulated by migration and urbanization. The book illustrates how the migration launched a new sacred order among blacks in the city that reflected aspects of both Southern black religion and modern city life. This new sacred order was also largely female as African American women constituted more than 70 percent of the membership in most black Protestant churches. Ultimately, Wallace Best demonstrates how black southerners imparted a folk religious sensibility to Chicago's black churches. In doing so, they ironically recast conceptions of modern, urban African American religion in terms that signified the rural past. In the same way that working class cultural idioms such as jazz and the blues emerged in the secular arena as a means to represent black modernity, he says, African American religion in Chicago, with its negotiation between the past, the present, rural and urban, revealed African American religion in modern form.

This essay “Pirate Assemblage” explores two related questions. The first is how we read and appreciate the literary form of pirate literature such as Alexander Exquemelin’s Buccaneers of America (1678) and Charles Johnson’s two-volume General History of the Pyrates (volume one 1724, volume two 1728). The second is what the answer to that first question suggests for how we regard pirate literature in relation to more canonical eighteenth-century literature and how this relation might revise our reading of that literature. My answer to the first question explores the concept of “assemblage” for reading and appreciating pirate literature, and my answer to the second question that eighteenth-century literature read in relation to this “pirate assemblage” suggests new ways of reading canonical texts such as Jonathan Swift’s Gulliver’s Travels (1726) and John Gay’s Beggar’s Opera (1728) that were written soon after the first volume of The General History of Pyrates. In doing so, my essay responds to the large body of scholarly literature on pirates that has focused on the question of identity—race, class, gender, and sexuality—and the question of whether or not such literature was transgressive. In my essay, by closely reading the unique literary form of pirate literature and utilizing Gilles Deleuze and Felix Guattari’s concepts of “assemblage” and “minor literature,” I argue that pirate literature, rather than representing transgressive identities, instead progressively produces new economic and social connections that deterritorializes the economy, literary form, and language.

The existing sociological literature includes a dearth of inquiries into the establishment and development of sociology at predominately Black institutions. This exclusion may tacitly imply to neophyte, intermediary and senior sociologists that these academic units did not offer any substantive contributions to sociology during its formative years in this nation. The primary objective of this endeavor is to examine the establishment and development of the Fisk University Department of Sociology in such a manner that could, at a minimum, extend the current literature on sociology at predominately Black institutions and, at best, produce findings that place the contributions of this unit within the cannon of significant contributors to the discipline.

The rise of whiteness studies has been a very remarkable phenomenon in the past three decades. Many of its key arguments are very productive in criticism concerning racial issues in ethnic literature. This article reads “The Education of Mingo,” a novella by the contemporary African American writer Charles Johnson, through the perspective of whiteness studies. Mostly adopted in this article are theories about the racial contract and white ignorance proposed by such critics as Charles Mills, Barbara Applebaum, George Yancy, Shannon Sullivan and Nancy Tunna. Their theories, I argue, prove to be very helpful for the reader to understand the moral paradox in the story, that is, why Moses, seemingly a well-intended white who hates slavery, could actually be a complicit in racism, and hence in the two murders committed by Mingo.

In The Singer: A Montford Point Marine, the enthralling journey of Henry Charles Johnson, one of the first African Americans in the U.S. Marine Corps, unfolds. Lured by the dignified Marine uniform and the allure of the G.I. Bill, he's abruptly thrown into the bare, segregated world of Camp Montford Point, a far cry from the lush expansiveness of Camp Lejeune he'd imagined. The harsh realities of Southern segregation strike a jarring contrast to his accustomed diversity of Manhattan, escalating further with hostility from drill instructors. Undeterred, his resolve is galvanized by the dream of donning the Marine uniform and the prospects following discharge. Post-discharge, Johnson immerses himself in New York's music scene, enchanting audiences with his soulful, Sinatra-esque timbre. This riveting narrative portrays the unmatched fortitude of the Montford Point Marines, representing a crucial African-American, American, and globally relevant human experience

Charles Johnson’s novel Middle Passage reimagines the traditional slave narrative through a revisionist telling of the transatlantic journey. By way of historiographic metafiction, Johnson deploys protagonist Rutherford Calhoun to rewrite the slave ship Republic ’s palimpsestic logbook, and through this process not only revises its historical record but constructs an identity marked by universal features of humanismits. Although many scholars have focused on Johnson’s philosophical emphasis on Eastern principles, this essay argues that the identity formulated by Calhoun illustrates characteristics most associated with Western ideals of individuality and responsibility.

A compelling biography of a key figure of the Harlem Renaissance, an eminent Chicago-trained sociologist, and a pioneering race relations leader.