The Strange Literary Career of Jean Toomer

2019 ◽  
pp. 72-94
Keyword(s):  
Jean Toomer

Jean Toomer and the Harlem Renaissance by Michel Feith

2004 ◽  
Vol 34 (1) ◽  
pp. 342-343
Author(s):  
Christine MacLeod
Keyword(s):  
Harlem Renaissance ◽  
Jean Toomer ◽  
The Harlem Renaissance

Jean Toomer, Artist: A Study of his Literary Life and Work, 1894-1936.

1985 ◽  
Vol 19 (2) ◽  
pp. 91
Author(s):  
Maryemma Graham ◽  
Nellie Y. McKay
Keyword(s):  
Jean Toomer ◽  
Literary Life

Jean Toomer and the "New Negroes" of Washington

1991 ◽  
Vol 63 (4) ◽  
pp. 683 ◽  
Author(s):  
George B. Hutchinson
Keyword(s):  
Jean Toomer

Jean Toomer

2015 ◽  
pp. 71-73
Author(s):  
Peter Hammans
Keyword(s):  
Jean Toomer

Miscegenation and Progression: The First Americans of Jean Toomer and William Faulkner

2016 ◽  
Author(s):  
Andrew B. Leiter ◽  
Jay Watson
Keyword(s):  
African American ◽  
Native American ◽  
William Faulkner ◽  
Mixed Race ◽  
Jean Toomer ◽  
The Subject ◽  
First Americans

This chapter analyzes aspects of miscegenation in William Faulkner’s work relative to several African American antecedents, contends that Jean Toomer’s work contributed to Faulkner’s treatment of the subject, and argues for a partial realignment of the traditional critical paradigm in Faulkner studies that approaches miscegenation through the segregation-era lens of threatened “whiteness.” Relying on an intertextual reading of Go Down, Moses with Toomer’s Cane and “Blue Meridian,” the chapter contends that we can discern Toomer’s influence on Faulkner’s portrayal of miscegenation. Most significantly, Toomer’s vision of progressive racial evolution culminating in a multi-racial, original American helps us frame Sam Fathers as Faulkner’s first American. As such, Fathers represents not only the end of both the Native American presence and the wilderness era in America, but he also serves as an originary model for an evolving mixed-race nation.

Jean Toomer (1894—1967)

2018 ◽  
Author(s):  
Simone Knewitz
Keyword(s):  
Close Contact ◽  
Later Life ◽  
Jean Toomer ◽  
Literary Modernism ◽  
New Negro ◽  
Racial Categories ◽  
New Negro Movement ◽  
Black And White ◽  
Alain Locke ◽  
Self Development

Jean Toomer (26 December 1894—30 March 1967) was an American writer associated with literary modernism and the Harlem Renaissance. He was born as Nathan Pinchback Toomer in Washington, D.C., and changed his name to Jean Toomer at the beginning of his writing career in 1920. Toomer is primarily known for his critically acclaimed book Cane (1923), an experimental collage text of narratives, dramatic pieces, and poems. He also published essays, literary reviews and criticism, poems, dramatic texts, and stories in journals and newspapers. Though opposing reductive racial categories, Toomer was in close contact with the New Negro movement, initiated by Alain Locke, while he was working on Cane. Being of multiracial descent, he could easily pass for white, and lived both as black and white at different stages of his life. After the publication of Cane, he rejected all racial classifications. In the early 1920s, Toomer turned toward the spiritual ideas of George Gurdjieff, whose school of higher consciousness and spiritual self-development he followed and taught himself until 1935. In his later life, he became interested in Quakerism. With the exception of a collection of aphorisms, Toomer did not publish any more books after Cane during his lifetime.

Sex under Necropolitics: Waldo Frank, Jean Toomer, and Black Enfleshment

2019 ◽  
Vol 54 (5) ◽  
pp. 926-950
Author(s):  
BENJAMIN KAHAN ◽  
MADOKA KISHI
Keyword(s):  
South Carolina ◽  
Queer Theory ◽  
Harlem Renaissance ◽  
Jean Toomer ◽  
Color Line ◽  
Queer Of Color Critique ◽  
Queer Of Color ◽  
The Relationship ◽  
The Harlem Renaissance

Though Jean Toomer's Cane (1923) is one of the best-known texts of the Harlem Renaissance, it has rarely been discussed with the text alongside which it was initially imagined: Waldo Frank's Holiday (1923). These works were inspired by a joint trip to Spartanburg, South Carolina and were conceptualized as a shared project, what the authors termed “Holiday + Cane.” This essay tracks their coproduction with particular attention to their parallax vision of lynching to theorize what we call, building on Achille Mbembe's work, “sex under necropolitics.” This dispensation does not take shape within a privatized notion of sexuality, but instead is “ungendered” and unindividuated in the ways that Hortense Spillers has described through the notion of the flesh. We take up her work to suggest that black bodily practices and corporeal intimacies are governed by a regime other than sexuality. In this essay, we map the contours of this regime and its effects on both sides of the color line. Our new cartography promises to reconfigure understandings of the sexuality of Toomer and Frank and of the Harlem Renaissance, and to clarify the relationship between (white) queer theory and queer-of-color critique.

And Another Passing: Jean Toomer

2017 ◽  
Vol 50 (4) ◽  
pp. 493-493
Author(s):  
Darwin T. Turner
Keyword(s):  
Jean Toomer

"Taking Myself in Hand": Jean Toomer and Physical Culture

2003 ◽  
Vol 10 (4) ◽  
pp. 597-615 ◽  
Author(s):  
Mark Whalan
Keyword(s):  
Physical Culture ◽  
Jean Toomer
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