African-American Literary Criticism

            In Literary Criticism, Bressler initiates his discussion of African-American criticism with the simplistic, binary view that Caucasians in America oppress the art and humanity of African-Americans.  He also explains that African-American criticism attempts to define what it is to be an African-American and the racial issues associated with being one.  History has a predominant role in African-American literature and criticism due to the enslavement of African-Americans.

            W. E B. DuBois’ edited the Crisis which proclaimed that “All art is propaganda and ever must be.”  African-Americans like Dubois believed that they should utilize their art to instill pride in the African-American race and culture and draw attention to their inequality in America.  On the other hand, Locke argued that African-Americans should redefine themselves as a counter to the common stereotypes associated with their race and culture.  Yet, the real goal for African-Americans was to gain enough political power to over throw the laws of the U.S. which refuted their equality.

            Gates argued that African-Americans should define African-American literary theory based on African-American culture.  Bates seemed to think that it was important for African-American critics should concentrate on “the language of blackness.”  This language is what distinguishes the African-American culture from the Caucasian culture.  Yet, Gates also argues that there are two dialogues within African-American literature.  One is white and the other is black.  Gates thinks that this is what differentiates African-American literature.  If there are two cultural dialogues within African-American literature, then I think that representatives from both cultures should be able to be African-American critics.