Smitherman’s Pathological Argument Geneva Smitherman of the Afro-American Studies department at Harvard University wrote in her paper “God Don’t Never Change”: Black English from a Black Perspective that English scholars and teachers should stop trying to correct “Black English” for being grammatically incorrect and assess the content for intellectual accuracy. She believes that no matter how different the grammar is from “White English”, “black English is still understandable and should be treated as if it is written correctly. Smitherman sites many examples throughout literary history highlighting moments where “Black English” has been battered for being incorrect, most notably using the story of a Wayne State freshman student who had a paper returned to them for being written in “Black English”. The student was told that the paper was grammatically incorrect and needed to be corrected without any further commentary. While Smitherman makes a strong argument for the equal treatment of “Black English” in literature, her writing is full of pathological bias and resentment toward her fellow English scholars causing her thesis to be overshadowed. Smitherman is certainly qualified to address her colleagues about the treatment of “Black English” in academia, but with such a charged writing style it is possible that her audience would not make it to her conclusion. Smitherman assumes that the general base of her audience are “White English” speakers that can understand “Black English”. She also assumes that all African Americans speak the same way. These assumptions are her first major problem. At the time of this articles publication in 1973, it is conceivable that certain scholars would have ignored the piece because of its hybrid u... ... middle of paper ... ...orld about the interpretation of “Black English”, but flaws in the execution of her publication could prevent her audience from grasping her claim. Her biggest problem is the pathos that oozes from the paper. Whether it is the use of outside comments or hybrid dialogue, the pathos could block the minds of literary scholars. The ethos that Smitherman tries to achieve through quotations and research does not work when the quotes are pathos-charged and are from irrelevant time period. The support to her claim that “Black English” should remain strictly to Black culture doesn’t make a lot of sense. It is illogical to think that the only solution is to stop correcting for the grammar of “Black English” and still keep it only amongst African Americans. Smitherman’s claim for better treatment of “Black English would be perceived far better without the strong use of pathos.
In Baldwin 's article If Black English Isn 't A Language Then Tell Me What Is? starting off by telling the readers about French speaking people. He is explaining how different dialects doesn 't mean people aren 't speaking the same language. Going deeper about language saying that it ties into the culture. Give an example of Black Culture and how their expression of English is different. Talking about the phrases like jazz me, baby, sock it to me, and funky; being used that way they weren 't meant to. Finally introducing how the African American culture has been disrespected or ignored. Telling
Mat Johnsons novel, Pym challenges readers not only to view his work with a new set of eyes but also the work of all American literature with the understanding that the idea of Whiteness still has a very strong power over literature today. It is unfortunate that in today’s society, the pathology of Whiteness still holds a very strong presence in literary world. Literature from American authors versus literature from African American authors still continues to be segregated and handled with two different sets of criteria. Johnson’s novel engages in different aspects of the argument presented in Toni Morrison’s work entitled Playing in the Dark: Whiteness and the Literary Imagination. One of the main ideals that Pym engages in is the thought that “…a figuration of impenetrable whiteness … surfaces in American literature whenever Africanist presence is engaged” (29). Through the character Chris Jaynes, Johnson’s novel focuses much attention on the Whiteness seen in the literary world and how it still affects literature today. Mat Johnson’s Pym addresses Morrison’s argument by challenging the reader to identify the pathology of whiteness as well as encourages readers not to only identify the problem but try to find new ways to combat it.
Many stories people read are written for the express purpose of entertainment and sometimes even to persuade, but few are written to teach a moral. The story “A Fable with Slips of White Paper Spilling From The Pockets” written by Kevin Brockmeier does just that. Although relatively short, the story is filled with words of wisdom and life lessons that are meant to instill a sense of selflessness. The story is about a man who finds God’s overcoat from which he finds prayers from the people he encounters. Kevin Brockmeier makes exceptional use of magic realism and symbolism to teach a moral lesson.
Language can be defined as "a regularized symbolic code that connects its users in a symbiosis of substance" (Blackshire-Belay 1). Not only are we produced by language, but we produce through language (Blackshire-Belay 1). In other words, language is a very integral part of our lives, especially in literature. It can even be said that literature, "in its most profound sense, is the most complex use of language to create meaning" (Blackshire-Belay 4). Therefore, its importance should not be looked upon lightly. In both Baby of the Family and Black Girl Lost, it seems that language is being used in order to convey the minority experience to readers, whether they be of the African American race or the dominant culture. To accomplish this, each novel displays Africanisms, or qualities that are very common in the African American language. These qualities include emphatic speech such as double negatives, call and response phrases and also metaphorical language.
Even today, African American authors write about the prejudice that still happens, like Ta-Nehisi Coates. In his essay Acting French, Coates recalls when he studied the French language at Middlebury College. Despite all his efforts to integrate with his fellow students into French culture, yet another barrier reveals itself. “And so a white family born into the lower middle class can expect to live around a critical mass of people who are more affluent or worldly and thus see other things, be exposed to other practices and other cultures. A black family with a middle class salary can expect to live around a critical mass of poor people, and mostly see the same things they (and the poor people around them) are working hard to escape. This too compounds.” Because of the lack of black people available to look up to in scholastics, it makes it hard for black students to find the motivation to pursue interests in English or other
According to West, “the attitudes of white scholars in the academy are quite different than those in the past” (West pg. 303). In the dilemma of the black intellectual Afro-American intellectual often known better as “black’s” have a stressful time in being acceptance in whites universities and find themselves in one of the black educational institutions for potential black intellectuals. Many black’s begin their intellectual career with hopes of self worth and self confidence in a way that is in alignment with certain values. Under the effects of their own emotional pain however, some black’s become removed from those values, removed from the purpose behind their intellectual. Black’s can feel like a ship in stormy seas, floundering with nothing solid to anchor to. When black’s make demands, use criticism or labeling to be taken seriously as potential scholars and intellectuals in our universities and colleges to vulgar perceptions fueled by
In his essay, “On Being Black and Middle Class” (1988), writer and middle-class black American, Shelby Steele adopts a concerned tone in order to argue that because of the social conflicts that arise pertaining to black heritage and middle class wealth, individuals that fit under both of these statuses are ostracized. Steele proposes that the solution to this ostracization is for people to individualize themselves, and to ‘“move beyond the victim-focused black identity” (611). Steele supports his assertion by using evidence from his own life and incorporating social patterns to his text. To reach his intended audience of middle-class, black people, Steele’s utilizes casual yet, imperative diction.
African Americans often correlate language, experiences, and perspectives of life to identity. The history of slavery illustrates the creativity and dexterity African American utilized to suppress the adversaries against them. The use or misuse of language was used in a similar context. Throughout the years of slavery, racists did not view Africans as having a communicative pattern or practice identifiable amongst the assembly (George, 2004). The thought process for racists were that: the prevention of African American communication would guarantee that a social identity could never be formed and that rebellion or riots would never exist (George,
Clark, John Taggart. “Abstract Inquiry and the Patrolling of Black/White Borders Through Linguistic Stylization.” The Language, Ethnicity, and Race Reader: A Reader. Roxy Harris and Ben Rampton. Eds. New York: Routledge, 2003.
The Blacker the Berry is an influential novel by Wallace Thurman, which theme has been used by influential notorious hip artists such as 2pac and Kendrick Lamar. The “Blacker the Berry” by Lamar deserves to be praised on its controversial portrayal of the hypocrisy of black men and its relativeness to the themes of African-Americans’ literatures. By listening to Lamar’s last stanza, it can be argued that it can be read in conjunction with Native Son and supports one of the popular genre of blacks’ literatures, social justice (a macro change).
In the novel, the author proposes that the African American female slave’s need to overcome three obstacles was what unavoidably separated her from the rest of society; she was black, female, and a slave, in a white male dominating society. The novel “locates black women at the intersection of racial and sexual ideologies and politics (12).” White begins by illustrating the Europeans’ two major stereotypes o...
Since 1945, in what is defined by literary scholars as the Contemporary Period, it appears that the "refracted public image"(xx) whites hold of blacks continues to necessitate ...
While writing about the dehumanizing nature of slavery, Douglass eloquently and efficiently re-humanize African Americans. This is most evident throughout the work as a whole, yet specific parts can be used as examples of his artistic control of the English language. From the beginning of the novel, Douglass’ vocabulary is noteworthy with his use of words such as “intimation […] odiousness […] ordained.” This more advanced vocabulary is scattered throughout the narrative, and is a testament to Douglass’ education level. In conjunction with his vocabulary, Douglass often employed a complex syntax which shows his ability to manipulate the English language. This can be seen in Douglass’ self-description of preferring to be “true to [himself], even at the hazard of incurring ridicule of others, rather than to be false, and incur [his] own abhorrence.” This is significant because it proves that Douglass can not only simply read and write, but he has actually obtained a mastery of reading and writing. This is a highly humanizing trait because it equates him in education level to that of the stereotypical white man, and how could one deny that the white man is human because of his greater education? It is primarily the difference in education that separates the free from the slaves, and Douglass is able to bridge this gap as a pioneer of the
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.