From "30 Americans" to "Angry White Boy," from "Bamboozled" to "The Boondocks," from "Chappelle's Show" to "The Colored Museum," this collection of twenty-one essays takes an interdisciplinary look at the flowering of satire and its...
moreFrom "30 Americans" to "Angry White Boy," from "Bamboozled" to "The Boondocks," from "Chappelle's Show" to "The Colored Museum," this collection of twenty-one essays takes an interdisciplinary look at the flowering of satire and its influence in defining new roles in black identity. As a mode of expression for a generation of writers, comedians, cartoonists, musicians, filmmakers, and visual/conceptual artists, satire enables collective questioning of many of the fundamental presumptions about black identity in the wake of the civil rights movement. Whether taking place in popular and controversial television shows, in a provocative series of short internet films, in prize-winning novels and plays, in comic strips, or in conceptual hip hop albums, this satirical impulse has found a receptive audience both within and outside the black community.
Such works have been variously called "post-black," "post-soul," and examples of a "New Black Aesthetic." Whatever the label, this collection bears witness to a noteworthy shift regarding the ways in which African American satirists feel constrained by conventional obligations when treating issues of racial identity, historical memory, and material representation of blackness.
Among the artists examined in this collection are Paul Beatty, Dave Chappelle, Trey Ellis, Percival Everett, Donald Glover (a.k.a. Childish Gambino), Spike Lee, Aaron McGruder, Lynn Nottage, ZZ Packer, Suzan Lori-Parks, Mickalene Thomas, Toure, Kara Walker, and George C. Wolfe. The essays intentionally seek out interconnections among various forms of artistic expression. Contributors look at the ways in which contemporary African American satire engages in a broad ranging critique that exposes fraudulent, outdated, absurd, or otherwise damaging mindsets and behaviors both within and outside the African American community.
Includes essays by Bertram D. Ashe, Thomas R. Britt, Darryl Dickson-Carr, James J. Donahue, Michael B. Gillespie, Gillian Johns, Luvena Kopp, Jennifer Larson, Cameron Leader-Picone, Brandon Manning, Marvin McAllister, Danielle Fuentes Morgan, Derek Conrad Murray, Kinohi Nishikawa, Keenan Norris, Christian Schmidt, Linda Furgerson Selzer, Terrence T. Tucker, Sam Vásquez, and Aimee Zygmonski; with a critical introduction by Derek C. Maus.
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Reviews:
"The twenty-one essays that follow coeditor Derek C. Maus’s fine introduction to this tome demonstrate that, while post-soul may be a contentious epithet, the book _Post-Soul Satire_ is a scholarly treasure trove for those interested in the outcropping of satirical African American writing, visual art, music, film, and television that appeared in the twenty-five years following the publication of novelist Trey Ellis’s much discussed article “The New Black Aesthetic” in the Winter 1989 issue of _Callaloo_.[...]
_Post-Soul Satire: Black Identity after Civil Rights_ maps the courageous (to some), unsettling (to others) trajectory African American print, dramatic, and visual artists have pursued in the recent past. And given the present-day socioeconomic and political circumstances in America and abroad, it seems clear that African American satirists will have no need to dull, much less put away, their barbed weapons any time soon. Though the task is daunting, our satirists, with Juvenalian scorn and Horatian mockery, will continue to expose societal warts and cancers with the goal of ameliorating broken aspects of America’s social contract, and _Post-Soul Satire_ will provide the rest of us with a powerful framework for better understanding the complex challenges these artists do and will face. This is not merely a good book but an important one."
-- Joe Weixlmann, _African American Review_ 48.1-2 (Spring-Summer 2015)
"In this dexterous, cogent collection, Maus and Donahue (both, SUNY Potsdam) gather 21 scholarly essays that examine the use, effectiveness, and embrace of satire within African American art of the last two decades. Taken together, the essays propose that satirical postures in contemporary black art communicate an imperative among a new generation of black artists to broaden and redefine African American identity in the post–civil rights/Obama (read “post-black”) era. Though complex at times, the critical work accomplished here sustains engagement. The contributors exhibit an admirable command of history, theory, lexicon, and cultural aesthetics. Moreover, the depth and range of analyses encourage exploration of the many primary texts examined in these pages. Particular attention is paid to the works of Kara Walker, Percival Everett, Aaron McGruder, and Touré. Though these offerings—replete with challenging academic language and lofty theorizations—do not lend themselves to readers outside the academy, those interested in thoughtful critiques of popular culture, literature, media studies, and African American studies will find abundant rewards here. Summing Up: Highly recommended."
-- Jarret Neal, _Choice_ 52.8 (April 2015)
"While there are a number of books on the concepts of post-soul and post-racial (many referenced in the book’s nineteen essays), this collection could be an excellent place to begin one’s education on the topic, even given the focus on satire. The range of material and depth of investigation into satiric representations of black subjectivity in a variety of media is impressive. In his introduction to the collection, Derek Maus makes a persuasive case for the strength of an African American brand of satire significant for understanding current comic art in the United States."
-- James E. Caron, _Studies in American Humor_ 2.1 (Jan. 2016)
"Ultimately, this text will be useful to anyone who is particularly interested in satire, its inner workings, and its social and political impact. It is also going to be useful to anyone researching Black humor as well as those working with the complex methods by which some Black Americans negotiate complicated positions in contemporary society. Furthermore, given recent discussions in the public sphere regarding what does and does not count as satire and who should or should not be the targets of satire, the text seems especially relevant."
-- Jacinta Yanders, _Studies in 20th and 21st Century Literature_ 45.1 (2017)
"Post-Soul Satire is a well-chosen assortment of essays that discusses African American issues in various media within the cultural context of the United States and in terms of the phenomenon of post-soul[...]. It is an important contribution to American humor studies, given its sustained focus on satire, humor, and irony."
-- Debarati Byabartta, _Studies in American Humor_ 3.2 (2017)
