LEADER 04244nam 2200685 450 001 9910453786503321 005 20200520144314.0 010 $a0-8135-6251-1 024 7 $a10.36019/9780813562513 035 $a(CKB)2550000001159865 035 $a(EBL)1562501 035 $a(OCoLC)863038960 035 $a(SSID)ssj0001040127 035 $a(PQKBManifestationID)11613047 035 $a(PQKBTitleCode)TC0001040127 035 $a(PQKBWorkID)10991118 035 $a(PQKB)11167719 035 $a(MiAaPQ)EBC1562501 035 $a(MdBmJHUP)muse27682 035 $a(DE-B1597)526497 035 $a(DE-B1597)9780813562513 035 $a(Au-PeEL)EBL1562501 035 $a(CaPaEBR)ebr10802925 035 $a(CaONFJC)MIL543070 035 $a(EXLCZ)992550000001159865 100 $a20130220d2013 uy| 0 101 0 $aeng 135 $aur||#|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBlack resonance $eiconic women singers and African American literature /$fEmily J. Lordi 210 1$aNew Brunswick, New Jersey :$cRutgers University Press,$d2013. 215 $a1 online resource (303 p.) 225 1 $aAmerican Literatures Initiative 300 $aDescription based upon print version of record. 311 $a0-8135-6250-3 311 $a1-306-11819-0 320 $aIncludes bibliographical references and index. 327 $aIntroduction: Black resonance -- Vivid lyricism: Richard Wright and Bessie Smith's blues -- The timbre of sincerity: Mahalia Jackson's gospel sound and Ralph Ellison's Invisible Man -- Understatement: James Baldwin, Bessie Smith, and Billie Holiday -- Haunting: Gayl Jones's Corregidora and Billie Holiday's "strange Fruit" -- Signature voices: Nikki Giovanni, Aretha Franklin, and the Black Arts movement -- Epilogue: "At Last": Etta James, poetry, hip hop. 330 $aEver since Bessie Smith's powerful voice conspired with the "race records" industry to make her a star in the 1920's, African American writers have memorialized the sounds and theorized the politics of black women's singing. In Black Resonance, Emily J. Lordi analyzes writings by Richard Wright, Ralph Ellison, James Baldwin, Gayl Jones, and Nikki Giovanni that engage such iconic singers as Bessie Smith, Billie Holiday, Mahalia Jackson, and Aretha Franklin. Focusing on two generations of artists from the 1920's to the 1970's, Black Resonance reveals a musical-literary tradition in which singers and writers, faced with similar challenges and harboring similar aims, developed comparable expressive techniques. Drawing together such seemingly disparate works as Bessie Smith's blues and Richard Wright's neglected film of Native Son, Mahalia Jackson's gospel music and Ralph Ellison's Invisible Man, each chapter pairs one writer with one singer to crystallize the artistic practice they share: lyricism, sincerity, understatement, haunting, and the creation of a signature voice. In the process, Lordi demonstrates that popular female singers are not passive muses with raw, natural, or ineffable talent. Rather, they are experimental artists who innovate black expressive possibilities right alongside their literary peers. The first study of black music and literature to centralize the music of black women, Black Resonance offers new ways of reading and hearing some of the twentieth century's most beloved and challenging voices. 606 $aAmerican fiction$xAfrican American authors$xHistory and criticism 606 $aAfrican American women singers in literature 606 $aAfrican American women in literature 606 $aMusic in literature 608 $aElectronic books. 615 0$aAmerican fiction$xAfrican American authors$xHistory and criticism. 615 0$aAfrican American women singers in literature. 615 0$aAfrican American women in literature. 615 0$aMusic in literature. 676 $a810.9/896073 700 $aLordi$b Emily J.$f1979-$01045605 702 $aSolano$b Nicole, $4aut$4http://id.loc.gov/vocabulary/relators/aut. 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910453786503321 996 $aBlack resonance$92472033 997 $aUNINA