By Abbey Corcoran and Grady Pearson<\/p>\n
Primary Sources:<\/p>\n
Anderson, Crystal, Bertram D. Ashe, Mark Anthony Neal, Evie Shockley, and Alexander Weheliye. \u201cThese-Are-the \u201cBreaks\u201d: A Roundtable Discussion on Teaching the Post-Soul Aesthetic.\u201d African American Review,<\/em> Volume 41, Number 4, 2007, pp. 787-803.<\/p>\n This article documents an informal discussion that took place within Duke University\u2019s John Hope Franklin Center among Evie Shockley and four fellow researchers of African American literature. The five experts discuss the benefits and challenges of developing a \u201cpost-soul aesthetic.\u201d While each expert\u2019s definition of the aesthetic differs, they all agree scholarship should regard racial essentialism and nationalistic separation of a singular, authoritative, isolationist Black Aesthetic as a relic of the past, a strategic response by the leaders of the Black Arts Movement against white culture in the 1960s. The five experts argue that today\u2019s black artists should embrace a wide range of expression and reject systems of thought that constrain them solely to traditionally black forms of speech and writing, in effect, opposing the limiting boundaries of a transcendent black soul. While Evie Shockley is not the focus of the conversation in this article, her comments and those of her peers are all present many parallels to her anti-essentialist argument and calls for expansion of black aesthetics in her introduction to Renegade Poetics<\/em>. -G.P.<\/p>\n Schwartz, Leonard. Interview with Evie Shockley. The Conversant Podcast<\/em>, \u201cEpisode #233: the new black<\/em>.\u201d 7 April 2011. Transcribed by Kelly Bergeron.<\/p>\n This transcribed interview appears on The Conversant<\/em>, an online journal hosting multimedia conversations with poets. Interviewer Leonard Schwartz discusses the recently-published the new black<\/em> with Evie Shockley. When Schwartz asks how she feels about Claudia Rankine dubbing her \u201ccomposer of genealogies,\u201d Shockley explains the new black<\/em> is \u201ca work that is historical and of the present simultaneously.\u201d She reads several poems from the book, placing them in the context of the illusion of a post-racial America, when even eras of triumph and progress always carried \u201cthe potential\u2026 to somehow go dreadfully awry.\u201d Poems such as \u201cmy last modernist poem, #4 (or, re-re-birth of a nation)\u201d indicate the undying presence of the past in contemporary life, a reality reflected in Shockley\u2019s focus on constant, cyclical reminders of history in the modern black consciousness. \u201cThe idea that history \u201cprogresses\u201d in a forward line, inevitably,\u201d Shockley argues, \u201cis just something that\u2019s been disproved.\u201d She dramatizes this constant presence of history in her reading of \u201cfrom The Lost Letters of Frederick Douglass,\u201d a poem which simulates a letter from Douglass to his daughter Rosetta, and warns of \u201cthe danger of hero worship or creating idols of our various leaders and activists and other people who do things that we admire\u2026 they are human at the same time as change-makers.\u201d Her explanation of the new black echoes the final line of her poem \u201c(mis)takes one to know one,\u201d which once again assumes the voice of Frederick Douglass, whom the speaker meets in a dream. After the learning of the first black president, \u201cthe grey elder statesman\u201d warns the speaker, \u201cdon\u2019t mix up change with progress.\u201d This sentiment forms the foundational argument of much of the new black<\/em>, as Shockley portrays \u201cparallels between the post-Reconstruction era and this millennial moment\u201d and the ever-present danger of disappointment following such moments of hope. She concludes the conversation by discussing the synergy between the new black<\/em> and her forthcoming theoretical work Renegade Poetics<\/em>, which she worked on simultaneously. She explains her position in the context of \u201cblack aesthetics,\u201d the \u201cvery limiting prescriptive set of terms for what black poetry is or should be\u201d that the 1960-70 Black Arts Movement established. She expresses her desire to expand the concept of black aesthetics to accommodate artists who express themselves according to their identity, wherever that falls under a reader\u2019s expectation of \u201crecognizably black\u201d or not. This source is significant because it demonstrates the connection between specific examples of Shockley\u2019s poetry to her theories of black aesthetics. -G.P.<\/p>\n Shockley, Evie. Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry<\/em>. Iowa City, University of Iowa Press, 2011.<\/p>\n In this much-reviewed book, Evie Shockley argues for a reformation of \u201cthe Black Aesthetic,\u201d originally born out of the writing of the \u201ccentral theorists of the BAM\u201d, into \u201c\u2018black aesthetics,\u2019 plural: a multifarious, contingent, non-delimited, complex strategies that African American writers may use\u201d (Shockley 2; Shockley 9). Through this reconsideration, Shockley hopes to do away with the \u201crigid construction\u201d and the false dichotomy that \u201cplaced black women in the position of having to choose between race and gender as the source of their oppression\u201d of the historical black aesthetic (2; 5). Her argument, though applicable to all African American literature, focuses on poetry and, thus, separates the poets she studies (and, by extension, her book) into two parts: the first part, \u201cexamines long poems by three African American women poets\u201d in order to argue that they should be understood as epics. The second part, which focuses on nature poetry by African American poets, makes the point that, because it deviates from \u201cblack\u201d topics, the ways nature poetry \u201cengages black culture and\/or matters of politics often goes unnoticed\u201d (Shockley 16; Shockley 20). Shockley engages with black poets working in genres of poetry that are not typically part of \u201cthe Black Aesthetic\u201d (epics and nature poetry) in order to demonstrate that her new conception of \u201cblack aesthetics\u201d is necessary to widen black poetics. Shockley engages with well-known (expert) theorists of the BAM era black aesthetic, including Larry Neal, Houston Baker Jr. and Henry Louis Gates Jr. to provide comprehensive and vital historical context for her reader regarding the original formulation of the black aesthetic and its value. Because of its reliance on theory and use of close-reading, Shockley\u2019s text is clearly intended for a scholarly audience and will be a valuable primary source for our scholarly project on her. -AC<\/p>\n Secondary Sources:<\/p>\n Booze, Elizabeth. \u201cthe new black<\/em> by Evie Shockley.\u201d The Hollins Critic<\/em>. Volume 52, Number 3, June 2015. pp. 18-19.<\/p>\n In this 2015 review, critic Elizabeth Booze pushes back against the claim that the new black<\/em> is a \u201creimagination of blackness in America,\u201d arguing instead that the poetic work calls for us to think about blackness \u201cmore broadly and complexly\u201d (18). While Booze claims \u201cdisillusionment\u201d characterizes the book\u2019s voice throughout, she argues this overall sentiment does not limit the scope and emotional depth of the work (18). She argues the new black<\/em> challenges readers to explore blackness while calling attention to the \u201cculture of greed, privilege, and power\u201d that can manifest in any community that develops conscious or unconscious principles of exclusion (19). Rather than presenting a \u201csingular re-definition of blackness,\u201d the book\u2019s transnational, history-spanning reach supports Shockley\u2019s commitment to expand black aesthetics to accommodate host of identities and experiences formerly excluded by standards of literariness as well as restrictive strictures of what constitutes black poetics (18). -G.P.<\/p>\n Collins, Martha. \u201cthe new black<\/em>, Evie Shockley.\u201d FIELD: Contemporary Poetry and Poetics,<\/em> Spring 2012.<\/p>\n In a 2012 review, Martha Collins, the Editor-at-Large for Oberlin College Press\u2019 FIELD<\/em> journal, celebrates the proliferation of contemporary black poets who have \u201clooked back and shown us that much of African American experimental poetry is in fact rooted in the use and subversion of form.\u201d Collins argues Evie Shockley\u2019s the new black<\/em> \u201cexemplifies this fusion of the formal and innovative\u201d through \u201cinnovative use of \u201cold\u201d forms is a stylistic counterpoint to\u2014or outgrowth of\u2026 thematic concern.\u201d These familiar forms Shockley employs and subverts include: sonnets, haiku, ghazals, sestinas, acrostics, nursery rhymes, and fairy tales. Another feature of the new black\u2019s fusion is the presence of \u201clanguage-driven moves\u201d which Collins dubs \u201cword work\u201d or shifts from subject to subject within poems, achieved through word associations that create seamless transitions. An example of \u201cword work\u201d Collins identifies include the movement of the poem\u2019s focus between subjects in \u201ccelestial,\u201d Shockley\u2019s celebration of the supportive friendship between Ella Fitzgerald and Marilyn Monroe. Collins\u2019 analysis of the playful interactions between the formal and the innovative in the new black<\/em> reinforces Shockley\u2019s argument in Renegade Poetics<\/em> that neither an adherence to conventional or traditionally \u201cwhite\u201d poetic forms nor experimentation outside the traditions of the Black Arts Movement should exclude an artist from the realm of black aesthetics. -G.P.<\/p>\n Dugan, Olga. \u201cRENEGADE POETICS, SOUTHSCAPES, AND THE POETRY OF HISTORY IN NATASHA TRETHEWEY\u2019S THRALL.\u201d The Journal of African American History<\/em>, edited by Evie Shockley et al., vol. 98, no. 2, 2013, pp. 304\u201319. JSTOR, doi:10.5323\/jafriamerhist.98.2.0304.<\/p>\n In this dual review, Olga Dugan argues that the studies Shockley (Renegade Poetics<\/em>) and Davis (Southscapes<\/em>) aid Natasha Trethewey\u2019s Thrall<\/em> in its quest to exemplify \u201cthe innovative quality of contemporary African American literature shaped by and continuing to shape the moment of history about which Shockley and Davis are writing\u201d (305). Dugan\u2019s essay deals directly with Shockley\u2019s theories on history and black aesthetics and engages with (and cites) several other theorists and writers, indicating that the piece is well-researched and intended for a scholarly audience. \u00a0That audience, however, is a niche audience, as Dugan does not provide comprehensive context for Thrall or the other theorists she introduces. Thus, although this essay is still valuable to our understand of the critical renderings of Shockley\u2019s work, it is not entirely relevant. -AC<\/p>\n Fink, Thomas. \u201cQuestioning Modes of Renewal and Reconstruction: Evie Shockley\u2019s the new black<\/em>.\u201d Denver Quarterly<\/em>. Volume 46. Number 4. pp. 45-49.<\/p>\n In this article, critic Thomas Fink examines the \u201cnarrative and imagistic (at times ekphrastic)\u201d strategies Evie Shockley employs in the new black<\/em> to depict racial and sociopolitical identity (45). Fink\u2019s central focus is the book\u2019s opening poem, a cautious, gently disappointed ode to the recently-inaugurated Barack Obama, entitled \u201cmy last modernist poem #4 (or, re-re-birth of a nation).\u201d He identifies the religious motifs woven into Shockley\u2019s allusions to Lazarus and miracles belied by ominous weather imagery lurking beneath the \u201csymbols,\u201d \u201cmyths\u201d \u201cand even the self-representations in print\u201d surrounding black cultural leaders such as President Obama and Frederick Douglass (47, 48). Fink argues Shockley\u2019s portrayal of Obama; \u201cre-emphasizes both social construction and individual agency,\u201d inviting reflection upon \u201cthe current power structure\u201d (48). His argument echoes Shockley\u2019s conversation with interviewer Leonard Schwartz communicating that portrayal of influential figures within black aesthetics should prompt us to evaluate how post-racial our society really is. Still, Fink remains optimistic, concluding Shockley\u2019s work may anticipate a \u201c\u201cnew black\u201d concept to be realized in the future\u201d (49). His hopeful conclusion is perhaps incompatible with Shockley\u2019s measured pessimism. -G.P.<\/p>\n Katz, Ariel. Sinister Trees and Fragrant Flowers.\u00a0The Ploughshares Blog, Emerson College<\/em>. http:\/\/blog.pshares.org\/index.php\/old-southnew-south-sinister-trees-and-fragrant-flowers\/. Accessed 17 Oct. 2017.<\/p>\n In this article, Katz details how \u201cnature poetry\u201d by southern poets has shifted from the idyllic odes of the past to, in contemporary poetry, serving as a means of \u201cremembering violence and complicating notions of personal and regional identity\u201d (1). This generational shift, Katz argues, is complicated by the works of Evie Shockley, who straddles the line between past southern nature poetry and contemporary: \u201cNostalgia for the trees is as deeply felt as horror at what happened under them\u201d (Katz 2). Katz\u2019s argument is bolstered by her close reading of Shockley\u2019s \u201cwhere you are planted\u201d and its contrasting of the \u201csouthern pastoral image\u201d with the violence it foregrounds in its references to Billie Holiday\u2019s \u201cStrange Fruit\u201d (Katz 2). \u00a0The presence of this essay on a university blog indicates that is most likely intended as a scholarly source for students and should be considered reliable. Katz\u2019s essay also touches on the works of another contemporary poet, Neal Bowers, whose poetry-she claims-does similar work to Shockley\u2019s but, this inclusion is by no means comprehensive because Katz does not provide much context for either Shockley or Bowers, or for a great connection between the two. -AC<\/p>\n Lamm, Kimberly. \u201cThe Poetics of Black Aesthetics.\u201d Contemporary Literature,<\/em> vol. 55, no. 1, May 2014, pp. 168\u201381. Project MUSE, doi:10.1353\/cli.2014.0004.<\/p>\n In this review of Evie Shockley\u2019s book Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry<\/em>, Kimberly Lamb claims that Shockley\u2019s text makes a black feminist argument that \u00a0\u201copens up compelling possibilities for thinking further about the relationships among gender, race, and poetic experiment\u201d (Lamb 180). Lamm also provides an extremely in-depth summary of Shockley\u2019s most poignant arguments, which she punctuates with quotations from Shockley herself. Lamm\u2019s summary is valuable because it says, more blatantly than the text does, what Shockley argues. For example, Lamm states, \u201cthe problem that Renegade Poetics<\/em> is trying to tackle […] [is] the assumption that poetry that signifies blackness is not as innovative, experimental, or interesting as the poetry that does not\u201d (176). Although Shockley\u2019s text also makes this issue clear, it is never as blatant: Lamm\u2019s summary is less concerned with textual nuance and linguistic beauty, which makes it an extremely useful summary. Further, Kimberly Lamm is a well-known critic and Contemporary Literature<\/em> is a well-respected scholarly source, indicating that Lamm\u2019s review reliable and will be an invaluable source for understanding Shockley\u2019s Renegade Poetics<\/em>. -AC<\/p>\n Rambsy, II, Howard. \u201cCatching Holy Ghosts: The Diverse Manifestations of Black Persona Poetry.\u201d African American Review<\/em>, vol. 42, no. 38.<\/p>\n Rambsy uses Shockley\u2019s \u201cFrom the Lost Letters of Frederick Douglass\u201d as an example of a persona poetry: \u201cthese poems are written from the first-person perspectives of characters other than the poet-authors\u201d (552). However, Shockley\u2019s poem differs from typic narratives and instances of persona poetry because it \u201cpresents Douglas in a different phase of his life\u201d (553) than typical heroic narratives. Through this example, Rambsy argues that Shockley\u2019s poetry is remarkable for the way it presents the people she writes about as \u201cordinary human[s]\u201d (554). Rambsy\u2019s article is intended for a scholarly audience, cites its sources well, and situates Shockley\u2019s work in a greater context of \u201cblack ritual culture\u201d (abstract). -AC<\/p>\n Shockley, Evie. \u201cGoing Overboard: African American Poetic Innovation and the Middle Passage.\u201d Contemporary Literature<\/em>. Volume 52, Number 4, American Poetry, 2000-2009 Winter 2011, pp. 791-817.<\/p>\n In this journal article, Shockley discusses the traditions of \u201cAfrican American experimentation\u201d and \u201cpoetic engagement\u201d exemplified in Californian Douglas Kearney\u2019s poem \u201cSwimchant for Nigger Mer-folk (An Aquaboogie Set in Lapis)\u201d and Trinidadian-born M. NourbeSe Philip\u2019s work Zong!<\/em> (793). She examines the symbolic dives contemporary black poets take into the wreckage of sunken slave ships to portray the transatlantic slave trade\u2019s horrific Middle Passage. An important goal of poets who undertake such an endeavor is to piece together \u201cthe fragmentary evidence available\u201d and \u201cunderstand the captive Africans as passengers \u2013 albeit involuntary ones\u2026 rather than as \u201ccargo\u201d \u2026 how the ships\u2019 logs and other official documents framed them\u201d (794). Shockley discusses Kearney\u2019s use of humor, anachronistic references to 1970s American culture, and legal discourse in \u201cSwimchant\u201d to communicate \u201cthe language that\u2026 still egregiously overdetermines the circumstances of African Americans today\u201d (797-805). In her analysis of Philip\u2019s Zong!<\/em>, Shockley notes the characteristic of \u201cfragmentation\u201d present in the poetic work\u2019s portrayal of a mass drowning of over a hundred African captives \u201cfor insurance purposes\u201d (806). This fragmentation compliments the dissociative escape of a \u201cfugue state,\u201d a psychological term Philip employs to depict a violent transition to an unfamiliar place (806). Shockley identifies the \u201cfugue state\u201d as a symbol for \u201c[t]he impossibility of Zong!<\/em> being or generating something w\/hole,\u201d justice robbed by \u201ca legal decision\u201d declaring the Africans objects incomplete in their humanity (815). From her analysis of both works, Shockley concludes that \u201cconfronting the forgetting and fingering the fragments\u201d of recorded Middle Passage atrocities may bring a kind of healing, although \u201cthe poems contend that neither the law nor the imagination can make us w\/hole\u201d (816). Shockley\u2019s argument has particular resonance for poems in the new black<\/em> such as \u201cstatistical haiku (or, how do they discount us? let me count the ways)\u201d which illustrates the potential for sympathy and distance arising from the American tradition of viewing people of color as objects to be counted: statistics, casualties, and \u2013 not so long ago \u2013 chattel. -G.P.<\/p>\n Shockley, Evie. \u201cLoaded Terms.\u201d Boston Review.<\/em> 6 December 2012.<\/p>\n In this web article, Shockley responds to an argument posed by fellow critic Majorie Perloff. For National Poetry Month 2012, Perloff wrote an article entitled \u201cPoetry on the Brink: Reinventing the Lyric\u201d calling for a renewed focus upon \u201cconceptual poetry\u201d and experimentation with form, approaches which she believes writers have abandoned in the contemporary poetic landscape in favor of reflective, identity-centric pieces that have become conventional and predictable. In her response to Perloff, Shockley emphasizes the potential danger of dividing poetry into dichotomies, which \u201cerase the nuances that have as much to teach us about the big picture\u201d and \u201ccut through the field of poetics\u201d to \u201creinscribe some wide-reaching binaries that have structured \u201cWestern thought\u201d for thousands of years.\u201d As she demonstrates in the new black<\/em> and Renegade Poetics<\/em>, Shockley refuses to ascribe to the binary dividing exploration of her identity as a black woman from her interest in avant-garde experimentation. She wonders against what \u201cconceptual poetry\u201d is to define itself, identifying the potential for a binary as exclusive as the masculine\/feminine and white\/black dichotomies. Shockley\u2019s position in this debate displays itself again and again in the new black with works such as the stream-of-consciousness catalog poem \u201cclare\u2019s song,\u201d which refers to Nella Larsen\u2019s novel Passing<\/em> and bears features of both reflection on racial identity and innovative experimentation. -G.P.<\/p>\n Shockley, Evie. \u201cShifting the (Im)balance.\u201d Boston Review.<\/em> 6 June 2013.<\/p>\n In another web article for the Boston Review<\/em>, Shockley responds to criticisms of Pulitzer-winning poet Rita Dove\u2019s selections for the 2011 Penguin Anthology of 20th Century American Poetry<\/em>. In her edition, Dove included a wider range of African-American poets than many previous 20th century anthologies. Critic Helen Vendler objects to the amount of black artists in the anthology, charging that \u201cRita Dove\u2026 has decided\u2026 to shift the balance introducing more black poets and giving them significant amounts of space, in some cases more space than is given to better-known authors,\u201d repeating the often-heard concern that forcing in too many poets of color will displace the rightful figures of the canon. Equally concerned critic Majorie Perloff argues that many of Dove\u2019s additions to the anthology display only \u201cformulaic\u201d free verse and \u201cprose syntax,\u201d displacing the truly innovative work of the time like the Objectivists. Shockley responds that \u201cDove\u2019s criteria\u201d for selecting more poems from overlooked writers of color \u201ccannot be boiled down to a single goal of racial inclusivity\u201d and that critics like Vendler and Perloff often attempt to discredit the inclusion of work by artists of color by setting up a false dichotomy of \u201cstrong poetry\u201d that exhibits \u201cdifficulty\u201d and \u201ceasy poetry\u201d that happens to be accessible to certain communities. While Shockley is not describing her own work in this article, her argument reminds those concerned that the incorporation of poets of color into anthologies like Dove\u2019s does not constitute a replacement of or an incompatible challenge to the poetic canon. -G.P.<\/p>\n Thorsson, Courtney. \u201cFoodways in Contemporary African American Poetry: Harryette Mullen and Evie Shockley.\u201d Contemporary Literature<\/em>, vol. 57, no. 2, 2016, pp. 184\u2013215., doi:10.3368\/cl.57.2.184.<\/p>\n In this critical essay, Courtney Thorsson reads the works Harryette Mullen and Evie Shockley through the lens of the burgeoning field of foodways. Thorsson argues that both poets, \u201cuse foodways as a formal and thematic tool for \u2018risk-taking and experimentation\u2019 to move \u2018beyond what experience has shown will do the job of creating vernacular verse\u2019 (186). Particular to reading of Shockley, she argues that Shockley\u2019s use of foodways foregrounds \u201c African American identity, especially black labor, as definitional for U.S. history\u201d through her readings of \u201cwaiting on the mayflower\u201d and \u201cdependencies\u201d (204). Thorsson\u2019s essay is published in Contemporary Literature<\/em> a well-respected journal, which makes it both a reputable\/reliable source but, also, solidifies it as intended for a scholarly audience. Similarly, the work was published in the summer of 2016, meaning it is a recent and cutting-edge source. It is further valuable to our particular project because it connects the works of Harryette Mullen and Evie Shockley, both of whom we are studying for our class\u2019s avant-garde Writers Project. -AC<\/p>\n Vrana, Laura. “”SOUNDTRACK FOR A GENERATIONAL SHIFT”: Music & Innovation in Evie Shockley’s the New Black.” Obsidian<\/em> 41.1 (2015): 371,386,412. ProQuest. Web. 28 Oct. 2017.<\/p>\n This critical essay focuses on several of Evie Shockley\u2019s poems from her most recent volume of poetry, The New Black<\/em>. Using these poems, Laura Vrana argues that Shockley\u2019s innovative poetry subverts the assumption that \u201cauthentic black poetry\u201d must be influenced by or connected to black music and\/or oral traditions\u201d (1). Shockley\u2019s innovative juxtapositions, forms, and other experiments-Vrana argues-in poems like “bop for presidential politics, c. 2008” and \u201cx marks the spot\u201d refuse to be confined to one iteration of black poetics and, instead, \u201cask new questions of today\u2019s politics\u201d and of today\u2019s theorists of black aesthetics. Vrana concludes by also arguing that \u201cShockley’s practices deserve our attention because the field of Black poetry could still benefit from creating more expansive definitions of the innovative\u201d (3). Laura Vrana is a doctoral candidate for English at Pennsylvania State University and is currently working on a dissertation looking at contemporary Black women poets and the politics of publication. In her extensive bibliography for \u201cSOUNDTRACK\u201d, she cites other scholars looking at the work of Evie Shockley but, also works by several theorists looking at experimental writing and black poetics. -AC<\/p>\n Whiteside, Briana. \u201cBlack Women Poets by the Numbers: Evie Shockley and Allison Joseph.\u201d Journal of Ethnic American Literature<\/em>, vol. 4, 2014, pp. 61\u201374.<\/p>\n “Black Women Poets by the Numbers\u201d by Briana Whiteside looks at the works of Evie Shockley and Allison Joseph in statistical relation to \u201cthe works of 91 other poets who have produced volumes over the last 13 years\u201d (61). Beyond statistically describing the gender, age, success (determined by questions like, \u201cdo they have a Wikipedia Page?\u201d and \u201care they associated with a major university?\u201d) etc. of the 91 poets, Whiteside also makes a critical argument about Shockley\u2019s work claiming, \u201cShockley\u2019s use of person aligns her with large numbers of past and contemporary poets\u201d (67). Under this umbrella argument, however, Whitefish also makes an effort to distinguish Shockley\u2019s work from other poets: \u201cthe visual designs of many of Evie Shockley\u2019s poems are by far the most fascinating in relation to the vast majority of other poems in the dataset\u201d (67). This source addresses our figure directly, provides an innovative and interdisciplinary approach to analysing poetry (statistics), and also helps us to understand where Shockley falls in relation to other contemporary American poets. \u00a0However, Whiteside does not tell us in great detail how she went about her statistical analysis, which limits us from evaluating its accuracy and potential bias. -AC<\/p>\n","protected":false},"excerpt":{"rendered":" By Abbey Corcoran and Grady Pearson Primary Sources: Anderson, Crystal, Bertram D. Ashe, Mark Anthony Neal, Evie Shockley, and Alexander Weheliye. \u201cThese-Are-the \u201cBreaks\u201d: A Roundtable Discussion on Teaching the Post-Soul Aesthetic.\u201d African American Review, Volume 41, Number 4,… Read More<\/a><\/p>\n","protected":false},"author":54,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[40],"tags":[],"class_list":["post-3446","post","type-post","status-publish","format-standard","hentry","category-ag-bib"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3446","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/users\/54"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/comments?post=3446"}],"version-history":[{"count":2,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3446\/revisions"}],"predecessor-version":[{"id":3449,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3446\/revisions\/3449"}],"wp:attachment":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/media?parent=3446"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/categories?post=3446"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/tags?post=3446"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}