Street Players: Black Pulp Fiction and the Making of a Literary Underground

Author:   Kinohi Nishikawa
Publisher:   The University of Chicago Press
ISBN:  

9780226586915


Pages:   288
Publication Date:   11 January 2019
Format:   Paperback
Availability:   Manufactured on demand   Availability explained
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Street Players: Black Pulp Fiction and the Making of a Literary Underground


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Author:   Kinohi Nishikawa
Publisher:   The University of Chicago Press
Imprint:   University of Chicago Press
Dimensions:   Width: 1.50cm , Height: 0.20cm , Length: 2.30cm
Weight:   0.425kg
ISBN:  

9780226586915


ISBN 10:   022658691
Pages:   288
Publication Date:   11 January 2019
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand   Availability explained
We will order this item for you from a manufactured on demand supplier.

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Reviews

Nishikawa not only pinpoints a key player in the rise of black pulp fiction, he successfully sheds light on an important consideration: that the cultural milieu of post-World War II America was fraught with masculine anxiety that existed alongside a unique brand of racial animus. By indexing the breadth, scope, and depths of this world, Nishikawa delineates the marketing and creative energies Holloway House harnessed to create a literary counterpublic, a highly race-specific and culturally attuned literary practice whose near-total disregard for the kinds of truth claims generally associated with realist fiction created a circumstance that privileged political incorrectness and disjunctive behavior. A very deft interrogation. --Herman Beavers, University of Pennsylvania author of Wrestling Angels into Song: The Fictions of Ernest J. Gaines and James Alan McPherson Most importantly, the book sheds light on how a pulp publisher actually worked in terms of procuring authors, marketing and distribution, and, to the degree that is possible, who read its print products and why. There is simply not enough of this kind of analysis of mid century pulp publishing, precisely because it is so difficult to do well. . . . [A] rich, largely untold history. --Andrew Nette Pulp Curry Street Players is among the rarest of the rare: a work of literary history that makes an important scholarly intervention while at the same time telling a story that will be widely interesting far beyond the halls of an English department. Nishikawa's groundbreaking original research newly narrates a significant period in twentieth-century African American literature. At once a deep history of a single publishing house and a wide-ranging examination of class, gender, and black readership in the postwar era, Street Players contributes to the ongoing project of historicizing seemingly self-evident concepts such as authenticity and appropriation. A standout, a definitive and authoritative history of a minor genre that takes black pulp from the margins of more established fields to their center. --Shane Vogel, Indiana University, Bloomington author of Stolen Time and The Scene of Harlem Cabaret Nishikawa's intervention in authenticity and street literature studies helps us to understand the complexity of authenticity narratives without essentialism or reductive arguments. It paints a complex picture in the simplicity of its frame: to understand authenticity we must first turn to the structuralist components that allow it to flourish. Likewise, this study helps us understand cultural myths like Iceberg Slim's without dismissing their potency in the marketplace and public sphere. Street Players rightfully places theoretical power in the material that allows readers to both examine authenticity and deconstruct cultural myths without disrespecting the cultural moments that create them. In other words, where Ice Cube falls short Nishikawa's Street Players describes who, exactly, is the mack. --Tyler Bunzey NewBlackMan (in Exile) Nishikawa's delightful new history of black pulp fiction is as entertaining as it is informative. In Street Players, Nishikawa looks at the history of mid-century publisher Holloway House, where editors decided to tap into white audiences' growing tastes for crime and erotic novels featuring black characters and interracial sex, and in the process, unintentionally became the first publishing house to feature black authors writing pulp for black audiences. Nishikawa traces the history of black pulp from its early origins in gentlemen's magazines, to its heady days of hacks churning out paperbacks, to the literary pulp heyday of such voices as Iceberg Slim and Donald Goines, and beyond, to the modern era of street lit, urban fiction, and hip hop. Essential reading for anyone interested in mid-century pulp and the evolution of urban fiction! --CrimeReads


Nishikawa not only pinpoints a key player in the rise of black pulp fiction, he successfully sheds light on an important consideration: that the cultural milieu of post-World War II America was fraught with masculine anxiety that existed alongside a unique brand of racial animus. By indexing the breadth, scope, and depths of this world, Nishikawa delineates the marketing and creative energies Holloway House harnessed to create a literary counterpublic, a highly race-specific and culturally attuned literary practice whose near-total disregard for the kinds of truth claims generally associated with realist fiction created a circumstance that privileged political incorrectness and disjunctive behavior. A very deft interrogation. --Herman Beavers, University of Pennsylvania author of Wrestling Angels into Song: The Fictions of Ernest J. Gaines and James Alan McPherson Most importantly, the book sheds light on how a pulp publisher actually worked in terms of procuring authors, marketing and distribution, and, to the degree that is possible, who read its print products and why. There is simply not enough of this kind of analysis of mid century pulp publishing, precisely because it is so difficult to do well. . . . [A] rich, largely untold history. --Andrew Nette Pulp Curry Nishikawa's Street Players is an institutional history of the white-owned paperback and periodical publisher Holloway House. In eight briskly-paced chapters, an introduction, and an epilogue, Nishikawa shows how this publisher, which originated to capitalize on the print pornography market, ultimately played a crucial, if unlikely, role in the emergence of the Black literary underground. -- American Periodicals Street Players is among the rarest of the rare: a work of literary history that makes an important scholarly intervention while at the same time telling a story that will be widely interesting far beyond the halls of an English department. Nishikawa's groundbreaking original research newly narrates a significant period in twentieth-century African American literature. At once a deep history of a single publishing house and a wide-ranging examination of class, gender, and black readership in the postwar era, Street Players contributes to the ongoing project of historicizing seemingly self-evident concepts such as authenticity and appropriation. A standout, a definitive and authoritative history of a minor genre that takes black pulp from the margins of more established fields to their center. --Shane Vogel, Indiana University, Bloomington author of Stolen Time and The Scene of Harlem Cabaret Nishikawa deals with texts that do not usually receive the nuanced treatment he gives them...Street Players is an impressive achievement. It deserves--and needs--to be read. -- Clues: A Journal of Detection Nishikawa's delightful new history of black pulp fiction is as entertaining as it is informative. In Street Players, Nishikawa looks at the history of mid-century publisher Holloway House, where editors decided to tap into white audiences' growing tastes for crime and erotic novels featuring black characters and interracial sex, and in the process, unintentionally became the first publishing house to feature black authors writing pulp for black audiences. Nishikawa traces the history of black pulp from its early origins in gentlemen's magazines, to its heady days of hacks churning out paperbacks, to the literary pulp heyday of such voices as Iceberg Slim and Donald Goines, and beyond, to the modern era of street lit, urban fiction, and hip hop. Essential reading for anyone interested in mid-century pulp and the evolution of urban fiction! -- CrimeReads Nishikawa's intervention in authenticity and street literature studies helps us to understand the complexity of authenticity narratives without essentialism or reductive arguments. It paints a complex picture in the simplicity of its frame: to understand authenticity we must first turn to the structuralist components that allow it to flourish. Likewise, this study helps us understand cultural myths like Iceberg Slim's without dismissing their potency in the marketplace and public sphere. Street Players rightfully places theoretical power in the material that allows readers to both examine authenticity and deconstruct cultural myths without disrespecting the cultural moments that create them. In other words, where Ice Cube falls short Nishikawa's Street Players describes who, exactly, is the mack. --Tyler Bunzey NewBlackMan (in Exile)


Nishikawa not only pinpoints a key player in the rise of black pulp fiction, he successfully sheds light on an important consideration: that the cultural milieu of post-World War II America was fraught with masculine anxiety that existed alongside a unique brand of racial animus. By indexing the breadth, scope, and depths of this world, Nishikawa delineates the marketing and creative energies Holloway House harnessed to create a literary counterpublic, a highly race-specific and culturally attuned literary practice whose near-total disregard for the kinds of truth claims generally associated with realist fiction created a circumstance that privileged political incorrectness and disjunctive behavior. A very deft interrogation. --Herman Beavers, University of Pennsylvania author of Wrestling Angels into Song: The Fictions of Ernest J. Gaines and James Alan McPherson Street Players is among the rarest of the rare: a work of literary history that makes an important scholarly intervention while at the same time telling a story that will be widely interesting far beyond the halls of an English department. Nishikawa's groundbreaking original research newly narrates a significant period in twentieth-century African American literature. At once a deep history of a single publishing house and a wide-ranging examination of class, gender, and black readership in the postwar era, Street Players contributes to the ongoing project of historicizing seemingly self-evident concepts such as authenticity and appropriation. A standout, a definitive and authoritative history of a minor genre that takes black pulp from the margins of more established fields to their center. --Shane Vogel, Indiana University, Bloomington author of Stolen Time and The Scene of Harlem Cabaret


Nishikawa not only pinpoints a key player in the rise of black pulp fiction, he successfully sheds light on an important consideration: that the cultural milieu of post-World War II America was fraught with masculine anxiety that existed alongside a unique brand of racial animus. By indexing the breadth, scope, and depths of this world, Nishikawa delineates the marketing and creative energies Holloway House harnessed to create a literary counterpublic, a highly race-specific and culturally attuned literary practice whose near-total disregard for the kinds of truth claims generally associated with realist fiction created a circumstance that privileged political incorrectness and disjunctive behavior. A very deft interrogation. --Herman Beavers, University of Pennsylvania author of Wrestling Angels into Song: The Fictions of Ernest J. Gaines and James Alan McPherson Most importantly, the book sheds light on how a pulp publisher actually worked in terms of procuring authors, marketing and distribution, and, to the degree that is possible, who read its print products and why. There is simply not enough of this kind of analysis of mid century pulp publishing, precisely because it is so difficult to do well. . . . [A] rich, largely untold history. --Andrew Nette Pulp Curry Nishikawa's intervention in authenticity and street literature studies helps us to understand the complexity of authenticity narratives without essentialism or reductive arguments. It paints a complex picture in the simplicity of its frame: to understand authenticity we must first turn to the structuralist components that allow it to flourish. Likewise, this study helps us understand cultural myths like Iceberg Slim's without dismissing their potency in the marketplace and public sphere. Street Players rightfully places theoretical power in the material that allows readers to both examine authenticity and deconstruct cultural myths without disrespecting the cultural moments that create them. In other words, where Ice Cube falls short Nishikawa's Street Players describes who, exactly, is the mack. --Tyler Bunzey NewBlackMan (in Exile) Nishikawa's delightful new history of black pulp fiction is as entertaining as it is informative. In Street Players, Nishikawa looks at the history of mid-century publisher Holloway House, where editors decided to tap into white audiences' growing tastes for crime and erotic novels featuring black characters and interracial sex, and in the process, unintentionally became the first publishing house to feature black authors writing pulp for black audiences. Nishikawa traces the history of black pulp from its early origins in gentlemen's magazines, to its heady days of hacks churning out paperbacks, to the literary pulp heyday of such voices as Iceberg Slim and Donald Goines, and beyond, to the modern era of street lit, urban fiction, and hip hop. Essential reading for anyone interested in mid-century pulp and the evolution of urban fiction! -- CrimeReads Street Players is among the rarest of the rare: a work of literary history that makes an important scholarly intervention while at the same time telling a story that will be widely interesting far beyond the halls of an English department. Nishikawa's groundbreaking original research newly narrates a significant period in twentieth-century African American literature. At once a deep history of a single publishing house and a wide-ranging examination of class, gender, and black readership in the postwar era, Street Players contributes to the ongoing project of historicizing seemingly self-evident concepts such as authenticity and appropriation. A standout, a definitive and authoritative history of a minor genre that takes black pulp from the margins of more established fields to their center. --Shane Vogel, Indiana University, Bloomington author of Stolen Time and The Scene of Harlem Cabaret Nishikawa deals with texts that do not usually receive the nuanced treatment he gives them...Street Players is an impressive achievement. It deserves--and needs--to be read. -- Clues: A Journal of Detection


Most importantly, the book sheds light on how a pulp publisher actually worked in terms of procuring authors, marketing and distribution, and, to the degree that is possible, who read its print products and why. There is simply not enough of this kind of analysis of mid century pulp publishing, precisely because it is so difficult to do well. . . . [A] rich, largely untold history. --Andrew Nette Pulp Curry Nishikawa not only pinpoints a key player in the rise of black pulp fiction, he successfully sheds light on an important consideration: that the cultural milieu of post-World War II America was fraught with masculine anxiety that existed alongside a unique brand of racial animus. By indexing the breadth, scope, and depths of this world, Nishikawa delineates the marketing and creative energies Holloway House harnessed to create a literary counterpublic, a highly race-specific and culturally attuned literary practice whose near-total disregard for the kinds of truth claims generally associated with realist fiction created a circumstance that privileged political incorrectness and disjunctive behavior. A very deft interrogation. --Herman Beavers, University of Pennsylvania author of Wrestling Angels into Song: The Fictions of Ernest J. Gaines and James Alan McPherson Nishikawa's intervention in authenticity and street literature studies helps us to understand the complexity of authenticity narratives without essentialism or reductive arguments. It paints a complex picture in the simplicity of its frame: to understand authenticity we must first turn to the structuralist components that allow it to flourish. Likewise, this study helps us understand cultural myths like Iceberg Slim's without dismissing their potency in the marketplace and public sphere. Street Players rightfully places theoretical power in the material that allows readers to both examine authenticity and deconstruct cultural myths without disrespecting the cultural moments that create them. In other words, where Ice Cube falls short Nishikawa's Street Players describes who, exactly, is the mack. --Tyler Bunzey NewBlackMan (in Exile) Nishikawa's delightful new history of black pulp fiction is as entertaining as it is informative. In Street Players, Nishikawa looks at the history of mid-century publisher Holloway House, where editors decided to tap into white audiences' growing tastes for crime and erotic novels featuring black characters and interracial sex, and in the process, unintentionally became the first publishing house to feature black authors writing pulp for black audiences. Nishikawa traces the history of black pulp from its early origins in gentlemen's magazines, to its heady days of hacks churning out paperbacks, to the literary pulp heyday of such voices as Iceberg Slim and Donald Goines, and beyond, to the modern era of street lit, urban fiction, and hip hop. Essential reading for anyone interested in mid-century pulp and the evolution of urban fiction! --CrimeReads Street Players is among the rarest of the rare: a work of literary history that makes an important scholarly intervention while at the same time telling a story that will be widely interesting far beyond the halls of an English department. Nishikawa's groundbreaking original research newly narrates a significant period in twentieth-century African American literature. At once a deep history of a single publishing house and a wide-ranging examination of class, gender, and black readership in the postwar era, Street Players contributes to the ongoing project of historicizing seemingly self-evident concepts such as authenticity and appropriation. A standout, a definitive and authoritative history of a minor genre that takes black pulp from the margins of more established fields to their center. --Shane Vogel, Indiana University, Bloomington author of Stolen Time and The Scene of Harlem Cabaret


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Kinohi Nishikawa is assistant professor of English and African American studies at Princeton University.

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