“Of Indeterminate Blackness”: The DJ Aesthetics of Paul Beatty’s Slumberland

Works Cited

1. 1. Abani, Chris

   . “‘Slumberland’ by Paul Beatty.” Los Angeles Times, 15 June 2008, www.latimes.com/style/la-bk-abani15-2008jun15-story.html.
2. 1. Acocella, Joan

   . “Prophet Motive.” New Yorker, 7 Jan. 2008, www.newyorker.com/magazine/2008/01/07/prophet-motive.
3. 1. Ashe, Bertram D.

   “Theorizing the Post-Soul Aesthetic: An Introduction.” Post-Soul Aesthetic, special issue of African American Review, vol. 41, no. 4, winter 2007, pp. 609–23.

   OpenUrl
4. 1. Ashe, Bertram D.,
   2. Crystal Anderson,
   3. Mark Anthony Neal,
   4. Evie Shockley, and
   5. Alexander Weheliye

   . “These - Are - the ‘Breaks’: A Roundtable Discussion on Teaching the Post-Soul Aesthetic.” Post-Soul Aesthetic, special issue of African American Review, vol. 41, no. 4, winter 2007, pp. 787–803.

   OpenUrl
5. 1. Ashe, Bertram D., and
   2. Ilka Saal

   , editors. Slavery and the Post-Black Imagination. U of Washington P, 2020.
6. 1. Austerlitz, Saul

   . “Paul Beatty Conjures DJ Darky’s Deutschland Daze.” Village Voice, 9 July 2008, www.villagevoice.com/arts/paul-beatty-conjures-dj-darkys-deutschland-daze-7133169.
7. 1. Beatty, Paul

   . Slumberland. Bloomsbury, 2008.
8. 1. Beatty, Paul

   . The White Boy Shuffle. Picador, 1996.
9. 1. Blaustein, George

   . “Flight to Germany: Paul Beatty, the Color Line, and the Berlin Wall.” African American Literary Studies: New Texts, New Approaches, New Challenges, special issue of Amerikastudien/American Studies, vol. 55, no. 4, 2010, pp. 725–38.

   OpenUrl
10. “Brand Nubian Speak on Current State of Hip-Hop.” YouTube, uploaded by SWAY’S UNIVERSE, 23 Sept. 2013, www.youtube.com/watch?v=6rDwE9_uAeU.
11. 1. Cage, John

    . Silence: Lectures and Writings, 50th Anniversary Edition. Wesleyan UP, 2011.
12. 1. Crawford, Natalie

    . Black Post-Blackness: The Black Arts Movement and Twenty-First-Century Aesthetics. U of Illinois P, 2017.
13. 1. Dickson-Carr, Darryl

    . “From Pilloried to Post-Soul: The Future of African American Satire.” Maus and Donahue, pp. 269–80.
14. 1. Du Bois, W. E. B.

    “Criteria of Negro Art.” The New Negro: Readings on Race, Representation, and African-American Culture, 1892-1938, edited by Henry Louis Gates Jr. and Gene Andrew Jarrett, Princeton UP, 2007, pp. 257–60. Originally published in The Crisis, vol. 32, October 1926, pp. 290–97.
15. 1. Du Bois, W. E. B.

    The Souls of Black Folk. 1903. Signet Classics/Penguin, 2012.
16. 1. Dyson, Michael Eric

    . “Tour(É)Ing Blackness.” Who’s Afraid of Post-Blackness?:What It Means to Be Black Now, by Touré, Simon and Schuster, 2011, pp. xi–xviii.
17. 1. Edwards, Erica R.

    “Of Cain and Abel: African-American Literature and the Problem of Inheritance after 9/11.” American Literary History, vol. 25, no. 1, 2013, pp. 190–204.

    OpenUrlCrossRef
18. 1. Elliott, Richard

    . “So Transported: Nina Simone, ‘My Sweet Lord’ and the (Un)folding of Affect.” Thompson and Biddle, pp. 75–90.
19. 1. Gates, Henry Louis

    . The Signifying Monkey: A Theory of African-American Literary Criticism. Oxford UP, 2014.
20. 1. George, Nelson

    . Post-Soul Nation. Viking, 2004.
21. 1. Golden, Thelma

    . Introduction. Freestyle, edited by Christine Y. Kim and Franklin Sirmans, Studio Museum in Harlem, 2001, pp. 14–15.
22. 1. Harris Dixon, Janelle

    . “Why the Black National Anthem Is Lifting Every Voice to Sing.” Smithsonian Magazine, 10 Aug. 2020, www.smithsonianmag.com/smithsonian-institution/why-black-national-anthem-lifting-every-voice-sing-180975519.
23. 1. Huber, Sebastian

    . “‘You’ll Never be Passé’: The Aesthetico-Political Subject in Paul Beatty’s Slumberland (2008).” Subject of the Event: Reagency in the American Novel after 2000, by Sebastian Huber, Bloomsbury Academic, 2016, pp. 153–87.
24. 1. Iyer, Vijay

    . “Improvisation, Temporality and Embodied Experience.” Journal of Consciousness Studies, vol. 11, no. 3–4, 2004, pp. 159–73.

    OpenUrl
25. 1. Keeling, Kara, and
    2. Josh Kun

    . “Listening to American Studies.” American Quarterly, vol. 63, no. 3, 2011, pp. 445–59, doi.org/10.1353/aq.2011.0037.

    OpenUrl
26. 1. Kun, Josh

    . Audiotopia: Music, Race, and America, U of California P, 2005.
27. “L.A. Riots of 1992: Rodney King Speaks; Late Troop Arrival.” YouTube, uploaded by CNN, 1 May 1992, youtube.com/watch?v=tgiR04ey7-M.
28. 1. Leader-Picone, Cameron

    . “Pilgrims in an Unholy Land: Satire and the Challenge of African American Leadership in The Boondocks and The White Boy Shuffle.” Maus and Donahue, pp. 137–49.
29. 1. Leader-Picone, Cameron

    . “Post-Black Stories: Colson Whitehead’s Sag Harbor and Racial Individualism.” Contemporary Literature, vol. 56, no. 3, fall 2015, pp. 421–49. Project MUSE muse.jhu.edu/article/601565.

    OpenUrlFREE Full Text
30. 1. Maus, Derek C.

    “Mommy, What’s a Post-Soul Satirist? An Introduction.” Maus and Donahue, pp. xi–xxiii.
31. 1. Maus, Derek C.

    “Three-Fifths of a Black Life Matters Too: Four Neo-Slave Novels from the Year Postracial Definitively Stopped Being a Thing.” Slavery and the Post-Black Imagination, edited by Bertram D. Ashe and Ilka Saal, U of Washington P, 2020, pp. 43–64.
32. 1. Maus, Derek C., and
    2. James J. Donahue

    , editors. Post-Soul Satire: Black Identity after Civil Rights. UP of Mississippi, 2014.
33. 1. Mol, Joeri M., and
    2. Nachoem M. Wijnberg

    . “Competition, Selection and Rock and Roll: The Economics of Payola and Authenticity.” Journal of Economic Issues, vol. 41, no. 3, 2007, pp. 701–14.

    OpenUrlWeb of Science
34. 1. Morgan, Daniel Fuentes

    . Laughing to Keep from Dying: African American Satire in the Twenty-First Century. U of Illinois P, 2020.
35. 1. Neal, Mark Anthony

    . Soul Babies: Black Popular Culture and the Post-Soul Aesthetic. Routledge, 2002.
36. 1. Powers, William

    . “Sapphire’s Raw Gem; Some Say Her Novel Exploits Suffering. She Says They’re Reading It All Wrong.” Washington Post, 6 Aug. 1996, pp. B01.
37. 1. Rose, Tricia

    . Black Noise: Rap Music and Black Culture in Contemporary America. Wesleyan UP, 2004.
38. 1. Schmidt, Christian

    . “Declaring Blackness Passé in Slumberland.” Postblack Aesthetics: The Freedom to Be Black in Contemporary African American Fiction. Universitätsverlag WINTER, 2017, pp. 249–68.
39. 1. Schmidt, Christian

    . “Dissimulating Blackness: The Degenerative Satires of Paul Beatty and Percival Everett.” Maus and Donahue, pp. 150–61.
40. 1. Schweinfurth, Elisa

    . “The Function of East and West Germany and the Fall of the Berlin Wall in Paul Beatty’s Slumberland.” Current Objectives of Postgraduate American Studies, vol. 11 (2010), Mar. 2012, doi.org/10.5283/copas.123.
41. 1. Shavers, Rone, and
    2. Paul Beatty

    . “Paul Beatty.” Interview. BOMB, no. 72, summer 2000, pp. 66–72.
42. 1. Stallings, L. H.

    “Sampling the Sonics of Sex (Funk) in Paul Beatty’s Slumberland.” Contemporary African American Literature: The Living Canon, edited by Shirley Moody-Turner and Lovalerie King, Indiana UP, 2013, pp. 189–212.
43. Sun Ra. “Invisibility.” The Immeasurable Equation: The Collected Poetry and Prose of Sun Ra, edited by James L. Wolf and Hartmut Geerken, Waitawhile, 2005, p. 220.
44. 1. Taylor, Paul C.

    “Post-Black, Old-Black.” Post-Soul Aesthetic, special issue of African American Review, vol. 41, no. 4, winter 2007, pp. 625–40.

    OpenUrl
45. 1. Thompson, Marie, and
    2. Ian Biddle

    . “Somewhere between the Signifying and the Sublime.” Thompson and Biddle, pp. 1–24.
46. 1. Thompson, Marie, and
    2. Ian Biddle

    , editors. Sound, Music, Affect: Theorizing Sonic Experience. Bloomsbury Academic, 2013.
47. 1. Tillet, Salamishah

    . “Strange Sampling: Nina Simone and Her Hip-Hop Children.” American Quarterly, vol. 66, no. 1, 2014, pp. 119–37, doi.org/10.1353/aq.2014.0006.

    OpenUrl
48. Touré. Who’s Afraid of Post-Blackness? What It Means to Be Black Now. Simon and Schuster, 2011.