Abstract
Abstract Can a literary and critical reputation be built on the basis not just of what someone has written but also what s/he has said, on kaleidoscopic traces of the tongue gone pure? Anyone interested in the future of African-American literary and cultural understanding must trust so, as a store of discursive and methodological wisdom remains lodged in the memories, tapes, and inscriptions of Sterling Brown’s public presentations, extemporaneous tutorials, and other teacherly “rambles.” From his “telephone booth” room at Williams’ Berkshire Hall and his Lincoln University digs at “The Monastery” to the downstairs apartment at Fisk’s Spence House and nearby Gillie’s Barbershop, and finally at the Kearney St. house of the Howard years and untold lecture halls, libraries.
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