Abstract
This essay examines Claude McKay’s Banjo in terms of its dialectical critique of civilization. With its radical questioning of the meaning of modernity, McKay’s novel of Black life in Marseille aligns with the transnational cultural phenomenon of modernism. Reading Banjo alongside Walter Benjamin’s seminal concepts such as the dialectical image reveals how the novel’s oft-criticized “crude realism” and plotless structure are its integral elements.
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