Abstract
Focusing on Adrienne Kennedy's 1976 drama, A Movie Star Has to Star in Black and White, and Fran Ross's 1974 novel, Oreo, this essay argues for a radical reinterpretation of post-civil rights cultural and political legacies. Each author has been neglected in classrooms and criticism of the period, and in our stories about what constitutes paradigmatic black artistic practice of the time just beyond the height of the civil rights era. This essay renarrates this moment in African American literature, culture, and politics with these two authors at its center, marking the two texts as finding both danger and pleasure in popular performances of sexuality, gender, and race as they constitute a contemporary black feminist practice.
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