provocative difference one notices on the cover of the two editions of Henry Louis Gates's groundbreaking book The Signifying Monkey is the change in the subtitle from A Theory of Literary Criticism to A Theory of African American Literary Criticism, a change that the book helped to enact. In the twenty-five years since its original publication, The Signifying Monkey has earned its place as a classic work of and theory. As with any lasting scholarly work, moreover, it did not merely produce clones of its and method but enabled scholars in a host of disciplines in the arts and humanities and beyond to critique and push beyond its original borders. I still have my original copy from 1988, with the light blue (though frayed by now) book cover. In 1988, I had just learned that was a difference between literary criticism and literary theory and, its subtitle notwithstanding, The Signifying Monkey established that not all emanated from Europe, even as it framed my scholarly coming-of-age-in-the-academy story. To open the text and to realize that Africa had was revolutionary and it is good to have an occasion to reflect on how revolutionary it was. While the study of early African American today has expanded--necessarily and rightly--to encompass archival discovery, biography, and print culture, it began, I think, with Gates's concept of signifyin(g). First, two autobiographical digressions. My journey with early African American began with absence. The one black course at Wake Forest University in 1979 began with Zora Neale Hurston's 1937 novel Their Eyes Were Watching God. The prevailing sense was that was there--really. J. Saunders Redding in To Make a Poet Black (1939) had lumped everything before the Harlem Renaissance under the finely wrought phrase literature of necessity. What writing might have existed was utilitarian, functional, certainly to put on college syllabi or inspire analysis. I didn't question this at age twenty because it resonated with my own truncated family history growing up in the South. There was simply a point where was nothing back there and you learned to be content with absence and silence. In 1988, the year of the first edition of The Signifying Monkey, upon entering the Rutgers University library to do research for a paper on Spenser's Fairie Queene (1590), I encountered an entire wall of books on Spenser. On the way out of the library I stopped by the section and saw two shelves, half full or half empty depending on one's temperament, the books held in place by metal bookends. My subject had found me. I walked out of the library, into Murray Hall and Cheryl Wall's office, and announced that I wanted to write my dissertation on early black American literature. Of course, declaring Afro-American before 1865 as an orals area was also problematic, and I was told by the graduate director that was no such thing. After much reading and many visits to the Rutgers and Princeton libraries, I produced a five-page, single-spaced bibliography of slave narratives, poetry, novels, and essays by black writers before Emancipation and I was able to begin reading for orals. I use these two autobiographical touchstones as a way to reflect for a few moments on the significance of The Signifying Monkey to the creation of early African American (meaning pre-Harlem Renaissance) study. Gates's vernacular as an organizing principle within which to sketch--sometimes more successfully than others--an Afro/African American tradition reconfigured black texts away from biographical and sociological contexts to a consideration of the formal properties of African American intertextuality. Often accused by poststructuralists of creating a canon at the very juncture of the demise of the notion of canonicity, Gates did not achieve a construction of an undeconstructable canon so much as he precipitated a move that posited both an African American authorship and readership in one discursive swoop. …
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