The “Rude Anarchy” of “Black Boys” in <i>Banjo</i>

Gary Edward Holcomb

in Claude McKay, Code Name Sasha

Published by University Press of Florida

Published in print June 2007 | ISBN: 9780813030494
Published online September 2011 | e-ISBN: 9780813039381 | DOI:
The “Rude Anarchy” of “Black Boys” in Banjo

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This chapter focuses on Claude McKay's second novel of the transnational black queer permanent revolution, Banjo: A Story without a Plot. This chapter aims to expand a critical discussion of McKay's second novel beyond its importance as a fundamental influence on négritude. The chapter focuses on the queer négritude Marxism present in McKay's Banjo. Banjo's narrative portrays the experience of the transnational black subject in creating black modernity at the edges of diaspora. Banjo wages a queer black anarchist plot which is even more radical than that of the previous novel. Although Banjo is a black Trotskyist manifesto, the novel also articulates McKay's variety of Gramscian counterhegemony. In this novel, McKay discloses the cultural manifestation of blackness as manufactured consent in racist and imperialist ideology, as a black distinction faces becoming absorbed and subsumed by capitalist discourse. Banjo is a European-imported queer anarchist black bomb which is covertly constructed to be chucked into works, into the imaginary, of international capitalism and imperialism, nationalist racism, and fascism.

Keywords: négritude; queer négritude; Marxism; queer black anarchist; racism; black modernity

Chapter.  14185 words. 

Subjects: Literature

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