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Claude McKay, Code Name SashaQueer Black Marxism and the Harlem Renaissance$
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Gary Edward Holcomb

Print publication date: 2007

Print ISBN-13: 9780813030494

Published to Florida Scholarship Online: September 2011

DOI: 10.5744/florida/9780813030494.001.0001

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The “Rude Anarchy” of “Black Boys” in Banjo

The “Rude Anarchy” of “Black Boys” in Banjo

Chapter:
(p.139) 4 The “Rude Anarchy” of “Black Boys” in Banjo
Source:
Claude McKay, Code Name Sasha
Author(s):

Gary Edward Holcomb

Publisher:
University Press of Florida
DOI:10.5744/florida/9780813030494.003.0005

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

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