Today one of the biggest publishing markets is Urban Literature. However, Street Lit has come under fire from many angles. With urban novels being turned into Oscar nominated movies such as Precious, this is as good of a time as any to ask what is the state of Black Literature? There are those that say that Street Literature has no real value to Black Literature as a whole, and that it is equivalent to gangster rap’s relation to the larger genre of Hip-Hop. Then there are people who swear by Urban Literature, as they claim that is type of literary fair is the only kind they will consume. Surprising the people who swear by Ghetto Literature the most are middle class black women. Many Black authors are relegated to an existence of selling books out their car trunks at every stop, while their white counterparts enjoy the heights of respected best seller lists. Thousands of black authors have to ‘grind’, and or’ hustle’, while their counterparts have no concept of those two words. Is it the literature that is the problem, or is it those who are writing the literature?
Before I became an author I knew that urban literature had a credibility issue, I just didn’t know how deep that issue really was. I won’t go into how many authors have four or five books, but still don’t know how to use a simile, yet and still street literature dominates the market. With so many titles selling like hot cakes and its proponents saying ‘I’ve sold X amount of books” , “people are buying it’. So why would anyone think that there is a problem with black literature? I have heard statements similar to these being uttered by crack dealers of the 80s, as justification as to why they sold drugs. At a book event I overheard an author say “I am an Essence bestseller”, followed by the publisher snickering, is that respect? This is not to say that there are not some wonderfully well written positive African American books out there. There are many stories of black success and black triumph, but are black people reading those books? “Any story celebrating the beauty and strength of black family life, the power of education, and the desire to succeed in the workplace and in business is now out of fashion.” wrote Juan William in his article titled “Precious’ Little of Value in Ghetto Literature”.
Since “Urban Lit” began as an often overlooked subdivision of the Blaxploitation era, over 40 years ago. The Film genre was considered exploitative because they took place in the ghetto, played up stereotypes and were mostly written by whites. Today Urban Literature contains many element that were present in its now defunct film counterparts the only difference, no is that blacks are at the helm of these projects. The main argument for this type of literature is that it attracts new readers. It has also been said that Ghetto Lit provides escapism, but for many blacks this type of escapism can be had by not opening a book, but a door. After reading a novel filled with busty women and thugs, overflowing with misogyny, depicting female characters as “dime pieces” or “trophies”, novels that proudly display real gritty scenes of infidelity, criminal activities and murder that go unpunished or they are glorified, one would have to wonder if Marva Allen owner of Hue-Man bookstore in Harlem was right when she said, “It’s not literature it’s fiction… they offer no literary advantages.” Or is there something more to this “Box” that these Black ‘Harlequins’ have put black literature in? Maybe it has something to do with where you find these books in the bookstore. I have never seen the White Literature section, though I have seen American Literature sections devoid of black authors, except for one dimensional books like Steve Harvey’s “Straight Talk, No Chaser” and sport stories of course. Is a book made urban by the skin color of its characters, the skin color of the author, or its content?
In the New York Times article “Their Eyes Were Reading Smut”, Nick Chiles said ,“On shelf after shelf, in bookcase after bookcase, all that I could see was lurid book jackets displaying all forms of brown flesh, usually half-naked and in some erotic pose, often accompanied by guns and other symbols of criminal life. I felt as if I was walking into a pornography shop, except in this case the smut is being produced by and for my people, and it is called literature.” Is Nick Chiles right? Maybe the problem is in the definition, What is literature? If you solely define it as it as publication of printed material then there is no issue, but historically literature has meant much more than that. Rebecca West once said, “Literature must be an analysis of experience and a synthesis of the findings into a unity.” Apparently many disagree, noting that literature can mean many things to many people Nick Chiles mused, “That leaves me wondering where we – writers, publishers, readers and the black community – go from here. Is street fiction some passing fad, or does it represent our future? It’s depressing that this noble profession, one that I aspired to as a child from the moment I first cracked open James Baldwin and Gabriel García Márquez about 30 years ago, has been reduced by the greed of the publishing industry and the ways of the American marketplace to a tasteless collection of pornography.” I do not believe that these articles, bloggers, or reviewers are trying to ‘hate’ on anyone, or ‘knock’ someone’s hustle and neither am I for that matter, but these are legitimate questions, what is black literature? Where do we go from here? Is Black Literature viewed as nothing more than a collection coming of age Pre and Post Prison tales? “A lot of people complain that most of the Urban Lit books are the same three or four stories with different titles, character names and locations . And that many of the authors have the same felonious background story in their bios. I have been to high profile author meetings where terms like “This is Crip Shit” and “Am a Blood” were tossed around with hand signs. It was comical and something I will most likely write about later, but I digress. “Urban List is just like Hip-Hop nowadays” Was Joey Pinkey correct in his widely viewed article, ‘Urban Lit is Dead? ‘
As an author I feel all of these sentiment, but I also believe that urban literature, like hip hop, is not dead and that the problem, with both forms of entertainment, lies in where you get it from. Many people have asked the question I have posed in the title, but there have been no definitive answers. Perhaps this literary dust-up is equivalent to the one going in among our “Black Leaders”, see Al Sharpton and Tavis Smiley. Perhaps this was summed up in an article titled ‘The Shaky State of Urban Literature (a book reviewer’s lament)’, “this new millennium of emerging writers and novelists are still struggling to find a place in contemporary literary circles.” For the sake of argument let’s say that the critics in the New York Times, Wall Street Journal, and the blogs are all wrong, or at least mistaken. Let’s say books like mine and The Other Wes Moore are not “really Urban Lit. Let’s say that when you tell a publisher that you are an Essence Best Seller that they do not snicker, not even privately. Let’s say that the media gives black authors the same amount of press and credibility they do their white contemporaries. Let’s say that urban literature isn’t as watered down as hip hop. And let’s say that big publishing houses market African American works as they would the works of others. Does an author not want the respect of their peers? As a people we have always been told to wait for things, that everything takes time, this is what was said decade ago about urban literature. When street literature was young, we heard “it is just starting out, give it some time.” It is now 2011, so the question is has anything changed? Hopefully the documentary “Behind Those Books” answers some much needed questions, regarding the genre future.
Maybe, but now the question is one of Credibility, but a question for who? Is it a question for The Relentless Aaron’s, Larry Wilson Jr’s, Vickie Stringer’s, and Zane’s of the literary world? Or is our new direction for the Aisha Ford’s, Eric Jerome Dickey’s, and Terry A. O’Neal’s to forge? Or do we follow the examples of James Baldwin, Richard Wright, Phyllis Wheatley, and others? Chances are that those in Ghetto/Street/Urban/African American Literature wont stand up, but the hope is that they will coalesce around something more important than shelf space, money, the thrill of the hustle or fame. Maybe Black literature reader see more of themselves in Rachetville and Grimy than they see of themselves in the future, which is why they haven’t fully embraced black sci-fiction because of how omitted we see ourselves in the future. Unfortunately, like many forms of entertainment, it is all we got.
Perhaps the discussion can best be summed up by what Mo’Nique said when accepting The Oscar for Best Supporting Actress for her role in Precious, “Sometimes you have to forgo doing what is popular, in order to do what’s right.”
The Shaky State of Urban Literature (a book reviewer’s lament) http://blogginginblack.com/?p=1076 Urban Lit is DEAD http://www.theurbanbooksource.com/articles/editorials/urbanlitisdead.php “Their eyes were looking at smut” http://www.nytimes.com/2006/01/04/opinion/04chiles.html “A critical look at Street Lit” http://www.theurbanbooksource.com/interviews/nick-chiles.php “Precious’ Little of Value in Ghetto Literature” http://online.wsj.com/article/SB10001424052748703740004574514260044271666.html
March 8, 2010 at 8:38 pm
There are many people, like you and I, that question the next step in this profitable movement. And we are the tip of the iceberg.
When I first wrote the article “Urban Lit is DEAD!”, I chose a controversial title to get eyeballs. (Really, I was playing off the title “Hip Hop is Dead” by Nas.) The problem I had with the article is the fact that the title attracted way more attention that the talking point posed within the article.
When the article got featured on UrbanBookSource.com (you might want to pitch this article to them), people came out the woodwork to blast the article to pieces – even the aforementioned Relentless Aaron. And while I respected their opinions, I really had to keep steering the conversation in the direction I intended the article to keep pace with – Urban Lit, while undoubtedly profitable, needed at growth spurt. In other words, the average author needed to create more than what can be deemed the average story.
I did this the whole time defending the fact that I, me Joey Pinkney, actually loved Urban Lit. Question: “How could you criticize a genre, then claim to love it.” My answer: “Easy, I read it and expressed an opinion about it… You just happened to read my opinion.”
I think what we needs to be found is the balance between exploitation/profitability and artistic merit/value. We already know people will buy it. We already know people will read it, and sometimes nothing else. How do we make it grow past that, is the question.
Hopefully, we (yes, WE) won’t let the “industry” do the same thing to literature it did to Hip Hop where you see Nelly make it big, then every unknown, who aren’t ready, get picked up and put out there to see they can have the same impact.
March 9, 2010 at 1:31 am
The problem I have with “Urban Lit” is that it seems to be these are the only books written by black authors that are garnering any attention.
They compromise 95% of the shelf space in a book store in the “Black Author” or “African American” section.
If you don’t want to read non-fiction, this is the only fiction offered by black authors. And for me, that’s a really sad and disgraceful place to be.
My only option is to read and re-read about our history in non-fiction books about the same 20 people, or read about stereotypical black life full of crime, sex, and drama printing in black and white and written by black authors. And the fact that black authors are writing about black life in a stereotypical fashion only seems to justify the stereotype.
Also, to make matters worse, the one’s I have skimmed through at the book store are poorly written. Bad sentence structure, punctuation mistakes, etc.
Reading is fundamental, and when the book(s) you are reading are full of bad grammar, it only reinforces those mistakes to the reader and the reader doesn’t learn. And when you read, weather for pleasure or not, you are learning, weather you realize it or not. If we don’t realize this, we are just going to keep cranking out under educated teens who turn into under educated adults like Otis Mathis who is the head of the Detroit school system ( http://www.foxnews.com/story/0,2933,588138,00.html ) .
I’m not advocating for these books to not be published, but I am asking for some balance, restraint, and maybe even some self-policing and stop thing about just what’s in our pockets but how this may effect our communities as a whole. That statement goes to the music, movies, and T.V. shows being produced for us and by us as well.
March 12, 2010 at 3:11 am
The fact still remains that controversy and sex sells in America. That is why urban literature is doing so well. I do not like reading about drug stories and unrealistic NBA themes myself. I have to be selective about the urban fiction I buy. I still support urban fiction because it is a reflection of urban lifestyle but the problem is corporate interest. These major publishers which are owned by a certain race do not want to have urban books without the controversy and sex involved. Some black-owned publishers may be receptive to more artistic urban fiction which embodies the urban Renaissance of fiction but many black-owned are simply looking to capitalize and want to see the controversy and sex as well. They aren’t willing to accept anything truly creative. So, if there is anything affecting urban fiction and its direction, it is definitely corporate interest. Self-published and independent black authors have the power to change the direction of urban fiction. I do not think it should be eliminated from the industry which was attempted before. I feel that urban fiction resurrected about two years ago and I do not feel it should be stricken from the record. I do urge all the black authors who partake in urban fiction to stand up against these major publishers.
March 12, 2010 at 10:40 am
Apparently on the dollar bill speaks for some. Words are power. It is what you do with your words that tell people who you really are.
March 14, 2010 at 8:25 am
Great article. Urban lit is definitely forming a name and is here to stay. As an author myself, I don’t write urban lit, but I keep my eyes above the water and look at what’s going on in urban lit. It’s a class by itself. There are more black authors than ever before, so urban lit is going to continue to grow. As far as black literature in general, I remain optimistic.
May 1, 2010 at 10:26 am
I hear the comments and understand the misunderstandings. But I think it is fair to say that there are more people reading. But people are scared to let go of the past. Literature is for reading. It always has been criticized and analyzed, but it’s still only writing from a perspective. Whether you’re on that level or not does not make you an enemy but a critic. Some are impartial and some aren’t. Literature written by Black authors is still literature and will be fundamental to the development of the people. If critics are shortsighted or misguided that’s not the fault of what’s written but what is in the critic’s mind. Comparing is not the way to go. Back in the days they try to undermine French Literature- the British did because the school of thinking was English Literature was the only way to go. There is this secret society guarding the gates. I’m here to tear it down. My advice to critics is stay on the sidelines and criticize if you come on the field of play expect to get rolled on or rolled over. Let’s see it for what it is- a fundamental development of writers. Out of this hip hop lit genre will be the stars of the literary world of our tomorrow. If you don’t believe go ask the French people. It’s like a public garden and everyone will either piss on it or throw water on it, passionately assisting in its survival or death. I want to see it blooming. I am Hip Hop Lit.
July 16, 2010 at 2:18 am
You know, some Pulitzer Prize-winning black authors have murder, sex, ghosts, lesbianism, etc, in the pages of their books. Does it make more acceptable that these tales were more southern-based than “urban”? I think the only difference is that they’re written well but Celie started out as illiterate as some of these writers of street lit seem to be. Maybe they need a dose of Shug! LOL! Seriously though, I don’t have a problem with the existence with street lit. I have a problem that now they got their “foot in the door”, they aren’t upping their literary game (improving the writing).
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February 4, 2019 at 4:20 pm
[…] is no exception. Where does Black literature go with the loss of one of the biggest sellers of books by Black authors? As we learned long ago in AP English, Things Fall […]