Henry Louis Gates - Career

Career

After a month at Yale Law School, Gates withdrew from the program. In October 1975 he was hired by Charles T. Davis as a secretary in the Afro-American Studies department at Yale. In July 1976, Gates was promoted to the post of Lecturer in Afro-American Studies with the understanding that he would be promoted to Assistant Professor upon completion of his dissertation. Jointly appointed to assistant professorships in English and Afro-American Studies in 1979, Gates was promoted to Associate Professor in 1984.

After being denied tenure at Yale, Gates accepted a position at Cornell University in 1985, where he taught until 1989. Following a two-year stay at Duke University, he was recruited to Harvard University in 1991. At Harvard, Gates teaches undergraduate and graduate courses as the Alphonse Fletcher University Professor, an endowed chair he was appointed to in 2006, and as Professor of English. Additionally, he serves as the Director of the W. E. B. Du Bois Institute for African and African American Research.

As a literary theorist and critic, Gates has combined literary techniques of deconstruction with native African literary traditions; he draws on structuralism, post-structuralism, and semiotics to textual analysis and matters of identity politics. As a black intellectual and public figure, Gates has been an outspoken critic of the Eurocentric literary canon. He has insisted that black literature must be evaluated by the aesthetic criteria of its culture of origin, not criteria imported from Western or European cultural traditions that express a "tone deafness to the black cultural voice" and result in "intellectual racism." In his major scholarly work, The Signifying Monkey, a 1989 American Book Award winner, Gates expressed what might constitute a black cultural aesthetic. The work extended application of the concept of "signifyin(g)" to analysis of African-American works; it thus rooted African-American literary criticism in the African-American vernacular tradition.

While Gates has stressed the need for greater recognition of black literature and black culture, he does not advocate a "separatist" black canon. Rather, he works for greater recognition of black works and their integration into a larger, pluralistic canon. He has affirmed the value of the Western tradition, but has envisioned a more inclusive canon of diverse works sharing common cultural connections:

Gates has argued that a separatist, Afrocentric education perpetuates racist stereotypes. He maintains that it is "ridiculous" to think that only blacks should be scholars of African and African-American literature. He argues,

"It can't be real as a subject if you have to look like the subject to be an expert in the subject," adding, "It's as ridiculous as if someone said I couldn't appreciate Shakespeare because I'm not Anglo-Saxon. I think it's vulgar and racist whether it comes out of a black mouth or a white mouth."

Supporters of Afrocentrics such as Molefi Asante and others say that they assert not that the study of Africa should be exclusively Black, but that the approach of Afrocentricity is critical for setting up black people as agents of their own history.

As a mediator between those advocating separatism and those who believe in a fixed Western canon, Gates has been criticized by both. Some critics suggest that adding black literature will diminish the value of the Western canon, while separatists say that Gates is too accommodating to the dominant white culture in his advocacy of integration of the canon. Gates is occasionally criticized as non-representative, and a detractor, of Black people by such African-American spokesmen as John Henrik Clarke, Molefi Asante and Maulana Karenga.

As a literary historian committed to the preservation and study of historical texts, Gates has been integral to the Black Periodical Literature Project, an archive of black newspapers and magazines created with financial assistance from the National Endowment for the Humanities. To build Harvard's visual, documentary, and literary archives of African-American texts, Gates arranged for the purchase of The Image of the Black in Western Art, a collection assembled by Dominique de Ménil in Houston, Texas.

As a result of research as a MacArthur Fellow, Gates discovered Our Nig by Harriet E. Wilson, written in 1859 and thus the first novel in the United States written by a black person. He acquired and authenticated the manuscript of The Bondwoman's Narrative by Hannah Crafts, a novel from the same period that scholars believe may have been written as early as 1853. It would have precedence as the first known novel written by a black person in the United States. (Note: Clotel; or, The President's Daughter (1853) is recognized as the first novel published by an African American, but William Wells Brown wrote and published it in London.) The Bondwoman's Narrative was first published in 2002 and became a bestseller.

As a prominent black intellectual, Gates has concentrated on building academic institutions to study black culture. Additionally, he has worked to bring about social, educational, and intellectual equality for black Americans. His writing includes pieces in The New York Times that defend rap music, and an article in Sports Illustrated that criticizes black youth culture for glorifying basketball over education. In 1992, he received a George Polk Award for his social commentary in The New York Times. Gates' prominence has led to his being called as a witness on behalf of the controversial Florida rap group 2 Live Crew in an obscenity case. He argued that the material which the government charged was profane, had important roots in African-American vernacular speech, games, and literary traditions, and should be protected.

Asked by NEH Chairman Bruce Cole to describe his work, Gates responded: "I would say I'm a literary critic. That's the first descriptor that comes to mind. After that I would say I was a teacher. Both would be just as important." After his 2003 NEH lecture, Gates published his 2003 book, The Trials of Phillis Wheatley.