Novels
Between 1924 and 1933, Fauset produced four novels: There is Confusion (1924), Plum Bun (1928), The Chinaberry Tree (1931), and Comedy, American Style (1933). Inspired by T.S. Stribling’s novel Birthright, Fauset recognized a dearth of positive depictions of African American experience in contemporary literature, and thereby set out to portray African American life as realistically, and as positively, as possible.
- Fauset's first novel, There is Confusion, was praised widely upon release, especially within the pages of the Crisis. This novel traces the family histories of Joanna Mitchell and Peter Bye, who must each come to terms with the baggage of their racial histories.
- Published in 1923, her second novel Plum Bun has warranted the most critical attention. Plum Bun centers on the theme of "passing." The protagonist, Angela Murray, eventually reclaims her African American identity after spending much of the novel passing for white.
- Fauset's third novel, The Chinaberry Tree, has largely been ignored critically. Set in New Jersey, this novel explores the longing for "respectability" among the contemporary African American middle class. The protagonist Laurentine seeks to overcome her "bad blood" through marriage to a "decent" man. Ultimately, Laurentine must redefine "respectable" as she finds her own sense of identity.
- Her last novel Comedy, American Style, explores the destructive power of "color mania" The protagonist's mother Olivia ultimately brings about the downfall of the other characters due to her own internalized racism.
Read more about this topic: Jessie Redmon Fauset
Famous quotes containing the word novels:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“But then in novels the most indifferent hero comes out right at last. Some god comes out of a theatrical cloud and leaves the poor devil ten thousand-a-year and a title.”
—Anthony Trollope (1815–1882)
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)