Acial 'truth' as invisible and interior yet fixed within a stable conception of difference; The Real Negro foregrounds how investments in black racial specificity illuminate the dynamic *terms that define what makes a text and a person 'black' while it also reveals how 'blackness' *that define what makes a text and a person 'black' while it also reveals how 'blackness' and authentic guards a fragile because unspoken commitment to the purity and primacy of 'whiteness' as a stable uncontested ideal. In this book Shelly Eversley *Historicizes The Demand For *the demand for authenticity what Zora Neale Hurston called 'the real Negro' in twentieth century American literature Eversley argues that
the modern mergencemodern mergence the
interest in 'the real Negro' transforms the uestion of what race an author belongs into a uestion ofin 'the real Negro' transforms the uestion of what race an author belongs into a uestion of it takes to belong to that race Conseuently Paul Laurence Dunbar's Negro dialect poems were priz. .
Ed in the
first part ofpart of century because written by a black man they were *NOT 'IMITATION' BLACK WHILE THE DIALECT *'imitation' black while the dialect by Zora Neale Hurston were celebrated because written by a 'real' black they were not 'imitation' white The second half of the century in its dismissal of material segregation sanctions a notion of black racial meaning as internal and psychological and thus promotes a version of black