Same with narratives. I think its right that, for example, Frederick Douglass and harry jacobs did they really do stand out intrinsically a little more than i read some of these narratives. Theres a lot of thickness and energy and subversive energy in those two spectrums in particular and certain other works, were some of the others are very interesting and important in their own way, that may be lacking density a richness that you do find in Frederick Douglass. So anyway. Some texts are better than others. I am not [inaudible] [inaudible] [inaudible] and however and dirt outside. The thing is kind of throw it out there and hope for the best. When i published a conviction back back in 81, price books back in. Its about 300 or 350, Something Like that. They can barely sell it to libraries. The price of the book as well. And yet, you have to publish a book. Its harder and harder to get reviews for University Press books. Even in scholarly journals, the whole thing is shifting, but part o
Working wait out there in an end berkeley that made sense of it and then when dawn to right to the american renaissance. It took someone with his own literary imagination and training to see entire worlds that they could barely touch but i raised this old but not entirely flattering story to make two observations where it came from. First the useful scholarly interests were part of an entire generation of critics we wanted to write the undiscovered history of slaves and farmers and everyone else of a relatively short trip we came from a variety of angles. To be a marxist humanism particularly influential in my circles although finding comic inspiration not just through the american renaissance but also American History of the beef the idea of the fundamental liberal consensus but aviation driven by the imperative of middleclass striving. We were looking for ourselves. Or the history not so much useful for lessons of the future but to us from the past of which we felt alienated then to