Throughout history, many Western philosophers have played a crucial role in establishing Literary Theory and occupying the top positions of the literary hierarchy. They have examined the differences among written literatures and subsequently proposed a new definition of literature. This redefinition has resulted in changes in the language used in literary criticism, including a reinvention of the concept of theory (Christian, 225).
According to Barbara, the first step we need to take is to disregard literary theory. She believes that this theory was created specifically for Western philosophers and the dominance of this theory has caused black literature to be overlooked. The only benefit of this theory is its push for academic recognition.
The theory is unstable due to the increasing number of critics who prioritize critiquing other critics rather than literature itself. With the development of professionals in academia, there is a constant flow of ideas, creating a competitive environment like a race (Christian, 226).
Barbara emphasizes that Black people have always been a race of theory. Her concern with the race for theory is connected to academic dominance and its inability to adapt to current literature. This race for theory overlooks contemporary creative writers and makes it difficult to discuss black literature as a whole.
Barbara opposes the hierarchy of literature, which is determined by politics. While she disagrees with those who view literature as pure expression and reject the race for theory, she also rejects the control of its production, value, and distribution by those in power. The Black Arts Movement of the 1960s protested against the literary hierarchy that determines what is considered literature and greatness.
Barbara suggests that certain individuals may not find black critical writers persuasive for two reasons:
Initially, in the United States, black individuals are also disregarded as human beings. Moreover, due to the fact that the main critics and creative writers from the Western region possess the opportunity to be educated in established institutions, black writers have been marginalized. It is important to perceive literature as a political instrument in order to understand the reason behind this exclusion.
A hierarchy has formed between theoretical criticism and practical criticism, which leads to a privileging of the former. This has caused many of us to overlook today’s literature and past works that have not been written about. Barbara argues that theorists in the future will need to pay attention to the writers of our time that are currently being ignored due to the focus on theoretical criticism.
The danger of failing to apply the theory and stating the canon without actually implementing it can lead to monolithism.
The Black Arts Movement of the 1960s aimed to establish a theory of Black Literature. However, the author argues that when this theory is disconnected from practical application, it becomes prescriptive, exclusive, and elitist. One illustration of this can be seen in the movement’s attitude towards language, specifically the use of “black talk” which referred to hip urban language. The emphasis on a singular way of being black led to works being perceived as non-black because the black talk spoken in one city differed from that in another city. Consequently, these works were criticized for not being authentically black enough.
The Black Arts Nationalist perspective evaluated certain parts of the canon while disregarding others that did not align with cultural nationalism (Christian, 232). This movement, in its pursuit of power, became similar to its opposition by becoming oppressive and uniform. Monolithism emerged as a metasystem with a dominant ideal, particularly when it came to pleasure. Consequently, language as a source of pleasure became limited, burdensome, and abstract.
Additionally, the Black Arts Movement had a unified approach as it aimed to dismantle the oppressive influences that controlled black individuals. Consequently, the very approach they sought to eradicate became similar to the one they despised. Furthermore, Christian (234) argues that instead of seeking change, many individuals aspire to be at the core of the existing model.
In conclusion, the main concern raised by Christian in regards to the race for theory is the following: Who are we doing literary criticism for and what is our objective? (Christian, 235). According to her, the response to this question should guide our work, the language we use, and its intended goals.
For her, literary criticism serves the purpose of both promoting and understanding the writing, especially for those who depend on it. Without a response and the continuation of traditions, including those of many countries and races (particularly Black people), the writing would cease to exist.
Her approach involves using a new term, “literary criticism,” which is not rigid but rather draws from the language of creative writers to help us determine the language we should employ.
Barbara Christian has not established a specific method, as she believes that each work requires a unique approach.
According to Barbara Christian (227), she has been asked to create a black feminist literary theory. However, she argues that there should be no separation between language, class, race, and gender in literature.
