Abstract

In preparing to write this paper, I found myself repeatedly stopped by conflicting conceptions of the structure of address into which I was inserting myself. It was not clear to me what I, as a white deconstructor, was doing talking about Zora Neale Hurston, a black novelist and anthropologist, or to whom I was talking. Was I trying to convince white establishment scholars who long for a return to Renaissance ideals that the study of the Harlem Renaissance is not a trivialization of their humanistic pursuits? Was I trying to contribute to the attempt to adapt the textual strategies of literary theory to the analysis of Afro-American literature? Was I trying to rethink my own previous work and the re-referentialize the notion of difference so as to move the conceptual operations of deconstruction out of the realm of abstract linguistic universality? Was I talking to white critics, black critics, or myself?Well, all of the above. What finally struck me was the fact that what I was analyzing in Hurston’s writings was precisely, again and again, her strategies and structures of problematic address. It was as though I were asking her for answers to questions I did not even know I was unable to formulate. I had a lot to learn, then, from Hurston’s way of dealing with multiple agendas and heterogeneous implied readers. I will focus here on three texts that play interesting variations on questions of identity and address: two short essays, “How It Feels to Be Colored Me” and “What White Publishers Won’t Print,” and a book-length collection of folktales, songs, and hoodoo practices entitles Mules and Men. Barbara Johnson is professor of French and comparative literature at Harvard University. She is the author of Défigurations du langage poétique and The Critical Difference, translator of Jacques Derrida’s Dissemination, and editor of The Pedagogical Imperative: Teaching as a Literary Genre. Her previous contribution to Critical Inquiry, “Rigorous Unreliability,” appeared in the December 1984 issue