Added: January 2, 2016 – Last updated: January 2, 2016


Author: William (Blackmore) Turner

Title: Pulping the Black Atlantic

Subtitle: Race, Genre and Commodification in the Detective Fiction of Chester Himes

Thesis: Ph.D. Thesis, University of Manchester

Year: 2010

Pages: 216pp.

OCLC Number: 757135547 – Find a Library: WorldCat

Language: English

Keywords: Modern History: 20th Century | American History: U.S. History; European History: French History | Prosecution: Wrong Convictions; Representations: Literature / Chester Himes; Types: Interracial Rape


Link: Manchester eScholar Services (Free Access)



The career path of African American novelist Chester Himes is often characterised as a u-turn. Himes grew to recognition in the 1940s as a writer of the Popular Front, and a pioneer of the era’s black ‘protest’ fiction. However, after falling out of domestic favour in the early 1950s, Himes emigrated to Paris, where he would go on to publish eight Harlem-set detective novels (1957-1969) for Gallimard’s La Série Noire. Himes’s ‘black’ noir fiction brought him critical and commercial success amongst a white European readership, and would later gain a cult status amongst an African American readership in the late 1960s and early 1970s. Himes’s post-‘protest’ career has been variously characterised as a commercialist ‘selling out’; an embracing of black ‘folk’ populism; and an encounter with Black Atlantic modernism. This thesis analyses the Harlem Cycle novels in relation to Himes’s career, and wider debates regarding postwar African American literature and race relations.
Fundamentally, I argue that a move into commercial formula fiction did not curtail Himes’s critical interest in issues of power, exploitation, and racial inequality. Rather, it refocused his literary ‘protest’ to representational politics itself, and popular culture’s ability to inscribe racial identity, resistance and exploitation. On the one hand, Himes’s Harlem fiction meets a formulaic and commercial demand for images of ‘pathological’ black urban criminality. However, Himes, operating ‘behind enemy lines’, uses the texts to dramatise this very dynamic. Himes’s pulp novels depict a heightened Harlem that is thematically ‘pulped’ by a logic of capitalist exploitation, and a fetishistic dominant of racial difference. In doing so, Himes’s formula fiction makes visible certain anti-progressive shifts in the analysis and representation of postwar race relations.
My methodology mirrors the multiple operations of the texts, placing Himes’s detective fiction in relation to a diverse and interdisciplinary range of sources: literary, historical, and theoretical. Using archival material, I look in detail at Himes’s public image and contemporary reception as a S&eacute:rie Noire writer, his professional correspondence with French and U.S. literary agents, and his private thoughts and later reflections regarding his career. This methodology attempts to get to grips with a literary triangulation between Himes’s progressive authorial intentions, the demands placed upon him as a Série Noire writer, and the wider ideological shifts of the postwar era. By exploring these different historical, geographical and literary contexts, this thesis offers a wide-reaching analysis of how cultural and racial meanings are produced and negotiated within a commodity form.« (Source: Thesis)


  Abstract (p. 3)
  Declaration (p. 4)
  Copyright Statement (p. 4)
  Acknowledgements (p. 5)
  Introduction: Chester Himes’s Harlem and the Politics of Potboiling (p. 6)
    Orthodox Marxist Approaches to Himes's Harlem (p. 10)
    Culturalist Approaches to Himes's Harlem (p. 14)
    Postmodern Approaches to Himes's Harlem (p. 20)
    Methodology: Formula Fiction and Cultural Hegemony (p. 24)
    Core Themes: Pulping the Black Atlantic (p. 30)
    Part One: Noir Atlantic (p. 36)
    Part Two: 'The crossroads of Black America.' (p. 37)
    Part Three: Pulping the Black Aesthetic (p. 38)
  Part One: Noir Atlantic
  1. ‘I felt like a man without a country.’: Himes’s American Dilemma (p. 41)
    Wartime Patriotism (p. 44)
    Postwar Alienation (p. 47)
    Debunking Racial Liberalism (p. 52)
  2. ‘What else can a black writer write about but being black?’: Himes’s Paradoxical Exile (p. 58)
    National Identity in Black Paris (p. 61)
    The 'Other' Americas (p. 65)
    Diasporic Expediency (p. 71)
  3. ‘Naturally, the Negro.’: Himes and the Noir Formula (p. 77)
    Noir Realism (p. 80)
    Hardboiled Exploitation (p. 86)
    Noir Atlantic (p. 93)
  Part Two: ‘The crossroads of Black America.’
  4. ‘Stick in a hand and draw back a nub.’: The Aesthetics of Urban Pathology in Himes’s Harlem (p. 96)
    Pathological Harlem (p. 98)
    Synoptic Harlem (p. 106)
    Pathology as False Consciousness (p. 112)
  5. ‘If trouble was money…’: Harlem’s Hustling Ethic and the Politics of Commodification (p. 116)
    Harlem's Hustling Ethic (p. 118)
    Harlem's Vice Industry (p. 124)
    Harlem's Exchange Value (p. 131)
  6. ‘That’s how you got to look like Frankenstein’s Monster.’: Divided Detectives, Authorial Schisms (p. 135)
    Split Allegiances (p. 138)
    Racial 'Schizophrenia' (p. 144)
    Modes of Authorship (p. 150)
  Part Three: Pulping the Black Aesthetic
  7. ‘I became famous in a petit kind of way.’: American (Mis)recognition (p. 154)
    Himes's Petit Homecoming (p. 157)
    Policing 'Black Power' (p. 165)
    'There ain't any other side' (p. 172)
  8. ‘That Don’t Make Sense.’: Writing a Revolution Without a Plot (p. 175)
    Disorganising Violence (p. 178)
    Wars of Representation (p. 185)
    Black Cultural Literacy (p. 192)
  Conclusion: Of Pulp and Protest (p. 194)
  Bibliography (p. 201)
    Note on Archival Resources (p. 201)
    Works Cited (p. 202)

Wikipedia: History of Europe: History of France | History of the Americas: History of the United States | Literature: American literature | 20th-century American writers: Chester Himes