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Author | Fran Ross |
---|---|
Cover artist | Ann Twombly |
Language | English |
Genre | Novel |
Publisher | Northeastern University Press |
Publication date | 1974 |
Publication place | United States |
Media type | Print (Paperback) |
Pages | 212 pp |
ISBN | 1-55553-464-3 |
OCLC | 44461973 |
813/.54 21 | |
LC Class | PS3568.O8433 O74 2000 |
Oreo is a 1974 satirical novel by American writer Fran Ross, a journalist and, briefly, a comedy writer for Richard Pryor. The novel, addressing issues of a mixed-heritage child, was considered "before its time" and went out of print until Harryette Mullen rediscovered the novel and brought it out of obscurity. [1]
The book has since acquired cult classic status. [2]
Born into a taboo relationship that neither of her grandparents supported, having a Jewish father and black mother who divorce before she is two, Oreo grows up in Philadelphia with her maternal grandparents while her mother tours with a theatrical troupe. Soon after puberty, Oreo heads for New York with a duffel bag to search for her father; but in the big city she discovers that there are dozens of Sam Schwartzes (her father's name) in the phone book, and Oreo's mission turns into a humorous picaresque quest. The ambitious and playful narrative challenges accepted notions of race, ethnicity, culture, and even the novelistic form itself; its quest theme is inspired by that of the Greek tale of Theseus. [3] [4] In the end, Oreo witnesses her own father's death as he falls from a window.
Ross uses the structure of the Theseus myth to both trap Oreo and allow her to reinvent it.
Oreo is a picaresque novel revolving around its eponymous picaroon. The work, with its witty critiques of social attitudes about race and ethnicity, also can be characterized as Menippean Satire. Oreo's heroine faces various adventures and conflicts during her search for her long-absent father. Some have said the work falls under the category of Post-Soul Aesthetic, modern works that expands upon the possibilities of the Black experience, if not the New Black Aesthetic, works describing the black experience from the perspective of the culturally-hybrid, second-generation middle class. The comedic style of the novel helps to subvert the trope of the "tragic mulatto" and position Oreo as a "thriving hybrid".
The novel is told from the perspective of an omniscient, third-person. The novel strays from traditional narrative form. The novel exemplifies the essence of postmodernism, fragmentation through its structure.The chapters are broken into subsections. The novel uses diagram, equations, menus, tests, ads, letters, other sources to break and supplement the narrative.
Ross employs different narrative structures throughout the course of the novel. Mainly, the episodic nature of the book is similar to the picaresque story structure. Elements of the bildungsroman are also present.
Oreo parodies the Theseus myth. A quick reading guide at the end of the book summarizes the story's events in terms of the myth. [5] The names of the novel's chapters are also references to the Greek myth.
Identity, and its flexibility, proves to be a strong thematic presence in the novel.
The novel uses many different languages, including African-American vernacular, Yiddish, superstandard language, louise-ese, math, rhyme, singing.
Language is associated with social standing, intelligence, geographical climates, socioeconomic status, and race.
One of the most important aspects of the novel is Ross’ use of humor. As one critic comments, "her throwaway lines have more zing than most comic writers’ studied arias." [6] Her use of language is incredibly playful and acerbic, both prosaic and poetic. In her foreword to the novel, author Danzy Senna calls Ross a comic mulatto, stating that her verbal precocity turns the word on its head. [7]
Like Theseus, Oreo embarks on a journey to search for her missing father with the help of few clues. Ros provides a succinct and satirical commentary in the last chapter to highlight the parallel between the two stories. Traditional aspects of the myth – such as the shoes and sandals Theseus is given before embarking on his quest – are reworked to seem unnecessary and slightly ridiculous.
Upon its republication by Northeastern University Press in 2000, the then nearly 30-year-old novel was praised for being ahead of its time. Oreo has been hailed as "one of the masterpieces of 20th century American comic writing." [8] Furthermore, one critic elaborated that Oreo was "a true twenty-first century novel." The novel's "wit is global, hybrid and uproarious ... simultaneously irreverent, appropriative and serious. It is post-everything: post-modern, post-identity politics, post-politically correct." [9] Novelist Paul Beatty also included an excerpt of Oreo in his 2006 anthology of African-American humor Hokum. In June 2007, Cultural critic Jalylah Burrell listed the book on VIBE.com as the number one work in African-American literature that should be adapted into a major motion picture, writing, "Quirky comedy with surrealist elements, i.e., Wes Anderson meets Kaufman/Gondry." [10]
Mat Johnson chose Oreo for his 2011 appearance on the NPR program You Must Read This, describing it as "one of the funniest books I've ever read, but I've never quoted it. To do so, I would have to put quotations before the first page and then again at the last." He too stated that as a "feminist odyssey", published eight years before Alice Walker's The Color Purple , the book had simply been ahead of its time: "A truly original view of our world is what we yearn for in fiction, but sometimes when something is so original, so many years ahead of its time, it takes time for the audience to catch up to it. It's a statement of how far we've come that for this quirky, hilarious, odd, little biracial black book, that time is now." [4]
Oreo came out around the same time as Alex Haley's seminal novel Roots: The Saga of an American Family . Both boundary-breaking books for their time in terms of shedding light on the contemporary black experience, Roots went on to be wildly successful, occupying the number one spot on the New York Times best-seller list for 22 weeks. It was then adapted into an extremely popular television miniseries, one that defined the cultural iconography of the American black experience for many generations. [1] [2] Oreo, in contrast, fell into obscurity soon after publication. It fell out of print for years, until 2000, when the efforts of black poets and writers, in particular Harryette Mullen and Danzy Senna, brought it back into publication and to a certain cult-status. [11] There are many reasons for Oreo's initial obscurity. Perhaps the most notable is that Haley's work presented a more unified picture of the black experience, one that was easier for viewers to latch onto during the tumultuous years of the Civil Rights era. Oreo, a story about a biracial black girl, is a far more complicated look at racial identity than Haley's exploration of heritage. Published eight years before Alice Walker's The Color Purple , Oreo was also ahead of its time in the way it addressed feminist themes and the intersection between black and Jewish identity. One critic pointed out that being published in 1974, "during the height of the Black Power movement with its focus on African-based identity and black male power" Oreo almost had no chance at success because the public audience was not ready to take in such a complicated work. [4]
The novel was adapted by Adam Davenport into a screenplay intended as a starring vehicle for Keke Palmer. The project is yet to be produced.
Theseus was a divine hero in Greek mythology who is famous for slaying the Minotaur. The myths surrounding Theseus, his journeys, exploits, and friends, have provided material for storytelling throughout the ages.
The picaresque novel is a genre of prose fiction. It depicts the adventures of a roguish but "appealing hero", usually of low social class, who lives by his wits in a corrupt society. Picaresque novels typically adopt the form of "an episodic prose narrative" with a realistic style. There are often some elements of comedy and satire. Although the term "picaresque novel" was coined in 1810, the picaresque genre began with the Spanish novel Lazarillo de Tormes (1554), which was published anonymously during the Spanish Golden Age because of its anticlerical content. Literary works from Imperial Rome published during the 1st–2nd century AD, such as Satyricon by Petronius and The Golden Ass by Apuleius had a relevant influence on the picaresque genre and are considered predecessors. Other notable early Spanish contributors to the genre included Mateo Alemán's Guzmán de Alfarache (1599–1604) and Francisco de Quevedo's El Buscón (1626). Some other ancient influences of the picaresque genre include Roman playwrights such as Plautus and Terence. The Golden Ass by Apuleius nevertheless remains, according to different scholars such as F. W. Chandler, A. Marasso, T. Somerville and T. Bodenmüller, the primary antecedent influence for the picaresque genre. Subsequently, following the example of Spanish writers, the genre flourished throughout Europe for more than 200 years and it continues to have an influence on modern literature and fiction.
In Greek mythology, Ariadne was a Cretan princess, the daughter of King Minos of Crete. There are different variations of Ariadne's myth, but she is known for helping Theseus escape from the Minotaur and being abandoned by him on the island of Naxos. There, Dionysus saw Ariadne sleeping, fell in love with her, and later married her. Many versions of the myth recount Dionysus throwing Ariadne's jeweled crown into the sky to create a constellation, the Corona Borealis.
African American literature is the body of literature produced in the United States by writers of African descent. Olaudah Equiano was an African man who wrote The Interesting Narrative of the Life of Olaudah Equiano, an autobiography published in 1789 that became one of the first influential works about the transatlantic slave trade and the experiences of enslaved Africans. His work was published sixteen years after Phillis Wheatley's work. She was an enslaved African woman who became the first African American to publish a book of poetry, which was published in 1773. Her collection, was titled Poems on Various Subjects, Religious and Moral.
Danzy Senna is an American novelist and essayist. She is the author of six books and numerous essays about race, gender and American identity, including Caucasia (1998), Symptomatic (2003),New People (2017), named by Time as one of the Top Ten Novels of the year; and her recent Colored Television (2024). Her writing has appeared in The New Yorker,The Atlantic,Vogue, and The New York Times. She is a professor of English at the University of Southern California.
The tragic mulatto is a stereotypical fictional character that appeared in American literature during the 19th and 20th centuries, starting in 1837. The "tragic mulatto" is a stereotypical mixed-race person, who is assumed to be depressed, or even suicidal, because they fail to completely fit into the "white world" or the "black world". As such, the "tragic mulatto" is depicted as the victim of the society that is divided by race, where there is no place for one who is neither completely "black" nor "white".
Paul Beatty is an American author and an associate professor of writing at Columbia University. In 2016, he won the National Book Critics Circle Award and the Booker Prize for his novel The Sellout. It was the first time a writer from the United States was honored with the Man Booker.
Harryette Mullen, Professor of English at University of California, Los Angeles, is an American poet, short story writer, and literary scholar.
What A Piece of Work I Am (A Confabulation) is a novel by Eric Kraft. It is part of his ongoing project of interconnected fiction "The Personal History, Adventures, Experiences and Observations of Peter Leroy." The novel is narrated by Leroy, but mainly concerns his boyhood crush and sultry muse, Ariane Lodkcochnikov.
Michelle Carla Cliff was a Jamaican-American author whose notable works included Abeng (1985), No Telephone to Heaven (1987), and Free Enterprise (2004).
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Racial passing occurred when a person who was categorized as black, Negro, or Coloured as their Race in the United States of America, sought to be accepted or perceived ("passes") as a member of another racial group usually White. Historically, the term has been used primarily in the United States to describe a black person especially a Mulatto person who assimilated into the white majority to escape the legal and social conventions of racial segregation and discrimination. In the Antebellum South, passing as white was a temporary disguise used as a means of escaping slavery.
No Telephone to Heaven, the sequel to Abeng (novel), is the second novel published by Jamaican-American author Michelle Cliff. The novel continues the story of Clare Savage, Cliff's semi-autobiographical character from Abeng, through a set of flashbacks that recount Clare's adolescence and young adulthood as she moves from Jamaica to the United States, then to England, and finally back to Jamaica. First published in 1987, the book has received attention for its articulation of the paradoxes of history and identity after, and counter to, the experience of colonization.
Trumpet is the debut novel from Scottish writer and poet Jackie Kay, published in 1998. It chronicles the life and death of fictional jazz artist Joss Moody through the recollections of his family, friends and those who came in contact with him at his death. Kay stated in an interview that her novel was inspired by the life of Billy Tipton, an American jazz musician who lived secretly as a transgender man in the mid-twentieth century.
Fran Ross was an American writer best known for her 1974 novel Oreo. She briefly wrote comedy for Richard Pryor.
The Autobiography of Malcolm X is an autobiography written by American minister Malcolm X, who collaborated with American journalist Alex Haley. It was released posthumously on October 29, 1965, nine months after his assassination. Haley coauthored the autobiography based on a series of in-depth interviews he conducted between 1963 and 1965. The Autobiography is a spiritual conversion narrative that outlines Malcolm X's philosophy of black pride, black nationalism, and pan-Africanism. After the leader was killed, Haley wrote the book's epilogue. He described their collaborative process and the events at the end of Malcolm X's life.
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