By Julio Cortazar

His first political novel.

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F. ”23 His all-purpose status also meant that, if need be, Broyard could go home and revert to being black again, just as his parents did on a daily basis after work. And indeed, we see a compulsion to go back home with Broyard, to haunt what is left behind. Going home for Broyard, however, is not literal or geographical but mainly creative. ”24 The editor’s comment is of course to be taken with a grain of salt. Is there indeed such a thing as “writing black,” or is the perceived black idiosyncrasy a genre that the editor retrospectively ascribes to Broyard once he finds out that Broyard was a black man passing for white?

Il s’est donc glissé une erreur dans les dictionnaires français à compter du début du dix-neuvième siècle, lesquels ont réservé le terme “Créole” aux seuls blancs créoles (ou Békés). ” The Creole, born and raised in the Americas, is not a native, unlike the native Indians. Soon enough, the term came to designate all the races, as well as all the animals and the plants shipped to America after 1492. )9 Basically, criollo makes no racial distinction; its main function is to distinguish the natives from those born in the colonies of European or African descent.

The ques- Anatole Broyard: Racial Betrayal and the Art of Being Creole tion of “black style” aside, there is no denying that Broyard openly enjoyed and regularly wrote about black culture. His inclination for black-related topics undeniably lent a black cultural touch in a white literary world. As Bliss Broyard says: Yet my father persisted in acting as a bridge between the uptown (black) world and the (white intellectual) Village. He started to bring a group of disciples up to Spanish Harlem every Thursday night.

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