Major, Clarence 1936–
Major is a black American novelist, poet, critic, editor, and essayist who is considered somewhat out of the mainstream of contemporary black literature for his nonmilitant views. He believes that "people who want to write sociology should not write a novel." But Major does not neglect blacks in his fiction. The hero of his latest novel, No, has been compared to Richard Wright's Bigger Thomas for his conviction that acts of violence liberate one from oppression. (See also CLC, Vol. 3, and Contemporary Authors, Vols. 21-24, rev. ed.)
["All-Night Visitors"] is about a young black named Eli Bolton who is picking through the fragments of his recollected experiences in Vietnam, Chicago and New York's East Village, in search of love and manhood. Mr. Major … is unquestionably a sincere and passionate writer; there is little doubt that his elaborate sexual passages are meant to be integral to his hero's search for autonomy. The trouble with his novel is that the arrangement of the material doesn't build or sustain anything but boredom. And phrases like "my heart insinuating something extremely new coming to the copious surface of my up-until-now usually sweltering mind" strike me as plain bad prose, and the novel is filled with them.
Christopher Lehmann-Haupt, "Books of 'The Times': On Erotica," in The New York Times (© 1969 by The New York Times Company; reprinted by permission), April 7, 1969, p. 41.∗
A sure thing about Clarence Major's first novel, All-Night Visitors …, is that a lot of us, particularly the soul sisters, do or will not like it, and will not think too highly of Clarence Major for writing it. This will be because Eli Bolton, the central character in All-Night Visitors, is an aimless cock-hound whose scores are mostly with white chicks and he describes all of his sex-based relationships with vivid detail in the first 60 pages. Understandably, the novel might not be finished by some who pick it up. Still, I believe there are reasons why Major … has offered us what appears to be a stud novel; I believe his reasons are literary and social. (p. 85)
All-Night Visitors, as a novel of a young Black man's psychic travels, contains some very believable people besides the narrator himself. Whether the characters are objects of Eli's passion and/or are structural props, they hold our interest because Eli's keen eye brings out their personalities with candor. Even when, in the novel's structure, they appear to come and go as phantoms, they are adequately developed. As a stylist Major has been influenced by Henry Miller and Anaïs Nin; his delivery is poetic and the finished product has his own earthy touch. In the fashion of Ishmael Reed, Major exploits the possibilities of surreal comedy and the ludicrous for momentary effect. In descriptive content, the sex scenes are reminiscent of the writings of John Cleland and DeSade—though no writer today needs these people as models. The orgiastic scene with the foxy Anita is described with brilliant sibilance.
Despite the fact that lengthy sex scenes seem a standard or a necessity for...
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What Major wants [in Swallow the Lake] is to be able to write poems that relate his talents as a writer to his condition as a black citizen of the United States. So much of his experience seems irrelevant, and the rest is hard to express…. Major's poems often betray the struggle he is going through and document his attempt to make a resonant statement. He does not want to be just another Black protest poet, a rôle unworthy of his talent. And so he experiments; and as often as not he fails. The lines of his verse are disjointed; he plays with shapes and punctuation: at this point his work is tentative. But it should be understood that this struggle is being carried on at an advanced level, and that it is brought on by a dissatisfaction with simple formulae. That is what makes Swallow the Lake an interesting book. (p. 298)
Frank Mac Shane, "A Range of Six" (© 1971 by The Modern Poetry Association; reprinted by permission of The Editor of Poetry and Brandt & Brandt Literary Agents, Inc.), in Poetry, Vol. CXVIII, No. 5, August, 1971, pp. 295-301.∗
On the very first page of … No the reader is introduced to the theme of America-as-a-prison or huge-penal-system in which unsuspecting people are born, grow up and attempt to crash out of…. [Major] distinguishes himself through his particular treatment of this standard theme by the forcefulness and power of his prose as well as by his inclusion of the related themes of self-awareness, personal liberation, and violence. (p. 44)
[The] novel centers on the growth, development and awareness, personal, political, social and moral, of the main character, Moses Westby.
The question of point-of-view is closely tied in with the physical appearance/structure of the pages of the novel. That is, throughout the novel, brief sections in italics, from one to about ten sentences in length, alternate with sections in regular print. On first glance, this shifting back and forth between italics and regular print suggests a dichotomy between fantasy and reality, between dreaming and not dreaming, the italics being the fantasy of the narrator or one of the characters, the print being the reality; and much of the time the italics are used in this most immediately obvious of ways. Yet, Major uses italics in other ways too. Sometimes the italics represent a slight shift in point-of-view; sometimes, they are merely used to emphasize a point, or line or image; and, unfortunately, sometimes the italics seem to be there for no particular reason other than to continue the previous patterning or to break up the possible monotony of straight print. All of these uses of italics are in the novel and any consistent, or central artistic purpose is not immediately evident.
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Major's collection of essays ["The Dark and Feeling"] is devoted to detailing the failures of the critics who have been unable to muddle through all the ideological warfare involved [in understanding black literature]. (You know, the old question of whether a white critic can really understand what he reads and whether black writers have some moral imperative to use their work as a forum of one kind or another.) Because black literature has unfortunately been welded to social and political issues, especially during the 1960s when we witnessed a proliferation of published black writers, many serious critics have been reluctant to write about it or, even worse, have been duped into considering only the socio-political implications of such work.
In the absence of useful criticism, writers like Major have been driven to do what the professional critics have failed to do. They have had to begin establishing the criteria on which their work should be judged. And this is what Major attempts to do. He offers some very worthwhile biographical sketches and critical perspectives on such diverse writers as James Baldwin, Richard Wright, John A. Williams and the Chicago writers Willard Motley and Frank London Brown.
Other essays in the volume are less satisfying. Major includes a few short book reviews which, because of their brevity, are rather superficial. Another essay on "The Explosion of Black Poetry" affords some sense of the amount of poetry being written but is rather uninforming about its quality or even exactly what it's like.
But these weaker pieces are more than balanced by the others. If one is weary of the usual criticism that surrounds black literature, this book is the perfect antidote. It offers some long overdue insights into the position of the black writer, even in these liberated times, in America.
John O'Brien, "Is Black Literature beyond Criticism?" in Book Week (© Chicago-Sun Times, 1974; reprinted with permission), April 28, 1974, p. 1.
[Clarence Major] has been in the forefront of experimental poetry and prose. In prose he fits "loosely" into a category with William Melvin Kelley and Ishmael Reed. But his influences and antecedents in poetry are not so easy to identify. He is usually very competent as a writer, and he has written better poetry than The Cotton Club (see Swallow the Lake and Symptoms and Madness), which is economic almost to the point of emaciation. His subject matter is "vital," as Gwendolyn Brooks might put it…. [Major] is aware of the need to preserve and present a Black past…. [In The Cotton Club] Major conducts narrative tours of Harlem and urban Black America, primarily during the first two or...
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Reading Clarence Major's ebullient "Reflex and Bone Structure" is like the free fall before the parachute opens: an exhilarating trip, with a new view at every turn, yet with an uneasy feeling that the direction is not altogether clear and the way of getting there rather chancy. Perhaps that is Mr. Major's intent. After all he is a poet with a metaphorical shorthand of his own. What you read is what he means.
"Reflex and Bone Structure" is about Cora, an actress in the making, and her assorted men…. The men remain rather shadowy, but Cora could not be more vivid. She fills the stage by herself, a position she never quite achieves as an actress in the book. Mr. Major's writing is impressionistic: a...
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Although to date the greatest strength of Clarence Major's achievement seems to lie in the novel—especially in Reflex and Bone Structure—, his short fiction is valuable in its own right and deserves wide reading and critical discussion. The stories complement the longer fictions in their range and interests, their explorations of new subject matter, forms, and implications, and their suggestion of a writer deeply involved both with his craft and the age. As with the novels so with the stories: There is an unevenness which lets the critic say that some of the pieces are stronger than others. Such a judgment is no doubt inevitable for any writer, but in Major's case it reflects more than anything else his...
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An intricate dance step, which becomes true style, is achieved in [The Syncopated Cakewalk]…. Not only the style but also the content of these recent poems is different from those before. The timing is slower, history closer; the poems sound wonderful aloud…. A tone of sadness and a renunciation of a harsher view pervade this collection….
Major's early work, by a leap of the imagination, can be seen geometrically as a star, or asterisk. The center is hot, the edges are myriad and take off into many directions. In the more recent work, the geometrical vision is that of a cross—vertical and horizontal and austere. He views other people as a series of details (horizontal); their history,...
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