Ashe, Bertram. “Paul Beatty’s White Boy Shuffle Blues: Jazz Poetry, John Coltrane, and the Post-Soul Aesthetic.” In Thriving on a Rift: Jazz and Blues Influences in African American Literature and Film, edited by Graham Lock and David Murray. New York: Oxford University Press, 2009. This chapter examining The White Boy Shuffle deals with jazz poetry and Beatty’s style.
Grassian, Daniel. Writing the Future of Black America: Literature of the Hip-hop Generation. Columbia: University of South Carolina Press, 2009. Contains a chapter on Paul Beatty.
Rankin, Thomas. “Joker, Joker, Deuce.” In Masterplots II: African American Literature, edited by Tyrone Williams. Rev. ed. Pasadena, Calif.: Salem Press, 2009. Provides an in-depth analysis of this work.
Selinger, Eric Murphy. “Trash, Art, and Performance Poetry.” Review of Joker, Joker, Deuce. Parnassus: Poetry in Review 23, nos. 1/2 (1998): 356-382. Reviews Joker, Joker, Deuce in the context of Beatty’s production as a performance poet. One of the few full-length analyses of Beatty’s poetry, this article provides insight into the work’s motivations and impact.
Svboda, Terese. “Try Bondage.” Review of Joker, Joker, Deuce. Kenyon Review 17, no. 2 (1995): 154-160. Reviews Beatty’s book Joker, Joker, Deuce along with collections by Lois-Ann Yamanaka, Sapphire, and Marilyn Chin. Shows how Beatty deconstructs African American myths through his edgy, explosive rhymes while it praises the collection’s veracity, sharp wit, and moral stance.
Thomas, Lorenzo. “’Stuck in the Promised Land’: African American Poets at the Edge of the Twenty-first Century.” In Black Liberation in the Americas, edited by Fritz Gysin and Christopher Mulvey. Munster, Germany: Lit Verlag, 2001. Discusses the work of five young African American poets writing in the 1990’s and closely reads selections from Beatty’s Joker, Joker, Deuce. Attempts to situate their poetry as simultaneously responding to and breaking away from earlier African American literary traditions in the face of an increasingly commodified and postmodern cultural landscape.