The Signifying Monkey continues a discussion that Gates began in Figures in Black: Words, Signs, and the “Racial” Self (1987). These works will clearly constitute a monument to African American literature and its history and theory. The Signifying Monkey adds to the story of Esu-Elegbara and his many-faceted nature, bringing the Monkey himself front and center in American culture. The protean figure of the Monkey, whatever its origin, vitalizes African American literature with a trope that helps link the works of a living corpus. Ironically, Gates devotes his subtlest, most satisfying explication to Reed’s Mumbo Jumbo, explicating that complex novel as a rejection both of the theory of a double-voiced African American, at once American and black, and of the notion of a transcendental blackness.
Gates has done truly groundbreaking work in slave narratives, and the section on that genre and its trope of the Talking Book will be for many readers the most valuable. No theory is necessary to account for the power of the passages quoted: The speakers reach out with human voices that command respect for their courage and longing. The accounts of the slave writers, moreover, are free from the mostly gratuitous postmodernist jargon that frequently gnarls the other chapters.
As for the explications of the novels by Hurston, Reed, and Walker, the chapter on Mumbo Jumbo has an impressive substantiality to it that the other...
(The entire section is 607 words.)