[Ed.] Bullins as Editorial Performer: Textual Power and the Limits of Performance in the Black Arts Movement

Abstract

In Ed Bullins's one-act thesis play Malcolm: '71, or Publishing Blackness, there takes place a highly self-reflexive, racially charged drama of?of all things?editorial negotiation. The scene opens on in his study, surrounded by books of Blackness, revolution, nation/building, poetry, drama, literature, How-to-be Black, etc.1 Blackman is both in a play and surrounded by plays. The phone rings. He answers, Black Aesthetics Limited, punning on the conflict of revolutionary aesthet ics, economic necessity, and racial-sexual-textual politics that constitutes the play's austere but vivid dramatic structure. On the other end of the line is the editorial

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