The reasoning behind the artificiality of faulknerism in black American literature

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As a necessary clarification, that artificiality of black faulknerism is still functional because of the market functionality; that means, because it functions in the context of white liberalism, as settled in modern art commercialism. But even this functionality is not popular or related to the whole social structure, but just to its intellectual elite; which lives with that same schizoid duplicity, just covered —contrary to black Americans— by their political stability.

We should remember that even political contradiction is stability by western parameters, since it’s dialectic; with both sides of any contradiction as a moral fiction of reality, and not reality itself in its own economic determinations. This is what makes sense of the aesthetic discussions ending modernity, in the transition from XIX to XX century; all of them related to this functionality, but on that sense of political struggles, as a state itself and not a process.  

The problem then is of the arts in that context of postmodernity, as the natural process of ending modernity; in which arts loses that original functionality it had in Modernity, as a transcendental alternative to rationalism. Of course, this is still contradictory, if it’s that transcendentalism what distorts the western ontology; but here comes the other distinction between metaphysical and historial transcendentalism, both in function of rationalism.

Rationalism surges as an objectivity in immanentism, aimed to positivism, and corrected by German negativism; but this negativism comes in two forms, one of them philosophical and the other literary, in German Romanticism. The philosophical correction becomes the historical transcendentalism —with Kant—, but is still immanentism; because that immanentism comes in its historical nature, with the political determination of the social being.

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It's then the literary —aesthetic in general— what comes as pure transcendentalism, in its metaphysical nature; still related to immanentism as its primary determination, and so limited on its understanding of reality determinations. This is because it’s still an idealistic reaction to rationalism, that only function as its existential complement; covering the aspects outside of idealistic determinism, with the problems of the will as negativist (extra positivist) reflection of reality.

In this process, modern Rationalism will produce its own contradictions, in the mechanical fatigue of its logics; making dysfunctional its complementary Irrationalism, since the hermeneutic at use is the same for both traditions. This is what happens with the new understanding of the real in postmodernity, with the development of new physics; that progressively makes space for realistic probabilism, substituting the idealistic of transcendental determinism.

This makes arts progressively dysfunctional in its reflective scopes, since its functionality depends on science; on that contradictory loop of dialectics, which solves the partiality of human understanding in Modern rationalism. Here is how we can understand that artificiality of black faulknerism —not as inferiority—, as dysfunctional; because it’s the aesthetic approach to reality in general what lacks functionality, with the new understandings of reality.

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This would be what makes that black intellectualism so fragile, as they lack the political resources of the white; while their westernity prevents them from using the existential references of their own spiritual and religious practices. Let’s not forget that schizoid duplicity at the beginning, which is what results of this apparent lack of resources; artificial as their intellectual struggles, satisfied with commercial success, but as a politically stylized folklore.

Curiously enough, even as a failure in its artificiality, this is a very natural process, solving also natural contradictions; that comes over the arduous process of  black integration, keeping the links at the time that produces the tensions. This is the tension over black development maturity, coming from its first establishment to its apotheosis; the first in that simultaneity of movements like Negritude, Black renaissance, Pan-Africanism and anticolonialism; the second on the stage that interlaces all of them by its critical mass as a New Black Though, but on that previous basis.