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Anatole Paul Broyard (July 16, 1920 – October 11, 1990) was an American writer, literary critic and editor born in New Orleans who wrote for ''The New York Times''. In addition to his many reviews and columns, he published short stories, essays, and two books during his lifetime. His autobiographical works, ''Intoxicated by My Illness'' (1992) and ''Kafka Was the Rage: A Greenwich Village Memoir'' (1993), were published after his death. He had moved to Brooklyn, New York with his family as a youth. After his death, Broyard became the center of controversy when it was revealed that he had "passed" as white as an adult, when he wanted simply to be accepted as a writer. Some friends said they always knew he had black ancestry. A Louisiana Creole of mixed race, Broyard was criticized by some blacks for this, during a period of increased political activity by African Americans. Advocates of multiracial culture have cited Broyard as an example of someone insisting on an independent racial identity before it was widely popular in mainstream America. ==Life and career== Anatole Broyard was born in New Orleans into a mixed-race Louisiana Creole family, the son of Paul Anatole Broyard, a carpenter and construction worker, and his wife, Edna Miller, neither of whom finished elementary school. Broyard was descended from free people of color who had achieved that status before the Civil War. The first Broyard recorded in Louisiana was a French colonist in the mid-eighteenth century.〔(Farai Chideya, "Daughter Discovers Father's Black Lineage" ), interview of Bliss Broyard, ''News & Notes'', National Public Radio, October 2, 2007, accessed 25 January 2011〕〔"(Anatole Broyard, 70, Book Critic And Editor at The Times, Is Dead )", ''New York Times'', Oct 12, 1990.〕 Broyard was the second of three children; he and his sister Lorraine, two years older, were light skinned with features that were more European. Their younger sister Shirley, who eventually married the lawyer and civil rights leader Franklin Williams, was darker and showed more African ancestry.〔 When Broyard was a child, his family joined the Great Migration during the Great Depression, moving from New Orleans to New York City, to go where his father thought there were more work opportunities. They lived in a working-class and racially diverse community in Brooklyn. Having grown up in the French Quarter's Creole community, Broyard felt he had little in common with the blacks of Brooklyn. He saw his parents "pass" as white to get work, as his father found the carpenters' union racially discriminatory.〔 By high school, the younger Broyard had become interested in artistic and cultural life; his sister Shirley said he was unique in the family with these interests.〔 As the writer and editor Brent Staples wrote in 2003, "Anatole Broyard wanted to be a writer -- and not just a 'Negro writer' consigned to the back of the literary bus."〔(Brent Staples, "Editorial Observer; Back When Skin Color Was Destiny, Unless You Passed for White" ), ''New York Times'', 7 September 2003, accessed 25 January 2011〕 The historian Henry Louis Gates, Jr. wrote: "In his terms, he did not want to write about black love, black passion, black suffering, black joy; he wanted to write about love and passion and suffering and joy."〔 Broyard had some stories accepted for publication in the 1940s. He began studying at Brooklyn College before the US entered World War II. When he enlisted in the Army, the armed services were segregated and no African Americans were officers. He was accepted as white at enlistment, successfully completed officers' school, and was promoted to captain during his service. After the war, Broyard continued with his white identity. Staples noted: "Those who had escaped the penalties of blackness in the military were often unwilling to go back to second-class citizenship after the war. One demographer estimated that more 150,000 black people sailed away permanently into whiteness during the 1940's alone, marrying white spouses and most likely cutting off their black families."〔 Broyard used the GI Bill to study at the New School for Social Research in New York.〔 He settled in Greenwich Village, where he became part of its bohemian artistic and literary life. With money saved during the war, Broyard owned a bookstore for a time. As he recounted in a 1979 column: "Eventually, I ran away to Greenwich Village, where no one had been born of a mother and father, where the people I met had sprung from their own brows, or from the pages of a bad novel.... Orphans of the avant-garde, we outdistanced our history and our humanity."〔(Henry Louis Gates, Jr., "The Passing of Anatole Broyard" ), in ''Thirteen Ways of Looking at a Black Man'', New York: Random House, 1997〕 Broyard did not identify with or champion black political causes. Because of his artistic ambition, in some circumstances he never acknowledged that he was part black.〔(Margaret A. Harrell, 21 October 1999 Letter to ''The New Yorker'' ), "From New York City: Letter" blog〕 On the other hand, Margaret Harrell has written that she and other acquaintances were casually told that he was a writer and black before meeting him, and not in the sense of having to keep it secret. That he was part-black was well known in the Greenwich Village literary community from the early 1960s.〔 During the 1940s, Broyard published stories in ''Modern Writing'', ''Discovery'', and ''New World Writing'', three leading pocket-book format "little magazines". He also contributed articles and essays to ''Partisan Review'', ''Commentary'', ''Neurotica'', and ''New Directions Publishing''. Stories of his were included in two anthologies of fiction widely associated with the Beat writers, but Broyard did not identify with them. He was often said to be working on a novel, but never published one. After the 1950s, Broyard taught creative writing at The New School, New York University, and Columbia University, in addition to his regular book reviewing. For nearly fifteen years, Broyard wrote daily book reviews for the ''New York Times''. The editor John Leonard was quoted as saying, "A good book review is an act of seduction, and when he () did it there was no one better."〔 In the late 1970s, Broyard started publishing brief personal essays in the ''Times'', which many people considered among his best work.〔 These were collected in ''Men, Women and Anti-Climaxes'', published in 1980. In 1984 Broyard was given a column in the ''Book Review'', for which he also worked as an editor. He was among those considered "gatekeepers" in the New York literary world, whose positive opinions were critical to success. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Anatole Broyard」の詳細全文を読む スポンサード リンク
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