Urban Literature: Keeping It Real?
The recent publications of 50 Cent’s G-unit books and Snoop Dogg’s Doggy Tales along with the success of a plethora of other books have shown that urban literature is a lucrative enterprise. Iceberg Slim and Donald Goines – whose books are now considered as classics – are viewed as the godfathers of this gritty and realistic portrayal of African American inner-city experience. Their stories have inspired rappers: both Ice Cube and Ice T have derived their monikers in homage to Iceberg Slim. However 50 Cent and Snoop Dogg’s offerings bring nothing new to the genre, the impact of Goines and Slims work is simply watered down and stripped of any authenticity or realism.
Realism is at the center of urban literature. This is particularly important because 50 Cent and Snoop Dogg’s books are aimed at a group more familiar with Playstations than books, there is the potential to encourage greater literacy. 50 Cent and Snoop’s readership also contains middle-class kids, both black and white, interested in the portrayals of a side of urban experience that has been off-limits to them. These books therefore present a chance to show the world an authentic, moving and entertaining portrayal of black inner-city experience – a section of black experience increasingly ignored in the US mainstream aside from some episodes of The Wire and the odd black movie, neither of which seem to hit these shores with any force. Urban literature has the potential to fill this gap and show the reality and variety of black inner city experience; not just the criminal element, but work and family life as well.
The work of 50 Cent and Noire in Baby Brother and Snoop Dogg and David E. Talbert in Love don’t live here any More completely fails to recognise this potential. These books are clichéd ghetto fantasy and seem to scream out ‘film deal’ at every point in their narratives. Both are based on Boyz in the Hood (and all the films of that ilk) to such an absurd degree that they bring absolutely nothing new to the cannon of urban literature. More disappointing than the somewhat expected lack of challenge and inspiration is the complete lack of integrity – there is no honest desire to tell a good story in either of these books. They fail in the most fundamental way to provide the escapism and entertainment that literature can provide.
Urban literature is a genre that prides itself on authenticity, presenting the harsh realities of black inner city experience; qualities which make it synonymous with the early ideals of hip-hop. But like hip-hop, urban literature shows signs of sacrificing quality in order to attract the crowds. Ultimately the end result is anything but real – just another money making exercise for two overexposed hip-hop brand names.
It should be remembered that urban literature, or ghetto pulp fiction as it is sometimes called, is still young and despite the relationship between urban literature and rap, the genre is not restricted to hip-hop, the US or even black people. Books by Courttia Newland and even Irvine Welsh’s Trainspotting can be included under the banner of ‘urban’ literature. This brings up the issue of whether ‘urban’ literature is just another tag like ‘black writing’, made to separate the majority of black authors from mainstream literature. In any case, wider reading is required; hopefully the work of 50 Cent and Snoop will send people in search of better literature that truly represents urban life.
