ABSTRACT Jean Toomer’s Cane (1923) and Caryl Phillips’s Crossing the River (1993) both negotiate community and individuality in the Black diaspora, utilizing multi-generic techniques. The lack of significant scholarly attention to relationships between the two texts I take as representative of the limiting imagined borders of “national” literature and turn to genre theory to read depictions of Black time, place, and community “in the wake” of the Middle Passage in these works, following Christina Sharpe. I analyze their temporal (de)construction of narrative, employing Wai Chee Dimock’s work in genre theory to read their mix of lyric and narrative modes and Peter Hitchcock’s “long space” to read the “collapsed” long space of the transnational diasporic experience in these experimental texts. Toomer and Phillips work to undermine and expand this space, breaking linear time and historicity as they search for community and selfhood in the traumatic landscape of forced removal from home.

中文翻译：

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“当太阳下山时”：甘蔗和过河的时间，空间和体裁

摘要让·图默（Jean Toomer）的《甘蔗》（Cane，1923年）和凯莉·菲利普斯（Caryl Phillips）的《穿越河流》（Crossing the River，1993年）都运用多基因技术，在黑人散居者群体中协商了社区和个性。我对这两种文本之间的关系缺乏足够的学术关注，我认为这是对“民族”文学的有限想象边界的代表，并转向体裁理论来阅读“中部时代”之后的黑人时间，地点和社区的描写。克里斯蒂娜·夏普（Christina Sharpe）追随这些作品。我分析了他们的叙事的时间性（解构）性，运用怀切·狄莫克的体裁理论作品来阅读他们的抒情和叙事模式的组合，以及彼得·希区柯克的“长空间”来阅读跨国流放经历中的“崩溃的”长空间。实验文本。