Victory Is Assured: Uncollected Writings of Stanley Crouch

by Stanley Crouch, Jelani Cobb, Wynton Marsalis Narrated by Mirron Willis

Overview

The grievous loss of Stanley Crouch, one of America's most renowned intellectuals, is underscored by the posthumous appearance of these remarkable essays.



With Stanley Crouch's untimely death in 2020, American literature lost "a critic without peer" (Ta-Nehisi Coates). Born in Los Angeles in 1945, Crouch-a towering stylist, fearless columnist, and without question, one of the finest jazz critics of all time-was Rabelaisian both in stature and in intellectual appetite. Beloved yet cantankerous, Crouch delighted and enflamed the passions of his readers in equal measure, whether writing about race, politics, literature, or music.



In these essays-some unpublished until now-Crouch tackles subjects ranging from Malcolm X ("a thorned bud standing in the shadow of sequoias") to the films of Quentin Tarantino ("With Django, Tarantino has slipped down . . . into a shallow and bloodstained hip-hop turn that his own best work has well-refuted"). Introduced by Jelani Cobb, with an afterword by Wynton Marsalis, and collected by his longtime editor Glenn Mott, Victory Is Assured canonizes the legacy of an inimitable, indispensable American critic.

Editorial Reviews

Publishers Weekly

★ 06/13/2022

Stanley Crouch’s development as a critic is on full display in this standout collection of 58 essays, described by Mott in his preface as a sort of “intellectual autobiography.” “Diminuendo and Crescendo in Dues” is a stunning account of Duke Ellington playing at Disneyland in 1973, while “The King of Constant Repudiation” delivers a takedown of what Crouch considered phony activism: he writes of critic LeRoi Jones that “he has almost completely traded-in a brilliant and complex talent for the most obvious hand-me-down ideas, which he projects in second-rate pool hall braggadocio.” Nor did Crouch sympathize with hollow notions of machismo—he writes in “Miles Davis, Romantic Hero” about finding in Davis’s performances “public visions of tenderness that were, finally, absolute rejections of everything silly about the version of masculinity that might hobble men in either the white or the Black world.” Most of all, it is Crouch’s abiding humanism that comes through, casting a critical eye on “those ‘race men,’ Black or white, who think they love Black people but only as receptacles for theories that use data to remove the mystery from life.” This is an essential collection for fans of Crouch’s writing, or anyone interested in the art of cultural criticism. (Sept.)

Kirkus Reviews

★ 2022-06-25
A sterling collection of essays and other pieces by the eminent critic and music historian.

As Mott writes, Crouch (1945-2020) was “a physical intellectual up from the streets of South-Central L.A. who never lost the presentation of himself as a slightly dangerous and not-to-be-fucked-with individual.” There’s not much evidence of the street-fighting-man stance here, though when Crouch turns it on, as with a delightful takedown of Joseph Epstein, it can raze whole city blocks. Few writers were as well schooled in the history of jazz as was Crouch, and one of the many high points here is a restored chapter from the unpublished second volume of his life of Charlie Parker, which finds Parker in a musical duel with an offending Dizzy Gillespie: “His rage took him to altissimo extremes of the alto, notes from that register came like darts, then he swooped all the way down, his horn honking and grunting, then suddenly moved to smooth melodic lines, sensual and ethereal in their translucency.” The author explores the genius of John Coltrane, whose musical evolutions stand as “proof that a man can invent himself,” and he offers a thoughtful reflection on George Herriman, whose "Krazy Kat" comic strip never quite gave away his multiracial roots but that elevated comic art to the level of slapstick, a medium that “is as democratic as death, which plays by no rules other than its own.” Though keenly attuned to currents in Black intellectual life, Crouch is equally at home discussing John Ford’s movie The Searchers and the “knuckleheads” of every ethnicity that one sees on daytime TV. The author also deftly assesses the best and the worst of the Blaxploitation films and the evolving but incomplete thought of Malcolm X. The book features an introduction by Jelani Cobb and an afterword by Wynton Marsalis.

Testimony to a remarkable intellect and essential to any student of modern cultural criticism.

Product Details

BN ID:	2940174803022
Publisher:	HighBridge Company
Publication date:	11/15/2022
Edition description:	Unabridged

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