Professor Maxwell's scholarly research, rooted in both modernist and African-American studies, addresses the ties among African-American writing, political history, and transatlantic culture.
William J. Maxwell, a professor at Washington University since 2009, teaches courses in 20th- and 21st-century American and African American literatures. His articles and reviews have appeared in academic and popular journals including African American Review, The American Historical Review, American Literary History, American Literature, Callaloo, Harper’s, The Irish Times, The Journal of American History, Modernism/modernity, Politico, Publishers Weekly, Salon, and the London Times Literary Supplement. His longer writing has received the American Book Award and book-of-the-year citations from Choice and the St. Louis Post-Dispatch.
Maxwell is now at work on two books. With Gary Holcomb, he is preparing the first-ever publication of Claude McKay’s lost novel Romance in Marseille, to be released by Penguin Classics in February 2020. He is also writing Suburban Ferguson, a memoir-history of white reactions to Black Lives Matter that examines the national tide of backlash culture as well as his experiences in St. Louis after the death of Michael Brown.
Maxwell has published four books. The first, New Negro, Old Left: African American Writing and Communism between the Wars, issued by Columbia University Press in 1999, entered the debate over the involvement of African American writers in the “Old,” pro-Soviet left. In contrast to prior histories of the subject, largely focused on the Great Depression, New Negro, Old Left traced the source of the “Black-Red thread” to the dawning of the Harlem Renaissance, a moment when the definition of the stridently modern New Negro and the direction of the young Soviet Union were still unsettled and still imagined as related matters. New Negro, Old Left was named an Outstanding Academic Book of 1999 by Choice and still remains in print.
Maxwell’s second book, an edition of Claude McKay’s Complete Poems, was published by the University of Illinois Press in various formats in 2004, 2008, and 2013. Containing more than 300 poems, including nearly a hundred previously unpublished works, the Complete Poems was the first comprehensive collection of the verse of this pioneer of the Harlem and West Indian renaissances.
Maxwell’s third book, F.B. Eyes: How J. Edgar Hoover's Ghostreaders Framed African American Literature, was published by Princeton University Press in 2015. At first glance, few institutions seem more opposed than African American literature and J. Edgar Hoover’s white-bread Federal Bureau of Investigation. But behind the scenes the FBI’s hostility to black protest was energized by fear of and respect for black writing. Drawing on nearly 14,000 pages of newly released FBI files, F.B. Eyes exposed the Bureau’s intimate policing of five decades of African American poems, plays, essays, and novels. F.B. Eyes was recognized by a 2016 American Book Award from the Before Columbus Foundation. It was shortlisted for the 2016 Modernist Studies Association Book Prize, selected as an Outstanding Academic Title by Choice, and named one of the twenty-five best nonfiction books of 2015 by the St. Louis Post-Dispatch. The book’s companion website, The F.B. Eyes Digital Archive, presents high-quality copies of 51 FBI files on African American authors and literary institutions obtained through the U.S. Freedom of Information Act (FOIA). Also exploring the links between the Bureau and black literature, Maxwell’s fourth book, James Baldwin: The FBI File, published by Arcade in 2017, examined the ongoing Baldwin revival while diving deeply into a single FBI file, the longest yet discovered on an individual African American writer.
Maxwell has served on the MLA divisional committees on black American and 20th-century American literatures, and was elected as Second Vice President (and thus later president) of the international Modernist Studies Association (MSA) in 2018. A former book review editor of African American Review and member of the editorial board of American Literature, he is now a contributing editor at American Literary History.
