In his updated 1995 introduction to his novel "Oxherding Tale", Charles Johnson criticized Walker's novel for its negative portrayal of African-American males: "I leave it to readers to decide which book pushes harder at the boundaries of convention, and inhabits most confidently the space where fiction and philosophy meet." Walker responded in her essays "The Same River Twice: Honoring the Difficult" (1998). Robert Hayden, the first African-American Poet Laureate Consultant in Poetry to the Library of Congress, critiqued the idea of African-American Literature by saying (paraphrasing the comment by the black composer Duke Ellington about jazz and music): "There is no such thing as Black literature. There's good literature and bad. And that's all." Kenneth Warren's "What Was African American Literature?" argues that black American writing, as a literature, began with the institution of Jim Crow legislation and ended with desegregation. In order to substantiate this claim, he cites both the societal pressures to create a distinctly black American literature for uplift and the lack of a well formulated essential notion of literary blackness. For this scholar, the late 19th and early 20th centuries de jure racism crystallized the canon of African-American literature as black writers conscripted literature as a means to counter notions of inferiority. During this period, “whether African American writers acquiesced in or kicked against the label, they knew what was at stake in accepting or contesting their identification as Negro writers.” He writes that “[a]bsent white suspicion of, or commitment to imposing, black inferiority, African American literature would not have existed as a literature” Warren bases part of his argument on the distinction between "the mere existence of literary texts" and the formation of texts into a coherent body of literature. For Warren, it is the coherence of responding to racist narratives in the struggle for civil rights that establishes the body of African-American literature, and the scholar suggests that continuing to refer to the texts produced after the civil rights era as such is a symptom of nostalgia or a belief that the struggle for civil rights has not yet ended. In an alternative reading, Karla F. C. Holloway's "Legal Fictions" (Duke University Press, 2014) suggests a different composition for the tradition and argues its contemporary vitality. Her thesis is that legally cognizable racial identities are sustained through constitutional or legislative act, and these nurture the "legal fiction" of African-American identity.