Showing posts with label african-america n studies. Show all posts
Showing posts with label african-america n studies. Show all posts

My Remembers Review

My Remembers
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Mr. Stimpson's book is a wonderful and entertaing account of his life in a black sharecropper family in what has now become one of the most high tech areas in the United States. You will not be able to put the book down. Ted Peters, Executive Director, Heritage Farmstead Museum, Plano, Texas.

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Enter the New Negroes: Images of Race in American Culture Review

Enter the New Negroes: Images of Race in American Culture
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The title of this text does its contents no justice. This book accurately explains the continually changing mentality of (and towards) African Americans from the end of slavery and through the Harlem Renaissance. It follows two methods of expression (art and literature) which helped to define the diverse culture that blossomed in Harlem after the Great Migration.
In efficiently examining the art and writings of the prominent African Americans of the time, Prof. Nadell helps bring to the surface fascinating connections between the two creative forms and between the creative, intellectual, and socio-economic aspects of the 'New Negro'.
Besides being wonderfully enlightening, the book is also masterfully put together. Nadell's art selection is thought-provoking and sharply printed. The layout of the book is stunning and the index complete. The cover-art, as you can see, makes you want to display the book on a pedestal instead of stuffing it between some musty tomes on your shelf.
A completely invigorating read.

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With the appearance of the urban, modern, diverse "New Negro" in the Harlem Renaissance, writers and critics began a vibrant debate on the nature of African-American identity, community, and history. Martha Jane Nadell offers an illuminating new perspective on the period and the decades immediately following it in a fascinating exploration of the neglected role played by visual images of race in that debate.

After tracing the literary and visual images of nineteenth-century "Old Negro" stereotypes, Nadell focuses on works from the 1920s through the 1940s that showcased important visual elements. Alain Locke and Wallace Thurman published magazines and anthologies that embraced modernist images. Zora Neale Hurston's Mules and Men, with illustrations by Mexican caricaturist Miguel Covarrubias, meditated on the nature of black Southern folk culture. In the "folk history" Twelve Million Black Voices, Richard Wright matched prose to Farm Security Administration photographs. And in the 1948 Langston Hughes poetry collection One Way Ticket, Jacob Lawrence produced a series of drawings engaging with Hughes's themes of lynching, race relations, and black culture. These collaborations addressed questions at the heart of the movement and in the era that followed it: Who exactly were the New Negroes? How could they attack past stereotypes? How should images convey their sense of newness, possibility, and individuality? In what directions should African-American arts and letters move?

Featuring many compelling contemporary illustrations, Enter the New Negroes restores a critical visual aspect to African-American culture as it evokes the passion of a community determined to shape its own identity and image.


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From The Bottom Of The Heap: The Autobiography Of Black Panther Robert Hillary King (PM Press) Review

From The Bottom Of The Heap: The Autobiography Of Black Panther Robert Hillary King (PM Press)
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King is best known, along with Herman Wallace and Albert Woodfox, as one of the Angola Three, leaders of a Black Panther Party chapter in Louisiana's Angola Prison who served extensive portions (in the case of Wallace and Woodfox, 36 years) of their sentences in solitary confinement. Since his release, King has campaigned endlessly in support of the release of Wallace and Woodfox. He has also spoken out about the flaws in the criminal justice system, the reality of Southern racism that enjoys official support, and the disparities affecting people of African descent which in turn predicated his Black Panther Party membership. In revealing the details of his life, King employs an arresting writing style and welcomes you in to a world to which few have access.
Heap tells King's story from his youth growing up in the racially stratified Deep South to incarceration, political engagement and quest for freedom. His prose in plain-spoken yet vulnerable, with accounts of a life lived with much forthrightness and few regrets, though seemingly myriad pains. Yarns like King boxing with a rival named Pugnose as a means of resolving a youth jail code's double standard affecting boys and girls dating are symbolic of King's way of storytelling. While his estimations are spot-on, King seems to prefer stepping back and letting the situation speak for itself. Going this course makes for teaching moments on how different society is from King's teenage years and, in other ways, how the world has barely changed, if at all.
Those expecting harrowing prison tales will not find them so much in this book as there are accounts of the everyday life of a young man dealing with the criminal justice system, social inequality and his own hopes for himself. The delicate negotiations of prison life are plumbed certainly. The conditions the Angola Three dealt with and their decision to resist brutality, as well as the facility's response to their demands for basic human rights, are frequently sorrowful. King's courage is nothing short of extraordinary. But really Heap is about much more than politics, survival and adversity. Though Louisiana has yet to atone for the wasted years given by the trio of Black Panther organizers, Heap is one man's shot at making sure a history and a struggle are not lost now or to future generations.

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In 1970, a jury convicted Robert Hillary King of a crime he did not commit and sentenced him to 35 years in prison. He became a member of the Black Panther Party while in Angola State Penitentiary, successfully organizing prisoners to improve conditions. In return, prison authorities beat him, starved him, and gave him life without parole after framing him for a second crime. He was thrown into solitary confinement, where he remained in a six by nine foot cell for 29 years as one of the Angola 3. In 2001, the state grudgingly acknowledged his innocence and set him free. This is his story.It begins at the beginning: born black, born poor, born in Louisiana in1942, King journeyed to Chicago as a hobo at the age of 15. He married and had a child, and briefly pursued a semi-pro boxing career to help provide for his family. Just a teenager when he entered the Louisiana penal system for the first time, King tells of his attempts to break out of this system, and his persistent pursuit of justice where there is none.Yet this remains a story of inspiration and courage, and the triumph of the human spirit. The conditions in Angola almost defy description, yet King never gave up his humanity, or the work towards justice for all prisoners that he continues to do today. From the Bottom of the Heap, so simply and humbly told, strips bare the economic and social injustices inherent in our society, while continuing to be a powerful literary testimony to our own strength and capacity to overcome.

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Zora Neale Hurston: A Literary Biography Review

Zora Neale Hurston: A Literary Biography
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I studied Zora Hurston in a Southern women's writer's class and fell in love with her wit, truthfulness, cattiness, and charm. She's one of the best, if not the best, black women writers of the past. She keeps her writing in the southern black dialect that makes it most appealing and real. I have all her books, words on cassette, and a video, "Zora is My Name." This book is good to use for a discussion group.

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Step It Down: Games, Plays, Songs, and Stories from the Afro-American Heritage Review

Step It Down: Games, Plays, Songs, and Stories from the Afro-American Heritage
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This is a fantastic book of African-American Folk Songs. Bessie Jones includes not only the songs, but background information and games/motions to go along with it. I use it religiously in my lesson planning.

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Growing up in the rural South, Bessie Jones sang her way through long hours of field work and child tending, entertaining her young companions with chants and riddles or joining them for a rousing evening of ring dances and singing plays. These songs and games, recorded in Step It Down by folklorist Bess Lomax Hawes, capture the shape and color of the crowded, impoverished, life-demanding, and life-loving days of the black family of sixty years ago, revealing the strength and vitality of African and slave traditions in black American life.
The power of music and motion to transform a world of scarcity and hardship into one of laughter and joy echoes throughout Bessie Jones's words:
"And the other childrens and I would go in the bottom and have a frolic, instead of going to bed. I was just up for that singing, and I remembered they used to say . . . 'Come on, Lizzie!' and we'd go down a way and we'd have a dance. Oh it was pretty. . . . You know, it was just as good as the blues--better, better in a way. When the old folks would go to work or go off or something, we'd put on them long dresses and, boy, we'd have a time."
Step It Down weaves together the lyrics, music, and description of traditional Afro-American children's songs as well as Jones's comments on their meaning and "feel." Whether reciting "Tom, Tom, Greedy Gut" or demonstrating the more complex steps of "Ranky Tank" and "Buzzard's Lope," Bessie Jones always viewed the amusements of the young as preparation for adult roles and relationships, and as a teacher, she developed her own philosophy of how a black child is socialized into the larger community. Grounded in the values of black society, her songs taught children about cooperative interaction and mutual concern, not about competition and individual achievement, showing them how to create fun out of nothing more than their hands, feet, voices, and imaginations.

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Africans and Native Americans: The Language of Race and the Evolution of Red-Black Peoples Review

Africans and Native Americans: The Language of Race and the Evolution of Red-Black Peoples
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This book used historical sources from explorers, priests, and colonizers to describe the appearance of the indigenous peoples found in the Americas in the 14th, 15th, 16th centuries. From the witnesses own descriptions these people were dark copper-toned woolly-haired peoples often referred to by the witnesses as ethiopian and or negro. These are the ancestors so many so-call African-American elders spoke of to their children and grandchildren. This book should be required reading as well as be on every "black" family's book shelf. A fascinating read without the politics of the western scholar. I would also suggest another book entitled When Rocks Cry Out by Horace Butler.

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Behind the Mule: Race and Class in African-American Politics Review

Behind the Mule: Race and Class in African-American Politics
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This is a very important work in black politics and an interesting if complexing read. Check it out if interested in black political behavior...

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Political scientists and social choice theorists often assume that economic diversification within a group produces divergent political beliefs and behaviors. Michael Dawson demonstrates, however, that the growth of a black middle class has left race as the dominant influence on African- American politics. Why have African Americans remained so united in most of their political attitudes? To account for this phenomenon, Dawson develops a new theory of group interests that emphasizes perceptions of "linked fates" and black economic subordination.


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The Mule-Bone: A Comedy of Negro Life in Three Acts Review

The Mule-Bone: A Comedy of Negro Life in Three Acts
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Aside from the controversy of the dispute between Hughes and Hurston, I deal with the story and play itself.
The play "Mule Bone" is based on "The Bone of Contention," a 1930 short story by the Queen of Black Folklore (ZNH) based on a folktale from her hometown of Eatonville Fla. about two men who fight over a turkey. One uses a Mule bone to assault the other, and the town's Black Baptists and Methodists split over the issue as Mayor Joe Clarke tries to settle the matter.
The play by Hughes and Hurston is similar, only the two men are now a song and dance team fighting over the affections of a local vamp and an epilogue is added to the ending.
Overall, it's mildly amusing. It does a decent job in capturing some subtleties of Black rural life in 1930 such as the courting rituals and the "dozens" insults between the Black Baptists and Methodists (one Baptist insults a Methodist as a "half-washed Christian." Anyone familiar with the competing theologies will have a good laugh at this one). But those familair with Hurston's work will see a lot of "The Eatonville Anthology" and the later "Mules and Men" here. Nothing really outstanding to the Hurston fan, but worthy of a few chuckles.
However, had this play been performed in 1930, I doubt very seriously that it would have been considered as revolutionary as the authors intended. It would have surely set off a firestorm of controversy. Given the fact that few literate Blacks who attended plays wanted anything to remind them of their rural Southern origins, this play would have been damned and dismissed by the African-American elite and white liberals of the day. While the heavy dialect, the use of the n-word, the casual attitude toward domestic violence, the illiteracy and pompousness of many characters, etc. were realistic aspects of Black rural life at the time, this was a side of Black life that many feared would be exploited by bigots to prevent their inclusion into mainstream society. In fact, I have read where these issues accompanied the play upon its actual performance in 1991.
But even a so-so effort by Hughes and Hurston proves to be far more interesting than many other efforts by others at the time.

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Jews and the American Slave Trade Review

Jews and the American Slave Trade
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Saul S. Friedman is professor of Jewish and Middle Eastern history at Youngstown State. He is also the author of A History of the Holocaust (Parkes-Wiener Series on Jewish Studies), A History of the Middle East, Land of Dust, The Incident at Massena: The Blood Libel in America, No Haven for the Oppressed; United States Policy Toward Jewish Refugees, 1938-1945, etc.
He writes in the Preface to this 1998 book, "This is not a text in American history, Jewish history, nor, for that matter, the history of slavery... Rather it is intended as a response to a series of charges which have been widely circulated in the last several years. to wit: (a) that the shipment of millions of Africans to the New World was a black Holocaust; (b) the number of victims and suffering in American death marches and ghettoes ... dwarfs anything experienced by European Jews under Hitler; (c) chief among the villans responsible for these degradations throughout the colonial world and well into the antebellum period were Jews ... (d) Jews not only masterminded the slave trade, they continue to exploit American blacks to the present day. In its simplest form, the charge is that Jews were responsible for the slave trade to and in America." This book is particularly a refutation of the Nation of Islam's The Secret Relationship Between Blacks and Jews.
Here are some quotations from the book:
"9,000 slaves is not 80,000 as suggested by the 'Secret Relationship.' Nor does the purchase of one quarter of slave imports constitute domination of the trade." (Pg. 67)
"Jews who owned FEW slaves knew the institution to be obsolete, inefficient, and morally wrong." (Pg. 144)
"Jews accepted slavery because it was the norm among their Gentile neighbors, serving as an escape valve for frustrations of poor whites, offering protective coloration for the foreign born." (Pg. 167)
"Some Jews worked to ameliorate black suffering even when there was no reciprocity. Black culture had imbibed anti-Semitism along with Christian theology in the eighteenth and ninteenth centuries." (Pg. 204)
"There is no substance to claims that Jews in cities owned a disproportionate number of slaves, nothing to support the contention that Jews dominated the illegal slave trade, and nothing but slander when it comes to the charge of Jewish bankers secretly sabotaging humanitarian war efforts in the nineteenth century." (Pg. 210)
"'The Secret Relationship' offers no general condemnation of the 19,816 Methodist, 5,034 Presbyterian, 2,123 Lutheran, 2,129 Episcopalian, 2,230 Congregationalist, 2,442 Catholic, 676 German Reformed, or 664 Universalist churches in America for their failure in confronting the great moral issue of the nineteenth century, but it does fault Jews, who had about as many congregations as the Swedenborgian or Moravian Christian sects in 1860." (Pg. 215)
"During the formative years of the United States, then, when the import and sale of Africans was at its peak Jews owned less than three-one hundredths of a percent, 0.03 percent of all the slaves in America." (Pg. 217)
"Somehow the mythmakers omit mention of African participation in the slave trade. No legitimate scholar disputes the existence of slaves in African societies before the arrival of European whites." (Pg. 222)

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The Nation of Islam's Secret Relationship between Blacks and Jews has been called one of the most serious anti-Semitic manuscripts published in years. As Saul Friedman definitively documents in Jews and the American Slave Trade, historical evidence suggests that Jews played a minimal role in the transatlantic, South American, Caribbean, and antebellum slave trades. Friedman elucidates the role of American Jews toward the great nineteenth-century moral debate, the positions they took, and explains what shattered the alliance between these two vulnerable minority groups in America.--This text refers to the Paperback edition.

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Faces At The Bottom Of The Well: The Permanence Of Racism Review

Faces At The Bottom Of The Well: The Permanence Of Racism
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After reading this book, Professor Bell became one of the main reasons I chose to attend NYU School of Law. Bell poignantly tells the story of an oppressed race through allegory that at once is entertaining and educational. Two stories in particular made such an impact that I still feel it a full 5 years after reading the book. The first, Afrolantica, focused on the accomplishments that African Americans can make when working toward a common goal. The ending points out that if African Americans focus and produce we can achieve anything, even the seemingly impossible by using cooperation and productivity. The last story literally reduced me to tears. Though the premise was a little far-fetched it brought home to me the realization of African Americans' importance (or lack their of) as people with hearts, minds and souls to those that form the majority in this country. At first it left me feeling hopeless, but then it made me want to fight harder. And after having met the Professor Bell and sat in his classroom I am certain that my later reaction is what he was after. The other stories are definately worthwhile also, but I point to these two because of the profound emotional effect they had on me. A must read for the believers and non-believers of the theory that racism is so ingrained in American society that it can never be eradicated.

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Saltwater Slavery: A Middle Passage from Africa to American Diaspora Review

Saltwater Slavery: A Middle Passage from Africa to American Diaspora
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Stephanie Smallwood has written a book entitled "Saltwater Slavery" that aims, as she says, to provide a linear analysis of the commodification process that transformed Africans into slaves. Her focus is on enslavement in the Gold Coast and trans-Atlantic trade during the 17th and early 18th centuries.
The book is broken into three sections - Capture and enslavement in the Gold Coast, transformation from human to commodity, and the African Diaspora in America. The first section is necessarily short and merely sets the tone for Smallwood's argument - that the enslavement process was a matter of commodifying humans into marketable objects.
The second section, the commodification of these people into objects, is well researched and eminently readable. Smallwood is especially powerful when evoking images of the horrors that individuals underwent during the process.
The third section, the African Diaspora, is also short and to the point, but does not benefit Smallwood's argument as much as the first two sections do.
Overall, this is a good book, but has some minor flaws - first, the Diaspora section is (as previously mentioned) a little weak, and the fact that Smallwood focuses on the Trans-Atlantic Commerce between the Gold Coast and the British Caribbean leaves something to be desired, since both Virginia & South Carolina were important colonies that had slaves during this period, but are largely omitted from the work.

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Adventures of an African Slaver Review

Adventures of an African Slaver
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A FAST PACED FIRST PERSON NARRATIVE OF THE LIFE OF CAPTAIN THEODORE CANOT, TRADER IN GOLD, IVORY AND SLAVES ON THE COAST OF GUINEA CIRCA 1854. CAPT. CANOT HAD QUITE A LIFE AND THE BOOK IS WRITTEN IN A MANNER THAT SEEMS TO DEFY DATING IN THAT IT IS EASY TO READ; TO GET INVOLVED IN, AND GIVES ONE MAN'S VIEW OF AN ERA THAT PLAYED A LARGE PART IN HISTORY. NOT AS ROUGH AS ONE WOULD EXPECT.

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