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Praised as "exuberantly engaging" by the Los Angeles Times and a "beautiful, beautiful piece of writing" by the Houston Post, acclaimed artist Ntozake Shange brings to life the story of a young girl's awakening amidst her country's seismic growing pains in Betsey Brown. Set in St. Louis in 1957, the year of the Little Rock Nine, Shange's story reveals the prismatic effect of racism on an American child and her family. Seamlessly woven into this masterful portrait of an extended family is the story of Betsey's adolescence, the rush of first romance, and the sobering responsibilities of approaching adulthood.
Praised as "exuberantly engaging" by the Los Angeles Times and a "beautiful, beautiful piece of writing" by the Houston Post, acclaimed artist Ntozake Shange brings to life the story of a young girl's awakening amidst her country's seismic growing pains. Set in St. Louis in 1957, the year of the Little Rock Nine, Shange's story reveals the prismatic effect of racism on an American child and her family. Seamlessly woven into this masterful portrait of an extended family is the story of Betsey's adolescence, the rush of first romance, and the sobering responsibilities of approaching adulthood.
The Crisis, founded by W.E.B. Du Bois as the official publication of the NAACP, is a journal of civil rights, history, politics, and culture and seeks to educate and challenge its readers about issues that continue to plague African Americans and other communities of color. For nearly 100 years, The Crisis has been the magazine of opinion and thought leaders, decision makers, peacemakers and justice seekers. It has chronicled, informed, educated, entertained and, in many instances, set the economic, political and social agenda for our nation and its multi-ethnic citizens.
For every parent who has ever wanted to scream, “Save me! My child is acting like a brat!” there’s You’re Not the Boss of Me. Filling a critical void in parenting manuals, revered childhood development and behavior expert Betsy Brown Braun, bestselling author of Just Tell Me What to Say, dispenses invaluable advice on how to brat-proof kids during the formative ages 4 through 12.
The Songs Became the Stories: The Music in African-American Fiction, 1970-2005 is a sequel to The Music in African-American Fiction, which traced the representation of music in fiction from its mid-nineteenth-century roots in slave narratives through the Black Arts Movement of the 1960s. The Songs Became the Stories continues the historical, critical and musicological analyses of the first book through an examination of many of the major figures in African-American fiction over the past thirty-five years, including Ishmael Reed, Toni Morrison, Ntozake Shange, Nathaniel Mackey, Alice Walker, Albert Murray and John Edgar Wideman. The volume also includes an extensive annotated discography and excerpts from first-hand interviews with major African-American musical artists.
Cases argued and determined in the Supreme Court of North Carolina.
Vershawn Ashanti Young and Bridget Harris Tsemo collect a diverse assortment of pieces that examine the generational shift in the perception of the black middle class, from the serious moniker of "bourgeois" to the more playful, sardonic "boojie." Including such senior cultural workers as Amiri Baraka and Houston Baker, as well as younger scholars like Damion Waymer and Candice Jenkins, this significant collection contains essays, poems, visual art, and short stories that examine the complex web of representations that define the contemporary black middle class.