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Call And Response
This comprehensive, chronological anthology of African and African American literature asserts that there is a distinctly black literary and cultural aesthetic, one that originated in the oral traditions of Africa and was kept alive during the American slavery experience. This text represents the centuries-long emergence of this aesthetic in poetry, fiction, drama, essays, speeches, sermons, criticism, journals, and the full range of song lyrics from the spiritual to rap. Produced in conjunction with the Smithsonian Institution, the audio CD is a one-of-a-kind collection of many of the poems, chants, and songs included in the book.
Richard Wright
African-American writer Richard Wright (1908-1960) was celebrated during the early 1940s for his searing autobiography (Black Boy) and fiction (Native Son). By 1947 he felt so unwelcome in his homeland that he exiled himself and his family in Paris. But his writings changed American culture forever, and today they are mainstays of literature and composition classes. He and his works are also the subjects of numerous critical essays and commentaries by contemporary writers. This volume presents a comprehensive annotated bibliography of those essays, books, and articles from 1983 through 2003. Arranged alphabetically by author within years are some 8,320 entries ranging from unpublished dissertations to book-length studies of African American literature and literary criticism. Also included as an appendix are addenda to the author's earlier bibliography covering the years from 1934 through 1982. This is the exhaustive reference for serious students of Richard Wright and his critics.
In Plain Sight
Studies why the poetry of nineteenth-century American women has all but disappeared from literary history, with the exception of the works of Emily Dickinson. Exploring works by little-known poets, it illustrates that the means by which the poetry came to be written and read contributed to and determined its eventual erasure.
African Spirituality in Black Women's Fiction
African Spirituality in Black Women's Fiction: Threaded Visions of Memory, Community, Nature and Being is the nexus to scholarship on manifestations of Africanisms in black art and culture, particularly the scant critical works focusing on African metaphysical retentions. This study examines New World African spirituality as a syncretic dynamic of spiritual retentions and transformations that have played prominently in the literary imagination of black women writers. Beginning with the poetry of Phillis Wheatley, African Spirituality in Black Women's Fiction traces applications and transformations of African spirituality in black women's writings that culminate in the conscious and deliberate celebration of Africanity in Hurston's Their Eyes Were Watching God. The journey from Wheatley's veiled remembrances to Hurston's explicit gaze of continental Africa represents the literary journey of black women writers to represent Africa as not only a very real creative resource but also a liberating one. Hurston's icon of black female autonomy and self realization is woven from the thread work of African spiritual principles that date back to early black women's writings.
Scarring the Black Body
Scarring and the act of scarring are recurrent images in African American literature. In Scarring the Black Body, Carol E. Henderson analyzes the cultural and historical implications of scarring in a number of African American texts that feature the trope of the scar, including works by Sherley Anne Williams, Toni Morrison, Ann Petry, Ralph Ellison, and Richard Wright. The first part of Scarring the Black Body, "The Call," traces the process by which African bodies were Americanized through the practice of branding. Henderson incorporates various materials -- from advertisements for the return of runaways to slave narratives -- to examine the cultural practice of "writing" the body. She also considers way in which writers and social activists, including Frederick Douglass, Olaudah Equiano, Harriet Tubman, and Sojourner Truth, developed a "call" centered on the body's scars to demand that people of African descent be given equal rights and protection under the law.
The Rise of Chicago's Black Metropolis, 1920-1929
During the Roaring '20s, African Americans rapidly transformed their Chicago into a "black metropolis." In this book, Christopher Robert Reed describes the rise of African Americans in Chicago's political economy, bringing to life the fleeting vibrancy of this dynamic period of racial consciousness and solidarity. Reed shows how African Americans rapidly transformed Chicago and achieved political and economic recognition by building on the massive population growth after the Great Migration from the South, the entry of a significant working class into the city's industrial work force, and the proliferation of black churches. Mapping out the labor issues and the struggle for control of black ...
Beyond Douglass
Essays dealing with early African American literature.
Performance Ethnography
One of the world's most distinguished authorities on qualitative research establishes the connection of performance narratives with performance ethnography and autoethnography, the linkage of these formations to critical pedagogy and critical race theory, and the histories of these formations.
America Is the Prison
In the 1970s, while politicians and activists outside prisons debated the proper response to crime, incarcerated people helped shape those debates though a broad range of remarkable political and literary writings. Lee Bernstein explores the forces that sparked a dramatic "prison art renaissance," shedding light on how incarcerated people produced powerful works of writing, performance, and visual art. These included everything from George Jackson's revolutionary Soledad Brother to Miguel Pinero's acclaimed off-Broadway play and Hollywood film Short Eyes. An extraordinary range of prison programs--fine arts, theater, secondary education, and prisoner-run programs--allowed the voices of prisoners to influence the Black Arts Movement, the Nuyorican writers, "New Journalism," and political theater, among the most important aesthetic contributions of the decade. By the 1980s and '90s, prisoners' educational and artistic programs were scaled back or eliminated as the "war on crime" escalated. But by then these prisoners' words had crossed over the wall, helping many Americans to rethink the meaning of the walls themselves and, ultimately, the meaning of the society that produced them.
La Pinta
In this groundbreaking study based on archival research about Chicana and Chicano prisoners—known as Pintas and Pintos—as well as fresh interpretations of works by renowned Pinta and Pinto authors and activists, B. V. Olguín provides crucial insights into the central roles that incarceration and the incarcerated have played in the evolution of Chicana/o history, cultural paradigms, and oppositional political praxis. This is the first text on prisoners in general, and Chicana/o and Latina/o prisoners in particular, that provides a range of case studies from the nineteenth century to the present. Olguín places multiple approaches in dialogue through the pairing of representational figure...
