In this final installment of the Murderville series, Ashley and JaQuavis bring you the grit, treachery, and legendary street perspective that fills each of their novels. This thrilling page-turner introduces the story of the black Dahlia and her bloodstained ascent to power. After establishing a connection with “The Five Families,” Dahlia becomes untouchable. Her brazen tactics and mafia-style antics become infamous and she is set to take over the country’s black market. But there is only one thing still standing in her way—she is a woman. Since the competition doesn’t respect her, Dahlia sets out on a bloody mission to ensure the protection of her new kingdom. Liberty has relocated to her hometown only to get a knock on the door by a man she hasn’t seen in years. She reacquaints herself with the past and gets connected with some of the biggest bosses in the country. When fate brings her face-to-face with Dahlia, who will end up victorious? Will Dahlia’s newfound power make her invincible? Or will Liberty finally get the revenge she deserves? What happens next is the most shocking ending that Ashley and JaQuavis have ever created. This is storytelling at its greatest—welcome to Murderville 3: The Black Dahlia.
For this week's Black Cat Weekly, Michael Bracken has acquired an original mystery by Ashley-Ruth M. Bernier, Barb Goffman found a tale by SJ Rozan that will surely satisfy crime fans, and Cynthia Ward tracked down a Matthew Hughes story. Plus, for the sheer silliness of it all, there’s a Mickey Spillane parody from 1954 (which manages to be both a mystery and fantasy…but wasn’t everything of Spillane’s?) and classics from R. Austin Freeman (a Dr Thorndyke story), a Nick Carter novel, and the first Skylark of Space novel by E.E. “Doc” Smith. Here’s the complete lineup: Mysteries / Suspense / Adventure: “Ripen,” by Ashley-Ruth M. Bernier [Michael Bracken Presents short story] “Death Takes a Swing,” by Hal Charles [Solve-It-Yourself Mystery] “E-Golem,” by SJ Rozan [Barb Goffman Presents short story] “The Case Of Oscar Brodski,” by R. Austin Freeman [short story] A Human Counterfeit, by Nicholas Carter [novel] “The Shaky Undertaker,” by Ed Cox [short story] Science Fiction & Fantasy: “The Shaky Undertaker,” by Ed Cox [short story] “To the Sons of Tomorrow,” by Irving Cox, Jr. [short story] “Mastermindless,” by Matthew Hughes [Cynthia Ward Presents short story] “Problem In Solid,” by George O. Smith [short story] “Sequel,” by Ben Smith [short story] The Skylark of Space, by E.E. “Doc” Smith [novel]
Every Hustler's reign ends in one of two ways. . .prison or death. Refusing to let the prediction become a reality, Julius "Jules" Carter creates new rules to an old game. Strategically, he forms one of the most notorious drug operations Harlem has ever seen. Jules thought the game was his biggest challenge that is until he meets Tish. Young and Ambitious she is determined to escape from Harlem's allure, but her love for Jules has her rooted. She gets tangled in his web of lies and deceit. When she finds out about his past demons and connects them with her own, she soon finds out that there's a thin line between love and hate. You can't turn a bad girl good, but once a good girl turns bad she's gone forever. Julius finds out the hard way that everything done in the dark eventually comes to light. Ashley and JaQuavis narrate a fast paced, suspenseful tale of one of Harlem's biggest drug lords, his rise to power, and the woman behind him.
Photographer Ashley Nichole explores forbidden and forgotten places with her lens. These black and white images capture scenes of places found, but still lost to time. Ashley and poet John M. Nester assign verse to these images, envisioning situations that may or may not have been. "I can't give you an answer if the question won't come out And I can't rid these demons if your eyes are full of doubt." -- Ashley Nichole
In this comprehensive history, Ashley D. Farmer examines black women's political, social, and cultural engagement with Black Power ideals and organizations. Complicating the assumption that sexism relegated black women to the margins of the movement, Farmer demonstrates how female activists fought for more inclusive understandings of Black Power and social justice by developing new ideas about black womanhood. This compelling book shows how the new tropes of womanhood that they created--the "Militant Black Domestic," the "Revolutionary Black Woman," and the "Third World Woman," for instance--spurred debate among activists over the importance of women and gender to Black Power organizing, causing many of the era's organizations and leaders to critique patriarchy and support gender equality. Making use of a vast and untapped array of black women's artwork, political cartoons, manifestos, and political essays that they produced as members of groups such as the Black Panther Party and the Congress of African People, Farmer reveals how black women activists reimagined black womanhood, challenged sexism, and redefined the meaning of race, gender, and identity in American life.
Sociologist Ashley Mears takes us behind the brightly lit runways and glossy advertisements of the fashion industry in this insider’s study of the world of modeling. Mears, who worked as a model in New York and London, draws on observations as well as extensive interviews with male and female models, agents, clients, photographers, stylists, and others, to explore the economics and politics—and the arbitrariness— behind the business of glamour. Exploring a largely hidden arena of cultural production, she shows how the right "look" is discovered, developed, and packaged to become a prized commodity. She examines how models sell themselves, how agents promote them, and how clients decide to hire them. An original contribution to the sociology of work in the new cultural economy, Pricing Beauty offers rich, accessible analysis of the invisible ways in which gender, race, and class shape worth in the marketplace.
This is the first full study of an African country during the Second World War. Unusually, it provides both an Africanist and an imperial perspective. Using extensive archival and oral evidence, Ashley Jackson explores the social, economic, political, agricultural, and military history ofBotswana. He examines Botswana's military contribution to the war effort and the impact of the war on the African home front. The book focuses on events and personalities `on the ground' in Africa and also on their interaction with and impact upon events and personalities in distant imperialcentres, such as Whitehall and the wartime British Army headquarters in the Middle East. The attitudes, aims, and actions of all levels of colonial society - British rulers, African chiefs, military officials, ordinary African men and women - are considered, producing a `total history' of an Africancountry at war.
The radical who becomes a conservative is a common theme in political history. Benito Mussolini, the Italian socialist who became a fascist, is the best-known example, but there have been many others, including the numerous American Trotskyists and Marxists who later became neo-conservatives, anti-communists or, in some instances, McCarthyists. The politics of betrayal examines why several one-time radicals subsequently became part of the establishment in various countries, including the former Black Panther Party leader turned Republican Eldridge Cleaver, the Australian communist Adela Pankhurst who became an admirer of the Nazis, and the ex-radical journalist Christopher Hitchens, whose defection to the neo-conservative camp of George W. Bush’s administration following 11 September 2001 offers one of the most surprising instances of the phenomenon in recent times. How and why do so many radicals betray the cause? What implications does it have for left politics? Were the ex-radicals right to become conservatives? This book, the first of its kind, answers these and more questions.
The powerful new voice of her generation' The Times 'Funny, nuanced and wonderful' Jon Ronson 'A book that had me hollering, nodding and questioning at the same time' Candice Carty-Williams, author of Queenie ------- A candid exploration of the state of outrage in our culture, and how we can channel it back into the fights that matter, from presenter and DJ Ashley 'Dotty' Charles. In this wise and very funny journey into the outrage industry, Ashley 'Dotty' Charles explores how by shouting about everything, we have lost sight of the fights that actually matter - and created a world where our outrage feels with consequence. Here's how we can get it back on track. ------- 'Funny, educational, enlightening . . . Way ahead of its time' Chris Evans 'A smart and timely manifesto for surviving the age of rage' i 'Everyone with a social media account should read this book' Bella Mackie 'A swipe at the empty rhetoric of activism' Observer
First World War-based ex-servicemen’s organisations found themselves facing an existential crisis with the onset of the Second World War. This book examines how two such groups, the British and American Legions, adapted cognitively to the emergence of yet another world war and its veterans in the years 1938 through 1946. With collective identities and socio-political programmes based in First World War memory, both Legions renegotiated existing narratives of that war and the lessons they derived from those narratives as they responded to the unfolding Second World War in real time. Using the previous war as a "learning experience" for the new one privileged certain understandings of that conflict over others, inflecting its meaning for each Legion moving forward. Breaking the Second World War down into its constituent events to trace the evolution of First World War memory through everyday invocations, this unprecedented comparison of the British and American Legions illuminates the ways in which differing international, national, and organisational contexts intersected to shape this process as well as the common factors affecting it in both groups. The book will appeal most to researchers of the ex-service movement, First World War memory, and the cultural history of the Second World War.
In The Ebony Column, Eric Ashley Hairston begins a new thread in the ongoing conversation about the influence of Greek and Roman antiquity on U.S. civilization and education. While that discussion has yielded many exceptional insights into antiquity and the American experience, it has so regularly elided the African American component that all classical influence on black writing and thought seems to vanish. That omission, Hairston contends, is disturbing not least because of its longevity— from an early period of overt stereotyping and institutionalized racism right up to the contemporary and, one would hope, more cosmopolitan and enlightened era. Challenging and correcting that persistent shortsightedness, Hairston examines several prominent black writers’ and scholars’ deep investment in the classics as individuals, as well as the broader cultural investment in the classics and the values of the ancient world. Beginning with the late-eighteenth-century verse of Phillis Wheatley, whose classically inspired poems functioned as a kind of Trojan horse to defeat white oppression, Hairston goes on to consider the oratory of Frederick Douglass, whose rhetoric and ideas of virtue were much influenced by Cicero, and the writings of educator Anna Julia Cooper, whose classical training was a key source of her vibrant feminism. Finally, he offers a fresh examination of W. E. B. DuBois’s seminal The Souls of Black Folk (1903) and its debt to antiquity, which volumes of commentary have largely overlooked. The first book to appear in a new series, Classicism in American Culture, The Ebony Column passionately demonstrates how the myths, cultures, and ideals of antiquity helped African Americans reconceptualize their role in a Euro-American world determined to make them mere economic commodities and emblems of moral and intellectual decay. To figures such as Wheatley, Douglass, Cooper, and DuBois, classical literature offered striking moral, intellectual, and philosophical alternatives to a viciously exclusionary vision of humanity, Africanity, the life of the citizen, and the life of the mind.
You've never been black, have you? No, if you'd been black, you wouldn't ask no silly-ass question like that.'" This article appears in the Winter 2012 issue of Southern Cultures. The full issue is also available as an ebook. Southern Cultures is published quarterly (spring, summer, fall, winter) by the University of North Carolina Press. The journal is sponsored by the University of North Carolina at Chapel Hill's Center for the Study of the American South.
Escape to the South Carolina Lowcountry for a tale of true love and southern family dysfunction. Lillian Alexander has never understood her twin sister’s animosity toward her. Their problems stem from childhood, from the traumatic day their mother died twenty-seven years ago. But Lillian remembers nothing about that day. Until their father dies and she encounters ghosts from her past who stir those long-suppressed memories. Why, if her mother’s death was an accident, does Lillian harbor guilt, as though she were somehow to blame? When the Stoney twins learn the family fortune is gone, Lillian fights to save her ancestral home on Charleston’s prestigious East Battery. Desperate to resolve her money problems and get answers to her questions about the past, she tears her father’s study apart in search of clues. She discovers a thumb drive in a hollowed-out hardback copy of For Whom the Bell Tolls. The thumb drive, marked For Lillian in his handwriting, contains her father’s memoir. Secluded in the family’s cottage on Wadmalaw Island, she immerses herself in her father’s account of his stormy relationship with her mother. What she learns sets her on a journey of self-discovery. “. . . the story is endlessly intriguing, with enough plot turns that readers who predict one or two may still be surprised . . . The ending befits this realistic portrayal of love, family, and all the complications those two often engender . . . An absorbing fusion of a searing family drama with an unusual love story.” --Kirkus Reviews
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.