In a world where we are drowning in information and yet starving for wisdom, every now and then someone comes along who understands Life so well, that they're able to explain it simply... Bad things don't happen to us because we are bad. It's not like we are being punished. All That Is is for anyone who has ever wondered who we truly are, why we are here and what we're meant to be doing. Based on a series of 'light bulb' moments, this intriguing compilation of insightful one-liners contains 101 life-changing sayings which explore the timeless truths of being human. It can help adults of all ages and all cultures to live our best possible life. If you are genuine in wanting greater peace of mind, more joy and happiness, easy-going relationships, improved health, better finances and ultimately, being at One with All of Life, then this book is for you. Ponder, contemplate or reflect upon these seemingly intuitive wisdoms which most people don't even slow down enough to notice, much less reflect upon. Then make them a part of your daily life to internalize the learnings. All That Is is a little tome that can last a person a lifetime. "You can read All That Is in two minutes, or you can meditate on each of its sentences for a whole lifetime." - Author, Pedro Barrento, 'The Prince and the Singularity -- A Circular Tale
William Hannibal Thomas (1843-1935) served with distinction in the U.S. Colored Troops in the Civil War (in which he lost an arm) and was a preacher, teacher, lawyer, state legislator, and journalist following Appomattox. In many publications up through the 1890s, Thomas espoused a critical though optimistic black nationalist ideology. After his mid-twenties, however, Thomas began exhibiting a self-destructive personality, one that kept him in constant trouble with authorities and always on the run. His book The American Negro (1901) was his final self-destructive act. Attacking African Americans in gross and insulting language in this utterly pessimistic book, Thomas blamed them for the contemporary "Negro problem" and argued that the race required radical redemption based on improved "character," not changed "color." Vague in his recommendations, Thomas implied that blacks should model themselves after certain mulattoes, most notably William Hannibal Thomas. Black Judas is a biography of Thomas, a publishing history of The American Negro, and an analysis of that book's significance to American racial thought. The book is based on fifteen years of research, including research in postamputation trauma and psychoanalytic theory on selfhatred, to assess Thomas's metamorphosis from a constructive race critic to a black Negrophobe. John David Smith argues that his radical shift resulted from key emotional and physical traumas that mirrored Thomas's life history of exposure to white racism and intense physical pain.
In this autobiographical story set in the deep south of the United States during the turbulence of the 1960¿s, Dr. David Sharp recounts the life lessons that sparked the discovery of his own uniqueness, inner beauty, joy, passion and power. From the first understanding of himself as ¿different¿ he allows you inside his journey toward self-acceptance. He shares how he learned to claim who he really is, and shows you the people who helped him find the strength and courage to do so. You will see how truth, wisdom and humor are used not just to survive, but thrive; and how the ability to ¿dance the blues away¿ or ¿laugh, cry, complain and count your blessings at the same time¿ are two of the many heroic responses to life¿s deep pains. The story features Mbase, a long dead ancestor, who reaches through time to become part of the journey. He guides with wit and compassion and offers a reminder of the four powerful words that have echoed in their family through the generations. I¿m a Black Man, Who are You? is a triumph of the human spirit. It will inspire you to look at yourself ¿differently¿ and answer more clearly the grand question life asks¿ WHO ARE YOU?
A classic work on the African-American experience is revised for the nineties with essays reflecting the concerns of black children from the last three decades and commentary from today's sports stars, politicians, and inner-city gang members.
In Haunted Life, David Marriott examines the complex interplay between racial fears and anxieties and the political-visual cultures of suspicion and state terror. He compels readers to consider how media technologies are "haunted" by the phantom of racial slavery. Through examples from film and television, modernist literature, and philosophy, he shows how the ideological image of a brutal African past is endlessly recycled and how this perpetuation of historical catastrophe stokes our nation's race-conscious paranoia. Drawing on a range of comparative readings by writers, theorists, and filmmakers, including John Edgar Wideman, Frantz Fanon, Richard Wright, Issac Julien, Alain Locke, and Sidney Poitier, Haunted Life is a bold and original exploration of the legacies of black visual culture and the political, deeply sexualized violence that lies buried beneath it.
This comprehensive edition explores the life of John Howard Griffin as well as the issue of race as presented in his most famous work, Black Like Me, which details Griffin's experiment darkening his skin to pass as a black man during the Jim Crow era. This volume also presents modern perspectives on race in twenty-first-century America, with commentators asserting that while progress has been made, racism is still a significant issue.
First published in 1909, this biography defends abolitionist John Brown against all detractors who saw him as a fanatic, fiend or traitor. It shows Brown as an unusual leader with a deeply religious outlook and a devotion to the cause of freedom for the slave.
Allison Davis (1902–83), a preeminent black scholar and social science pioneer, is perhaps best known for his groundbreaking investigations into inequality, Jim Crow America, and the cultural biases of intelligence testing. Davis, one of America’s first black anthropologists and the first tenured African American professor at a predominantly white university, produced work that had tangible and lasting effects on public policy, including contributions to Brown v. Board of Education, the federal Head Start program, and school testing practices. Yet Davis remains largely absent from the historical record. For someone who generated such an extensive body of work this marginalization is particularly surprising. But it is also revelatory. In The Lost Black Scholar, David A. Varel tells Davis’s compelling story, showing how a combination of institutional racism, disciplinary eclecticism, and iconoclastic thinking effectively sidelined him as an intellectual. A close look at Davis’s career sheds light not only on the racial politics of the academy but also the costs of being an innovator outside of the mainstream. Equally important, Varel argues that Davis exemplifies how black scholars led the way in advancing American social thought. Even though he was rarely acknowledged for it, Davis refuted scientific racism and laid bare the environmental roots of human difference more deftly than most of his white peers, by pushing social science in bold new directions. Varel shows how Davis effectively helped to lay the groundwork for the civil rights movement.
It's nineteen fifty-something, in a dark, cramped, smoke-filled room. Everyone's wearing black. And on-stage a tenor is blowing his heart out, a searching, jagged saxophone journey played out against a moody, walking bass and the swish of a drummer's brushes. To a great many listeners--from African American aficionados of the period to a whole new group of fans today--this is the very embodiment of jazz. It is also quintessential hard bop. In this, the first thorough study of the subject, jazz expert and enthusiast David H. Rosenthal vividly examines the roots, traditions, explorations and permutations, personalities and recordings of a climactic period in jazz history. Beginning with hard bop's origins as an amalgam of bebop and R&B, Rosenthal narrates the growth of a movement that embraced the heavy beat and bluesy phrasing of such popular artists as Horace Silver and Cannonball Adderley; the stark, astringent, tormented music of saxophonists Jackie McLean and Tina Brooks; the gentler, more lyrical contributions of trumpeter Art Farmer, pianists Hank Jones and Tommy Flanagan, composers Benny Golson and Gigi Gryce; and such consciously experimental and truly one-of-a-kind players and composers as Andrew Hill, Sonny Rollins, John Coltrane, Thelonious Monk, and Charles Mingus. Hard bop welcomed all influences--whether Gospel, the blues, Latin rhythms, or Debussy and Ravel--into its astonishingly creative, hard-swinging orbit. Although its emphasis on expression and downright "badness" over technical virtuosity was unappreciated by critics, hard bop was the music of black neighborhoods and the last jazz movement to attract the most talented young black musicians. Fortunately, records were there to catch it all. The years between 1955 and 1965 are unrivaled in jazz history for the number of milestones on vinyl. Miles Davis's Kind of Blue, Charles Mingus's Mingus Ah Um, Thelonious Monk's Brilliant Corners, Horace Silver's Further Explorations--Rosenthal gives a perceptive cut-by-cut analysis of these and other jazz masterpieces, supplying an essential discography as well. For knowledgeable jazz-lovers and novices alike, Hard Bop is a lively, multi-dimensional, much-needed examination of the artists, the milieus, and above all the sounds of one of America's great musical epochs.
Studies of the Curse of Ham, the belief that the Bible consigned blacks to everlasting servitude, confuse and conflate two separate origins stories (etiologies), one of black skin and the other of black slavery. This work unravels the etiologies and shows how the Curse, an etiology of black slavery, evolved from an earlier etiology explaining the existence of dark-skinned people. We see when, where, why, and how an original mythic tale of black origins morphed into a story of the origins of black slavery, and how, in turn, the second then supplanted the first as an explanation for black skin. In the process we see how formulations of the Curse changed over time, depending on the historical and social contexts, reflecting and refashioning the way blackness and blacks were perceived. In particular, two significant developments are uncovered. First, a curse of slavery, originally said to affect various dark-skinned peoples, was eventually applied most commonly to black Africans. Second, blackness, originally incidental to the curse, in time became part of the curse itself. Dark skin now became an intentional marker of servitude, the visible sign of the blacks’ degradation, and in the process deprecating black skin itself.
The history of the Black Country has a dark side - episodes of violent death and villainy run through it. In this compelling book David Cox and Michael Pearson have select over 20 of the most revealing, shocking and disturbing cases. Their investigation throws new light on criminal acts and on the workings of the criminal mind. They take the reader on a sinister journey from medieval to modern times, following a trail left by cut-throats, traitors, rapists, thieves, murderous husbands and lovers, horse-slashers, torturers and brutal executioners. The result is a fascinating study of Black Country criminality which will be essential reading for anyone who is interested in the area's rich - sometimes gruesome - past.
The series Studies of the Bible and Its Reception (SBR) publishes monographs and collected volumes which explore the reception history of the Bible in a wide variety of academic and cultural contexts. Closely linked to the multi-volume project Encyclopedia of the Bible and Its Reception (EBR), this book series is a publication platform for works which cover the broad field of reception history of the Bible in various religious traditions, historical periods, and cultural fields. Volumes in this series aim to present the material of reception processes or to develop methodological discussions in more detail, enabling authors and readers to more deeply engage and understand the dynamics of biblical reception in a wide variety of academic fields. Further information on „The Bible and Its Reception“.
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