Ever since Bessie Smith’s powerful voice conspired with the “race records” industry to make her a star in the 1920s, African American writers have memorialized the sounds and theorized the politics of black women’s singing. In Black Resonance, Emily J. Lordi analyzes writings by Richard Wright, Ralph Ellison, James Baldwin, Gayl Jones, and Nikki Giovanni that engage such iconic singers as Bessie Smith, Billie Holiday, Mahalia Jackson, and Aretha Franklin. Focusing on two generations of artists from the 1920s to the 1970s, Black Resonance reveals a musical-literary tradition in which singers and writers, faced with similar challenges and harboring similar aims, developed comparable expressive techniques. Drawing together such seemingly disparate works as Bessie Smith’s blues and Richard Wright’s neglected film of Native Son, Mahalia Jackson’s gospel music and Ralph Ellison’s Invisible Man, each chapter pairs one writer with one singer to crystallize the artistic practice they share: lyricism, sincerity, understatement, haunting, and the creation of a signature voice. In the process, Lordi demonstrates that popular female singers are not passive muses with raw, natural, or ineffable talent. Rather, they are experimental artists who innovate black expressive possibilities right alongside their literary peers. The first study of black music and literature to centralize the music of black women, Black Resonance offers new ways of reading and hearing some of the twentieth century’s most beloved and challenging voices.
Trouble comes to Ole Bens farm two years after the Williams family take possession of the house and land. The year was 1937 and the USA was still suffering from a Depression. Mother had to have an operation, rains were late arriving to make the crops grow, and a neighbor boy named Spooky was threatening the whole family with a knife, especially Jimmys younger sister Millie. It was rumored Ole Ben, who willed these acres to his great niece Sara, had left a mysterious treasure somewhere about the place. Did he? Jimmys pets, golden-haired Collie Nero and Neros friend, a yellow clay-colored calf named Rosie, always play a major role in the Williams childrens story.
Analyzes two groups of "musical novels" -- novels that take music as a model for their construction -- including jazz novels by Toni Morrison and Michael Ondaatje, and novels based on Bach's Goldberg Variations. What is a "musical novel"? This book defines the genre as musical not primarily in terms of its content, but in its form. The musical novel crosses medial boundaries, aspiring to techniques, structures, and impressions similar tothose of music. It takes music as a model for its own construction, borrowing techniques and forms that range from immediately perceptible, essential aspects of music (rhythm, timbre, the simultaneity of multiple voices) to microstructural (jazz riffs, call and response, leitmotifs) and macrostructural elements (themes and variations, symphonies, albums). The musical novel also evokes the performance context by imitating elements of spontaneity that characterize improvised jazz or audience interaction. The Musical Novel builds upon theories of intermediality and semiotics to analyze the musical structures, forms, and techniques in two groups of musical novels, which serve as case studies. The first group imitates an entire musical genre and consists of jazz novels by Toni Morrison, Albert Murray, Xam Wilson Cartiér, Stanley Crouch, Jack Fuller, Michael Ondaatje, and Christian Gailly. The secondgroup of novels, by Richard Powers, Gabriel Josipovici, Rachel Cusk, Nancy Huston, and Thomas Bernhard, imitates a single piece of music, J. S. Bach's Goldberg Variations. Emily Petermann is Assistant Professor of American Literature at the University of Konstanz.
In The Spectacle of Japanese American Trauma, Emily Roxworthy contests the notion that the U.S. government’s internment policies during World War II had little impact on the postwar lives of most Japanese Americans. After the curtain was lowered on the war following the bombings of Hiroshima and Nagasaki, many Americans behaved as if the “theatre of war” had ended and life could return to normal. Roxworthy demonstrates that this theatrical logic of segregating the real from the staged, the authentic experience from the political display, grew out of the manner in which internment was agitated for and instituted by the U.S. government and media. During the war, Japanese Americans struggled to define themselves within the web of this theatrical logic, and they continue to reenact this trauma in public and private to this day. The political spectacles staged by the FBI and the American mass media were heir to a theatricalizing discourse that can be traced back to Commodore Matthew Perry’s “opening” of Japan in 1853. Westerners, particularly Americans, drew upon it to orientalize—disempower, demonize, and conquer—those of Japanese descent, who were characterized as natural-born actors who could not be trusted. Roxworthy provides the first detailed reconstruction of the FBI’s raids on Japanese American communities, which relied on this discourse to justify their highly choreographed searches, seizures, and arrests. Her book also makes clear how wartime newspapers (particularly those of the notoriously anti-Asian Hearst Press) melodramatically framed the evacuation and internment so as to discourage white Americans from sympathizing with their former neighbors of Japanese descent. Roxworthy juxtaposes her analysis of these political spectacles with the first inclusive look at cultural performances staged by issei and nisei (first- and second-generation Japanese Americans) at two of the most prominent “relocation centers”: California’s Manzanar and Tule Lake. The camp performances enlarge our understanding of the impulse to create art under oppressive conditions. Taken together, wartime political spectacles and the performative attempts at resistance by internees demonstrate the logic of racial performativity that underwrites American national identity. The Spectacle of Japanese American Trauma details the complex formula by which racial performativity proved to be a force for both oppression and resistance during World War II.
By the time of his death in 1964, Carl Van Vechten had been a far-sighted journalist, a best-selling novelist, a consummate host, an exhaustive archivist, a prescient photographer, and a Negrophile bar non. A white man with an abiding passion for blackness.
Luminaries of the Harlem Renaissance—Langston Hughes, Jean Toomer, Wallace Thurman, and Arna Bontemps, among others—are associated with, well . . . Harlem. But the story of these New York writers unexpectedly extends to the American West. Hughes, for instance, grew up in Kansas, Thurman in Utah, and Bontemps in Los Angeles. Toomer traveled often to New Mexico. Indeed, as West of Harlem reveals, the West played a significant role in the lives and work of many of the artists who created the signal urban African American cultural movement of the twentieth century. Uncovering the forgotten histories of these major American literary figures, the book gives us a deeper appreciation of that movement, and of the cultures it reflected and inspired. These recovered experiences and literatures paint a new picture of the American West, one that better accounts for the disparate African American populations that dotted its landscape and shaped the multiethnic literatures and cultures of the borderlands. Tapping literary, biographical, historical, and visual sources, Emily Lutenski tells the New Negro movement's western story. Hughes's move to Mexico opens a window on African American transnational experiences. Thurman's engagement with Salt Lake City offers an unexpected perspective on African American sexual politics. Arna Bontemps's Los Angeles, constructed in conjunction with Louisiana, provides a new vision of the Spanish borderlands. Lesser-known writer Anita Scott Coleman imagines black Western autonomy through domesticity. The experience of others—like Toomer, invited to socialite Mabel Dodge Luhan's circle of artists in Taos—present a more pluralistic view of the West. It was this place, with its transnational and multiracial mix of Native Americans, Latina/os, Anglos, and African Americans, which buttressed Toomer's idea of a "new American race." Turning the lens elsewhere, Lutenski also explores how Latina/o, Asian American, and Native American western writers understood and represented African Americans in the early twentieth-century borderlands. The result is a new, unusually nuanced and unexpectedly complex view of key figures of the Harlem Renaissance and the borderlands cultures that influenced their art in surprising and important ways.
Notified by police that her sculptor husband of ten years has vanished while swimming off the coast of Florida, magazine editor Sarah is aided by a team of investigators to discern the truth about her husband's fate. By the author of It Was Gonna Be Like Paris. Reprint.
The symphony has long been entangled with ideas of self and value. Though standard historical accounts suggest that composers' interest in the symphony was almost extinguished in the early 1930s, this book makes plain the genre's continued cultural dominance, and argues that the symphony can illuminate issues around space/geography, race, and postcolonialism in Germany, France, Mexico, and the United States. Focusing on a number of symphonies composed or premiered in 1933, this book recreates some of the cultural and political landscapes of an uncertain historical moment-a year when Hitler took power in Germany, and the Great Depression reached its peak in the United States. Interwar Symphonies and the Imagination asks what North American and European symphonies from the early 1930s can tell us about how people imagined selfhood during a period of international insecurity and political upheaval, of expansionist and colonial fantasies, scientised racism, and emergent fascism.
Our fascination with the trickster figure, whose presence is global, stems from our desire to break free from the tightly regimented structures of our societies. Condemned to conform to laws and rules imposed by governments, communities, social groups and family bonds, we revel in the fantasy of the trickster whose energy and cunning knows no bounds and for whom nothing is sacred. One such trickster is Brer Rabbit, who was introduced to North America through the folktales of enslaved Africans. On the plantations, Brer Rabbit, like Anansi in the Caribbean, functioned as a resistance figure for the enslaved whose trickery was aimed at undermining and challenging the plantation regime. Yet as Brer Rabbit tales moved from the oral tradition to the printed page in the late nineteenth-century, the trickster was emptied of his potentially powerful symbolism by white American collectors, authors and folklorists in their attempt to create a nostalgic fantasy of the plantation past. American Trickster offers readers a unique insight into the cultural significance of the Brer Rabbit trickster figure, from his African roots and through to his influence on contemporary culture. Exploring the changing portrayals of the trickster figure through a wealth of cultural forms including folktales, advertising, fiction and films the book scrutinises the profound tensions between the perpetuation of damaging racial stereotypes and the need to keep African-American folk traditions alive. Emily Zobel Marshall argues that Brer Rabbit was eventually reclaimed by twentieth-century African-American novelists whose protagonists ‘trick’ their way out of limiting stereotypes, break down social and cultural boundaries and offer readers practical and psychological methods for challenging the traumatic legacies of slavery and racism.
An exploration of the reception of Classics in the English-speaking Caribbean. Emily Greenwood argues that writers such as Kamau Brathwaite, C. L. R. James, V. S. Naipaul, and Derek Walcott have successfully adapted Classics to the cultural context of the Caribbean, creating a distinctive tradition.
In The Meaning of Soul, Emily J. Lordi proposes a new understanding of this famously elusive concept. In the 1960s, Lordi argues, soul came to signify a cultural belief in black resilience, which was enacted through musical practices—inventive cover versions, falsetto vocals, ad-libs, and false endings. Through these soul techniques, artists such as Aretha Franklin, Donny Hathaway, Nina Simone, Marvin Gaye, Isaac Hayes, and Minnie Riperton performed virtuosic survivorship and thus helped to galvanize black communities in an era of peril and promise. Their soul legacies were later reanimated by such stars as Prince, Solange Knowles, and Flying Lotus. Breaking with prior understandings of soul as a vague masculinist political formation tethered to the Black Power movement, Lordi offers a vision of soul that foregrounds the intricacies of musical craft, the complex personal and social meanings of the music, the dynamic movement of soul across time, and the leading role played by black women in this musical-intellectual tradition.
A thought-provoking collection of essays on life and living Voices from the Heartland is a celebration of women’s contributions to Oklahoma’s recent past. It records defining moments in women’s lives—whether surviving the Oklahoma City bombing or surviving abuse—and represents a wide range of professions, lifestyles, and backgrounds to show how extraordinary lives have grown from the seeds of ordinary girlhoods. From former Cherokee principal chief Wilma Mankiller, First Lady Kim Henry, novelist Billie Letts, and prima ballerina Maria Tallchief, to OU basketball coach Sherri Coale, the authors share their personal reflections on finding balance as they look back on defining moments in their lives, mull over what they wish they had learned sooner, and convey the wisdom they’ve unearthed on their journeys thus far. Touching on topics from adultery to left-handedness, from losing children to losing perspective, these essays speak from the heart to reveal what it means to be an American woman today. Readers will meet activists and writers, advocates and artists—some of whom are household names, while others work outside the public eye. Voices from the Heartland speaks to readers all across America and demonstrates that women in Oklahoma represent the heart of us all.
Tracing one's African-American ancestry can be uniquely challenging. This guide helps overcome the obstacles and pitfalls of specialized research by offering a proven, three-part approach.
American evangelicals are known for focusing on the family, but the Quiverfull movement intensifies that focus in a significant way. Often called "Quiverfull" due to an emphasis on filling their "quivers" with as many children as possible (Psalm 127:5), such families are distinguishable by their practices of male-only leadership, homeschooling, and prolific childbirth. Their primary aim is "multigenerational faithfulness" - ensuring their descendants maintain Christian faith for many generations. Many believe this focus will lead to the Christianization of America in the centuries to come. Quivering Families is a first of its kind project that employs history, ethnography, and theology to explore the Quiverfull movement in America. The book considers a study of the movement's origins, its major leaders and institutions, and the daily lives of its families. Quivering Families argues that despite the apparent strangeness of their practice, Quiverfull is a thoroughly evangelical and American phenomenon. Far from offering a countercultural vision of the family, Quiverfull represents an intensification of longstanding tendencies. The movement reveals the weakness of evangelical theology of the family and underlines the need for more critical and creative approaches.
A new book of 50 bigger, bolder, next-level STEAM experiments for the whole family, including even more diverse science biographies and stories, from Emily Calandrelli, host of Netflix's Emily's Wonder Lab and author of the national bestseller Stay Curious and Keep Exploring. MIT engineer Emily Calandrelli follows up on her debut national bestseller to share 50 big, bold new experiments that sparkle, bubble, and explode. She artfully explains the science behind them and connects each one to STEAM concepts found in the world. Using easy-to-find everyday items you can find at the grocery store and beyond, learn to think like a scientist and create: Color-changing slimes that react to ice and heat and learn about thermochromism Dancing Oobleck to discover the power of static electricity A Mentos SodaSplosion to unlock the power of nucleation points Hot ice to learn about supercooling Egg geodes to play with supersaturated liquids and crystallization A self-propelling boat to learn why water beads up on plant leaves Glow-in-the-dark turmeric to experiment with fluorescent materials And more! There are also Make-a-Hypothesis! and Try This! prompts to experiment within the experiments, as well as science jokes, interactive elements, and diverse bios of influential science figures around the world, for every budding scientist ready to take their STEAM curiosity to the next level, Stay Curious and Keep Exploring: Next Level is the perfect companion for making STEAM learning fun and accessible. EVERYONE LOVES EMILY: Common Sense Media calls Emily Calandrelli “the science teacher we all wish we had as young kids.” And Bill Nye the Science Guy celebrated the first Stay Curious book with these words: “Here are 50, count 'em, 50 home experiments you can count on. Each is a crowd, or home experimenter, pleaser. Emily wrote this book for kids of all ages, and it’s full of references to women who changed the world—with science. It doesn’t matter where you start—be curious; open to any page; take some notes; Emily will keep you exploring.” This new volume features 50 brand-new experiments to keep the fun and learning going. GREAT FOR SCIENCE FAIR & HOMESCHOOL CURRICULUM: A must-have for parents and homeschool educators! Colorful illustrations accompany every experiment, along with instructions and materials you'll need to get started, sections to record notes, and real-life examples connecting your STEAM experiment to the world around you. There are also fascinating facts about important people to know in science history. GIFT FOR SCIENCE KIDS & NON-SCIENCE KIDS: With experiments that use supplies that can be easily found at home or online, this book makes a fantastic gift for parents, kids, clubs, schools, and teachers for events from playdates and birthday parties to rainy-day indoor activities. Perfect for: Fans of Emily’s Wonder Lab, Emily Calandrelli and her social media channels, and Stay Curious and Keep Exploring looking for their next experiment book Parents, grandparents, caregivers, and teachers looking for engaging activities and STEAM projects for kids ages 5-12 Birthday, graduation, holiday, or summer activity gift for kids and families interested in science and encouraging STEAM learning Classroom guide or gift for teachers Readers of The Daring Book for Girls, The Dangerous Book for Boys, Geek Dad, and Awesome Science experiments for Kids
When D. H. Lawrence wrote his classic study of American literature, he claimed that youth was the “true myth” of America. Beginning from this assertion, Emily A. Murphy traces the ways that youth began to embody national hopes and fears at a time when the United States was transitioning to a new position of world power. In the aftermath of World War II, persistent calls for the nation to “grow up” and move beyond innocence became common, and the child that had long served as a symbol of the nation was suddenly discarded in favor of a rebellious adolescent. This era marked the beginning of a crisis of identity, where literary critics and writers both sought to redefine U.S. national identity in light of the nation’s new global position. The figure of the adolescent is central to an understanding of U.S. national identity, both past and present, and of the cultural forms (e.g., literature) that participate in the ongoing process of representing the diverse experiences of Americans. In tracing the evolution of this youthful figure, Murphy revisits classics of American literature, including J. D. Salinger’s The Catcher in the Rye and Vladimir Nabokov’s Lolita, alongside contemporary bestsellers. The influence of the adolescent on some of America’s greatest writers demonstrates the endurance of the myth that Lawrence first identified in 1923 and signals a powerful link between youth and one of the most persistent questions for the nation: What does it mean to be an American?
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