Houston A. Baker Jr. condemns black intellectuals who, he believes, have turned their backs on the tradition of racial activism in America. In their literature, speeches, and academic and public behavior, Baker identifies a "hungry generation" eager for power, respect, and money. Critiquing his own impoverished childhood in the "Little Africa" section of Louisville, Kentucky, Baker seeks to understand the shaping of this new public figure. He also revisits classical sites of African American literary and historical criticism and critique, and devotes chapters to the writing and thought of such black academic superstars as Cornel West, Michael Eric Dyson, and Henry Louis Gates Jr.; Hoover Institution senior fellow Shelby Steele; Yale law professor Stephen Carter; and Manhattan Institute fellow John McWhorter. Baker's provocative investigation into the disingenuous posturing of these and other individuals exposes what he deems to be a tragic betrayal of the legacy of Martin Luther King Jr. He urges black intellectuals to reestablish both sacred and secular connections with local communities and rediscover the value of social responsibility. As Baker sees it, the mission of the black intellectual today is not to do great things but to do specific, racially based work that is in the interest of the black majority.
Relating the blues to American social and literary history and to Afro-American expressive culture, Houston A. Baker, Jr., offers the basis for a broader study of American culture at its "vernacular" level. He shows how the "blues voice" and its economic undertones are both central to the American narrative and characteristic of the Afro-American way of telling it.
Mr. Baker perceives the harlem Renaissance as a crucial moment in a movement, predating the 1920's, when Afro-Americans embraced the task of self-determination and in so doing gave forth a distinctive form of expression that still echoes in a broad spectrum of 20th-century Afro-American arts. . . . Modernism and the Harlem Renaissance may well become Afro-America's 'studying manual.'"—Tonya Bolden, New York Times Book Review
In this explosive book, Houston Baker takes stock of the current state of Black Studies in the university and outlines its responsibilities to the newest form of black urban expression—rap. A frank, polemical essay, Black Studies, Rap, and the Academy is an uninhibited defense of Black Studies and an extended commentary on the importance of rap. Written in the midst of the political correctness wars and in the aftermath of the Los Angeles riots, Baker's meditation on the academy and black urban expression has generated much controversy and comment from both ends of the political spectrum.
In Keywords for Southern Studies, the editors have compiled an eclectic collection of essays which address the fluidity and ever-changing nature of southern studies by adopting a transnational, interdisciplinary focus. This book is termed 'critical' because the essays in it are pertinent to modern life beyond the world of 'southern studies.' The non-binary, non-traditional approach of Keywords unmasks and refuses the binary thinking -- First World/Third World, self/other -- that postcolonial studies has taught us is the worst rhetorical structure of empire. Keywords promotes a holistic way of thinking that starts with southern studies but extends even further"--
Relating the blues to American social and literary history and to Afro-American expressive culture, Houston A. Baker, Jr., offers the basis for a broader study of American culture at its "vernacular" level. He shows how the "blues voice" and its economic undertones are both central to the American narrative and characteristic of the Afro-American way of telling it.
Baker envisages the mission of black culture since the 1920s as "Afro-American spirit work." In the blues, the post-modernist "chant poem," the oratory of Malcolm X and the political plays of Amiri Baraka, Baker notes the unfolding creation of a "racial epic" in which black Americans may discover their place in U.S. society and find their ancestral roots. He analyzes Jean Toomer's stream-of-consciousness protest novel Cane, ponders why apolitical poet Countee Cullen became a voice of the people and pays tribute to critic-poet Larry Neal and to Hoyt Fuller, the editor of Negro Digest who allied himself with the Black Arts movement. He also traces his own shift from "guerrilla theater revolutionary" to embattled theoretician. ISBN 0-299-11500-3: $22.50 (For use only in the library).
From the lone outcry of Richard Wright's Black Boy to the chorusing voices of Louis Farrakhan's Million Man March, Critical Memory looks across the past half century to assess the current challenges to African American cultural and intellectual life. As Houston A. Baker recalls his own youth in Louisville, Kentucky, and Washington, D.C., he situates such figures as Ralph Ellison, James Baldwin, Shelby Steele, O. J. Simpson, Chris Rock, and Jesse Jackson within such issues as the embattled state of African American manhood and the "financing and promotion of black intellectuals." The "memory" of the book's title is doubly "critical." It is imperative, Baker says, that we keep alive the "embarrassing, macabre, and always bizarre" memory of race in America. In another respect, the remembering must be pointed and keen enough to discern truth from its often highly politicized, commercialized trappings. Throughout the book, Baker returns again and again to the triad of race, "likability" (the compromises by which one gains credibility in white America), and "clearance" (the separation of blacks from the "rights, spaces, and privileges of American citizenship"). These concepts, Baker argues, gird the meritocracy, still in force, that claimed progress in granting black men like his father the freedom to work themselves to death behind a desk instead of a mule. In Critical Memory reason and cool rage converge to expose the draining tasks of reconciling white America's perception of its righteousness with its lack of relish for the truth it claims to welcome from black intellectuals and artists.
Houston Baker maintains that black American culture, grounded in a unique historical experience, is distinct from any other, and that it has produced a body of literature that is equally and demonstrably unique in its sources, values, and modes of expression. He argues that black American literature is rooted in black folklore- animal tales, trickster slave tales, religious tales, folk songs, spirituals, and ballads- and that a knowledge of this tradition is essential to the understanding of any individual black author or work. To deomonstrate the continuity of this tradition, Baker examines themes that appear in folklore and persist throughout contemporary black literature. "Freedom and Apocalypse," for example, traces the idea that black Americans are a chosen people who will, by some violent means, overthrow the white man's tyranny. The essays culminate in an examination of the life and work of Richard Wright. Baker's treatment of Wright as a black American artist who recorded the black man's shift from an agrarian to an urban setting places Wright and the tradition of black literature and culture in a fresh perspective.
Assesses 18th-century black writers, the autobiographical writings of slaves, the works of Wright, Ellison, Baldwin, Baraka, and Brooks, and traditional approaches to African-American literature.
DIVInaugurates a new southern studies with Black experience at the center, through a re-examination of the career of Booker T. Washington, showing incarceration to be the central characteristic of African-American life, even in the case of Tuskegee./div
Turning on inspired interpretations of Zora Neale Hurston, Toni Morrison, and Ntozake Shange, the author weighs current critical approaches to black women's writing against his own explanation of the founding, theoretical state of Afro-American intellectual history.
Everybody who has ever read a book will benefit from the way Keith Houston explores the most powerful object of our time. And everybody who has read it will agree that reports of the book’s death have been greatly exaggerated."— Erik Spiekermann, typographer We may love books, but do we know what lies behind them? In The Book, Keith Houston reveals that the paper, ink, thread, glue, and board from which a book is made tell as rich a story as the words on its pages—of civilizations, empires, human ingenuity, and madness. In an invitingly tactile history of this 2,000-year-old medium, Houston follows the development of writing, printing, the art of illustrations, and binding to show how we have moved from cuneiform tablets and papyrus scrolls to the hardcovers and paperbacks of today. Sure to delight book lovers of all stripes with its lush, full-color illustrations, The Book gives us the momentous and surprising history behind humanity’s most important—and universal—information technology.
This account of the most dramatic missions of one of the country's most renowned K-9 search and rescue teams features Shelby, co-founder to Amigo Canine Search and Rescue, and Michelle, a Doberman Pinscher, who work in the rugged terrain of New York's Catskill Mountains. Includes dog training tips all dog owners can use.
Bob Woodward made Jean Houston national news in the summer of 1996 when he revealed her working friendship with Hillary Clinton. Mrs. Clinton, Woodward reported, connected most enthusiastically with Dr. Houston and anthropologist Mary Catherine Bateson when they met with the Clintons at a Camp David retreat that also included presentations by Marianne Williamson, Anthony Robbins, and Stephen Covey. Dr. Houston subsequently consultedregularly at the White House, especially helping Mrs. Clinton with herbestselling book It Takes a Village. The tabloid press had a field day, but the sensationalistic coverage onlyrevealed how out of touch the popular media are with the profound role that advanced psychology and spirituality play in people's lives today. Jean Houston is at the cutting edge of the work on realizing the fullness of our human potential, which is as mainstream and pervasive in our culture ascomputer technology. A Mythic Life presents Jean Houston's real story and her true teaching. Here draws on her personal history and vast cultural knowledge to show how we can experience in our own lives the greater human story that is revealed myths and discover our real potential.
Relating the blues to American social and literary history and to Afro-American expressive culture, Houston A. Baker, Jr., offers the basis for a broader study of American culture at its "vernacular" level. He shows how the "blues voice" and its economic undertones are both central to the American narrative and characteristic of the Afro-American way of telling it.
This popular, shorter version of Brigham's market leading Fundamentals text again offers students the core topics of financial management at the same detail and depth of coverage as the corresponding topics in the full-size text, but in a two-color format at a lower price.
From the lone outcry of Richard Wright's Black Boy to the chorusing voices of Louis Farrakhan's Million Man March, Critical Memory looks across the past half century to assess the current challenges to African American cultural and intellectual life. As Houston A. Baker recalls his own youth in Louisville, Kentucky, and Washington, D.C., he situates such figures as Ralph Ellison, James Baldwin, Shelby Steele, O. J. Simpson, Chris Rock, and Jesse Jackson within such issues as the embattled state of African American manhood and the "financing and promotion of black intellectuals." The "memory" of the book's title is doubly "critical." It is imperative, Baker says, that we keep alive the "embarrassing, macabre, and always bizarre" memory of race in America. In another respect, the remembering must be pointed and keen enough to discern truth from its often highly politicized, commercialized trappings. Throughout the book, Baker returns again and again to the triad of race, "likability" (the compromises by which one gains credibility in white America), and "clearance" (the separation of blacks from the "rights, spaces, and privileges of American citizenship"). These concepts, Baker argues, gird the meritocracy, still in force, that claimed progress in granting black men like his father the freedom to work themselves to death behind a desk instead of a mule. In Critical Memory reason and cool rage converge to expose the draining tasks of reconciling white America's perception of its righteousness with its lack of relish for the truth it claims to welcome from black intellectuals and artists.
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